home » Story Symbolist poets and their work. Russian symbolism as a literary trend - the main features and characteristics of the Silver Age. Symbolism

Symbolist poets and their work. Russian symbolism as a literary trend - the main features and characteristics of the Silver Age. Symbolism

Silver Age. Symbolism

Symbolism (from Greek simbolon - sign, symbol) - a trend in European art of the 1870s - 1910s; one of the modernist trends in Russian poetry at the turn of the 19th - 20th centuries. Focused primarily on expression through symbol intuitively comprehended essences and ideas, vague, often sophisticated feelings and visions.

The very word "symbol" in traditional poetics it means "multi-valued allegory", that is, a poetic image expressing the essence of a phenomenon; in the poetry of symbolism, he conveys the individual, often momentary ideas of the poet.

The poetics of symbolism is characterized by:

transmission of the subtlest movements of the soul;
maximum use of sound and rhythmic means of poetry;
exquisite imagery, musicality and lightness of style;
poetics of allusion and allegory;
symbolic content of ordinary words;
attitude to the word, as to the cipher of some spiritual secret writing;
innuendo, concealment of meaning;
the desire to create a picture of an ideal world;
aestheticization of death as an existential principle;
elitism, orientation to the reader-co-author, creator.

Russian and foreign symbolism The specifics of foreign symbolism As an artistic trend, symbolism publicly announced itself in France when a group of young poets in 1886 rallied around S. Bely defined a symbol as a combination of heterogeneous things together. Not realizing the continuation of any particular trend in art, symbolism carried the genetic code of romanticism: the roots of symbolism are in romantic commitment to the highest principle of an ideal world. Pictures of nature, human deeds, all the phenomena of our life are significant for ...

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Coursework on the topic: "The peculiarities of Western European and Russian symbolism in the works of Blok and Verlaine"

Introduction

Late 19th - early 20th century in Russia, this is a time of change, uncertainty and gloomy omens, this is a time of disappointment and a sense of the approaching death of the existing socio-political system. All this could not but affect Russian poetry. It is with this that the emergence of symbolism is connected.

"Symbolism" is a trend in European and Russian art that emerged at the turn of the 20th century, focused primarily on artistic expression through the symbol of "things in themselves" and ideas that are beyond sensory perception. In an effort to break through the visible reality to the "hidden realities", the supertemporal ideal essence of the world, its "imperishable" Beauty, the Symbolists expressed their yearning for spiritual freedom.

In view of the foregoing, our theme term paper was chosen"The Peculiarities of Western European and Russian Symbolism in the Works of Blok and Verlaine".

Relevance research lies in the need to study the features of Western European and Russian symbolism on the example of the work of Blok and Verlaine.

Object of study- symbolist tendencies in literary creativity.

Subject of study- the formation and development of symbolism in Russia and France.

Purpose of the study- to characterize the originality of Western European and Russian symbolism in the works of Blok and Verlaine.

To achieve the goal of our study, we have set the followingresearch objectives:

Consider the specifics of foreign symbolism;

Describe the features of Russian symbolism;

Explore the symbolist work of Blok;

To analyze the creative heritage of Verlaine.

Research structure.The work consists of an introduction, two chapters, a conclusion and a list of references.

Chapter 1. Russian and foreign symbolism

The specifics of foreign symbolism

As an artistic trend, symbolism publicly announced itself in France, when a group of young poets, who in 1886 rallied around S. Mallarme, realized the unity of artistic aspirations. The group included: J. Moreas, R. Gil, Henri de Regno, S. Merrill and others. In the 1990s, P. Valery, A. Gide, P. Claudel joined the poets of the Mallarme group. The design of symbolism in literary direction P. Verlaine, who published his symbolist poems and a series of essays Damned Poets, as well as J.C. Huysmans, who published the novel Vice versa, contributed a lot. In 1886, J. Moreas placed the Manifesto of Symbolism in Figaro, in which he formulated the basic principles of the direction, based on the judgments of Ch. Baudelaire, S. Mallarmé, P. Verlaine, Ch. Henri. Two years after the publication of the manifesto by J. Moreas, A. Bergson published his first book On the Immediate Data of Consciousness, in which the philosophy of intuitionism was declared, in basic principles echoing the symbolist worldview and giving it additional justification.

In the Symbolist Manifesto, J. Moreas defined the nature of the symbol, which supplanted the traditional artistic image and became the main material of Symbolist poetry. “Symbolist poetry is looking for a way to clothe the idea in a sensual form that would not be self-sufficient, but at the same time, serving the expression of the Idea, would retain its individuality,” Moréas wrote. A similar “sensual form” in which the Idea is clothed is a symbol.

The fundamental difference between a symbol and an artistic image is its ambiguity. The symbol cannot be deciphered by the efforts of the mind: at the last depth it is dark and not accessible to the final interpretation. On Russian soil, this feature of the symbol was successfully defined by F. Sologub: "The symbol is a window to infinity." The movement and play of semantic shades create indecipherability, the mystery of the symbol. If the image expresses a single phenomenon, then the symbol is fraught with a whole range of meanings - sometimes opposite, multidirectional (for example, "the miracle and the monster" in the image of Peter in Merezhkovsky's novel Peter and Alexei). The poet and theorist of symbolism Vyach. Ivanov expressed the idea that the symbol signifies not one, but different entities, A. Bely defined the symbol as "combining the heterogeneous together." The duality of the symbol goes back to the romantic notion of two worlds, the interpenetration of two planes of being.

The multi-layered nature of the symbol, its open polysemy was based on mythological, religious, philosophical and aesthetic ideas about super-reality, incomprehensible in its essence. The theory and practice of symbolism were closely associated with the idealistic philosophy of I. Kant, A. Schopenhauer, F. Schelling, as well as F. Nietzsche's reflections on the superman, being "beyond good and evil." At its core, symbolism merged with the Platonic and Christian concepts of the world, having adopted romantic traditions and new trends. Not being aware of the continuation of any particular trend in art, symbolism carried the genetic code of romanticism: the roots of symbolism are in a romantic commitment to a higher principle, an ideal world. “Pictures of nature, human deeds, all the phenomena of our life are significant for the art of symbols not in themselves, but only as intangible reflections of the original ideas, indicating their secret affinity with them,” wrote J. Moreas. Hence the new tasks of art, previously assigned to science and philosophy - to approach the essence of the “most real” by creating a symbolic picture of the world, to forge the “keys of secrets”. It is the symbol, and not the exact sciences, that will allow a person to break through to the ideal essence of the world, to pass, according to Vyach. Ivanov's definition, "from the real to the real." A special role in the comprehension of superreality was assigned to poets as carriers of intuitive revelations and poetry as the fruit of superintelligent influxes.

The formation of symbolism in France, the country in which the symbolist movement originated and flourished, is associated with the names of the largest French poets: C. Baudelaire, S. Mallarmé, P. Verlaine, A. Rimbaud. The forerunner of symbolism in France was Charles Baudelaire, who published the book Flowers of Evil in 1857. In search of ways to the "ineffable", many symbolists took up Baudelaire's idea of "correspondences" between colors, smells and sounds. The proximity of various experiences should, according to the symbolists, be expressed in a symbol. Baudelaire's sonnet Correspondence with the famous phrase became the motto of symbolist searches: Sound, smell, form, color echo. Baudelaire's theory was later illustrated by A. Rimbaud's sonnet Vowels:

"A" black, white "E", "I" red, "U" green,

"O" blue - the colors of a bizarre riddle ...

The search for correspondences is at the heart of the symbolist principle of synthesis, the unification of arts. The motifs of the interpenetration of love and death, genius and illness, the tragic gap between appearance and essence, contained in Baudelaire's book, became dominant in the poetry of the Symbolists.

S. Mallarme, “the last romantic and the first decadent”, insisted on the need to “inspire images”, convey not things, but your impressions of them: “To name an object means to destroy three-quarters of the pleasure of a poem, which is created for gradual guessing, to inspire it - that's the dream." Mallarme's poem Luck will never abolish chance consisted of a single phrase typed in a different script without punctuation marks. This text, according to the author's intention, made it possible to reproduce the trajectory of thought and accurately recreate the "state of the soul".

P. Verlaine in the famous poem Poetic Art defined the adherence to musicality as the main sign of genuine poetic creativity: “Musicality is first of all”. In Verlaine's view, poetry, like music, strives for a mediumistic, non-verbal reproduction of reality. So in the 1870s, Verlaine created a cycle of poems called Songs without Words. Like a musician, the symbolist poet rushes towards the elemental flow of the beyond, the energy of sounds. If the poetry of C. Baudelaire inspired the symbolists with a deep longing for harmony in a tragically divided world, then the poetry of Verlaine amazed with its musicality, elusive experiences. Following Verlaine, the idea of music was used by many symbolists to denote creative mystery.

The poetry of the brilliant young man A. Rimbaud, who first used free verse (free verse), embodied the idea of renouncing "eloquence" adopted by the Symbolists, finding a crossing point between poetry and prose. Invading any, the most non-poetic spheres of life, Rimbaud achieved the effect of "natural supernaturalness" in the depiction of reality.

Symbolism in France also manifested itself in painting (G. Moreau, O. Rodin, O. Redon, M. Denis, Puvis de Chavannes, L. Levy-Durmer), music (Debussy, Ravel), theater (Poet Theater, Mixed Theater, Petit theater du Marionette), but the main element of symbolist thinking has always been lyricism. It was the French poets who formulated and embodied the main precepts of the new movement: the mastery of the creative secret through music, the deep correspondence of various sensations, the ultimate price of the creative act, the orientation towards a new intuitive-creative way of knowing reality, the transmission of elusive experiences.

Russian symbolism and its features

Symbolism is a current of modernism, which is characterized by "three main elements of the new art: mystical content, symbols and the expansion of artistic impressionability ...", "a new combination of thoughts, colors and sounds"; the main principle of symbolism is the artistic expression through the symbol of the essence of objects and ideas that are beyond sensory perception.

Symbolism (from French simbolism, from Greek simbolon - sign, symbol) appeared in France in the late 60s and early 70s. 19th century (initially in literature, and then in other arts - visual, musical, theatrical) and soon included other cultural phenomena - philosophy, religion, mythology. The favorite topics addressed by the symbolists were death, love, suffering, the expectation of any events. Scenes of gospel history, half-mythical-half-historical events of the Middle Ages, ancient mythology prevailed among the plots.

Russian symbolist writers are traditionally divided into "senior" and "junior".

The elders - the so-called "decadents" - Dmitry Merezhkovsky, Zinaida Gippius, Valery Bryusov, Konstantin Balmont, Fyodor Sologub - reflected in their work the features of pan-European pan-aestheticism.

The younger symbolists - Alexander Blok, Andrei Bely, Vyacheslav Ivanov - in addition to aestheticism, embodied in their work the aesthetic utopia of the search for the mystical Eternal Femininity.

We are captive animals

Silently locked doors

We dare not open them.

If the heart is true to the legends,

Consoling ourselves by barking, we bark.

What is in the menagerie is fetid and nasty,

We forgot a long time ago, we don't know.

The heart is accustomed to repetitions, -

Monotonous and boring cuckoo.

Everything in the menagerie is impersonal, usually.

We have not longed for freedom for a long time.

We are captive animals

The doors are firmly closed

We dare not open them.

F. Sologub

The concept of theurgy is connected with the process of creating symbolic forms in art. The origin of the word "theurgy" comes from the Greek teourgiya, which means a divine act, sacred ritual, mystery. In the era of antiquity, theurgy was understood as the communication of people with the world of the gods in the process of special ritual actions.

The problem of theurgical creativity, in which the deep connection of symbolism with the sphere of the sacred, was expressed, worried V.S. Soloviev. He argued that the art of the future must create a new connection with religion. This connection should be freer than it exists in the sacred art of Orthodoxy. In restoring the connection between art and religion on a fundamentally new basis, V.S. Solovyov sees a theurgical beginning. Theurgy is understood by him as a process of co-creation of the artist with God. Understanding theurgy in the works of V.S. Solovyov found a lively response in the works of religious thinkers of the early twentieth century: P.A. Florensky, N.A. Berdyaeva, E.M. Trubetskoy, S.N. Bulgakov and others, as well as in poetry and literary-critical works of Russian symbolist poets of the early twentieth century: Andrei Bely, Vyacheslav Ivanov, Maximilian Voloshin and others.

These thinkers and poets felt the deep connection between symbolism and the sacred.

The history of Russian symbolism, covering various aspects of the phenomenon of Russian culture of the late XX - early XX century, including symbolism, was written by the English researcher A. Payman.

The disclosure of this issue is essential for understanding the complexity and diversity of the aesthetic process and artistic creativity in general.

The Russian symbolism of the late 19th and early 20th centuries was immediately preceded by the symbolism of icon painting, which had a great influence on the formation of the aesthetic views of Russian religious philosophers and art theorists. At the same time, Western European symbolism, in the person of the “accursed poets” of France P. Verlaine, A. Rimbaud, S. Mallarme, primarily adopted the ideas of irrationalist philosophers of the second half of the 19th century - representatives of the philosophy of life. These ideas were not associated with any particular religion. On the contrary, they proclaimed the "death of God" and "loyalty to the earth."

Representatives of European irrationalism of the 19th century, in particular

F. Nietzsche, sought to create a new religion from art. This religion should not be a religion that proclaims the one God as the highest sacred value, but a religion of a superman who is connected with the earth and the bodily principle. This religion established fundamentally new symbols, which, according to F. Nietzsche, should express the new true meaning of things. The symbolism of F. Nietzsche had a subjective, individual character. In form and content, it opposed the symbols of the previous stage in the development of culture, since the old symbols were largely associated with traditional religion.

Russian symbolist poets Vyacheslav Ivanov and Andrei Bely, following F. Nietzsche, proceeded from the fact that the destruction of traditional religion is an objective process. But their interpretation of the "art-religion" of the future differed significantly from Nietzsche's. They saw the possibility of a religious renewal on the paths of the revival of the art of antiquity and the Middle Ages, art that speaks the language of a myth-symbol. Possessing a significant potential for the sacred and preserving itself in artistic forms accessible to the understanding mind, the art of past eras, according to symbolist theorists, can be revived in a new historical context, in contrast to the dead religion of antiquity, and the spiritual atmosphere of the Middle Ages that has gone down in history.

This is exactly what happened already once during the Renaissance, when the sacred beginning of past eras, having transformed into an aesthetic one, became the basis on which the great art of the European Renaissance was formed and developed. As unattainable examples of theurgical creativity, the works of art of antiquity embodied the foundation, thanks to which it became possible to preserve for many years the sacredness of the art of the Christian Middle Ages, which was already depleting in the aesthetic sense. This is what led to the unattainable rise of European culture in the Renaissance, synthesizing ancient symbolism and Christian sacredness.

The Russian symbolist poet Vyacheslav Ivanov comes to theurgy through the comprehension of the cosmos through the artistic expressive possibilities of art. According to his statements, in art, along with the symbol, such phenomena as myth and mystery play the most important role. IN AND. Ivanov emphasizes the deep connection that exists between a symbol and a myth, and the process of symbolic creativity is considered by him as myth-making: “Approaching the goal of the most complete symbolic disclosure of reality is myth-making. Realistic symbolism follows the path of the symbol to the myth; the myth is already contained in the symbol, it is immanent to it; contemplation of the symbol reveals the myth in the symbol.

The myth, in the understanding of Vyacheslav Ivanov, is devoid of any personal characteristics. This is an objective form of preserving knowledge about reality, found as a result of mystical experience and taken for granted until, in the act of a new breakthrough of consciousness to the same reality, new knowledge of a higher level is discovered about it. Then the old myth is removed by the new one, which takes its place in the religious consciousness and in the spiritual experience of people. Vyacheslav Ivanov connects myth-making with "the sincere feat of the artist himself."

According to V.I. Ivanov, the first condition for true myth-making is “the spiritual feat of the artist himself”. IN AND. Ivanov says that the artist "should stop creating without connection with the divine all-unity, he must educate himself to the possibility of creative realization of this connection" . As V.I. Ivanov: “And the myth, before it is experienced by everyone, must become an event of inner experience, personal in its arena, supra-personal in its content.” This is the “theurgical goal” of symbolism, which many Russian symbolists of the “Silver Age” dreamed of.

Russian symbolists proceed from the fact that the search for a way out of the crisis leads to a person's awareness of his possibilities, which appear before him on two paths potentially open to humanity from the beginning of its existence. As Vyacheslav Ivanov emphasizes, one of them is erroneous, magical, the second is true, theurgic. The first way is connected with the fact that the artist tries to breathe "magic life" into his creation through magic spells and thereby commits a "crime", since he transgresses the "reserved limit" of his abilities. This path leads, ultimately, to the destruction of art, to its transformation into an abstraction completely divorced from real life. The second way was in theurgical creativity, in which the artist could realize himself precisely as a co-creator of God, as a conductor of the divine idea and revive the reality embodied in artistic creativity with his work. It is the second way that means the creation of the living. This path is the path of theurgical symbolist creativity. Since Vyacheslav Ivanov considers works of ancient art to be the highest example of symbolist creativity, he puts the ideal image of Aphrodite on a par with the “miracle-working icon”. Symbolist art, according to the concept of Vyacheslav Ivanov, is one of the essential forms of the influence of higher realities on lower ones.

The problem of theurgical creativity was also connected with the symbolic aspect of the nature of the sacred in another representative of Russian symbolism - A. Bely. Unlike Vyacheslav Ivanov, who was an adherent of ancient art, Andrey Bely's theurgy is predominantly oriented towards Christian values. Andrei Bely considers the internal engine of theurgic creativity to be precisely the Good, which, as it were, instills in the theurgist. For Andrey Bely, theurgy is the goal towards which all culture in its historical development and art as part of it is directed. He considers symbolism as the highest achievement of art. According to the concept of Andrei Bely, symbolism reveals the content of human history and culture as a desire to embody the transcendent Symbol in real life. This is how theurgical symbolization appears to him, the highest stage of which is the creation of life. The task of the theurgists is to bring real life as close as possible to this “norm”, which is possible only on the basis of a new understanding of Christianity.

Thus, the sacred, as a spiritual principle, seeks to be preserved in new forms that are adequate to the worldview of the twentieth century. The high spiritual content of art is ensured as a result of the recoding of the sacred as religious into aesthetic, which ensures the search for an artistic form in art that is adequate to the spiritual situation of the era.

“The Symbolist poets, with their characteristic sensitivity, felt that Russia was flying into the abyss, that the old Russia was ending and a new Russia, still unknown, should arise,” said the philosopher Nikolai Berdyaev. Eschatological predictions, thoughts excited everyone, “the death of Russia”, “the edge of history”, “the end of culture” - these statements sounded like an alarming alarm. As in the painting by Leon Bakst “The Death of Atlantis”, in the prophecies of many, impulse, anxiety, doubts breathe. The impending catastrophe is seen as a mystical insight, destined above:

Already the curtain is trembling before the start of the drama ...

Already someone in the dark, all-seeing like an owl,

Draws circles and builds pentagrams

And whispers prophetic spells and words.

A symbol for symbolists is not a commonly understood sign. It differs from a realistic image in that it conveys not the objective essence of the phenomenon, but the poet's individual idea of the world, most often vague and indefinite. The symbol transforms the "rough and poor life" into a "sweet legend".

Russian symbolism arose as an integral trend, but refracted into bright, independent, dissimilar individuals. If the coloring of F. Sologub's poetry is gloomy and tragic, then the worldview of the early Balmont, on the contrary, is permeated with the sun, optimistic.

The literary life of St. Petersburg at the beginning of the Silver Age was in full swing and concentrated on the "Tower" by V. Ivanov and in the salon of Gippius-Merezhkovsky: individuals developed, intertwined, repulsed in heated discussions, philosophical disputes, impromptu lessons and lectures. It was in the process of these living mutual intersections that new trends and schools departed from symbolism - acmeism, headed by N. Gumilyov, and ego-futurism, represented primarily by the word creator I. Severyanin.

Acmeists (Greek acme - highest degree something, blossoming power) opposed themselves to symbolism, criticized the vagueness and fragility of the symbolist language and image. They preached a clear, fresh and "simple" poetic language, where words would directly and clearly name objects, and would not refer, as in symbolism, to "mysterious worlds".

Indefinite, beautiful, sublime symbols, understatement and underexpression were replaced by simple objects, caricature compositions, sharp, sharp, material signs of the world. Poets - innovators (N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, V. Narbut, M. Kuzmin) felt themselves the creators of fresh words and not so much prophets as masters in the "working room of poetry" (the expression of I. Annensky). No wonder the community united around the acmeists called itself the guild of poets: an indication of the earthly background of creativity, the possibility of a collective inspired effort in poetic art.

As you can see, the Russian poetry of the "Silver Age" has come a long way in a very short time. She threw her seeds into the future. The thread of legends and traditions did not break. The poetry of the turn of the century, the poetry of the "Silver Age" is the most complex cultural phenomenon, the interest in which is just beginning to wake up. Ahead of us are waiting for new and new discoveries.

The poetry of the "Silver Age" reflected in itself, in its large and small magic mirrors, the complex and ambiguous process of the socio-political, spiritual, moral, aesthetic and cultural development of Russia in a period marked by three revolutions, a world war and an especially terrible for us internal war. , civil. In this process, captured by poetry, there are ups and downs, light and dark, dramatic sides, but in its depths it is a tragic process. And although time pushed aside this amazing layer of poetry of the Silver Age, it radiates its energy to this day. The Russian "Silver Age" is unique. Never - neither before nor after - has there been in Russia such agitation of consciousness, such tension of searches and aspirations, as when, according to an eyewitness, one line of Blok meant more and was more urgent than the entire content of "thick" magazines. The light of these unforgettable dawns will forever remain in the history of Russia.

Chapter 2. Symbolism of Blok and Verlaine

2.1. The specifics of Blok's creativity

The work of Alexander Blok - one of the most prominent representatives

The Silver Age - demonstrates the complexity of the religious and philosophical searches of its time: In my superstitious prayer / I seek protection from Christ, / But because of the hypocritical mask / False lips laugh. His idiostyle was formed under the influence of many extra-linguistic factors, such as education, upbringing in a patriarchal Becket family, the religious and philosophical beliefs of the poet (in particular, the fascination with the works of Vl. Solovyov), as well as the imagery and symbolism of thinking, characteristic of the Silver Age word artists.

The lyrics of A. Blok are saturated with the ideas of mystical religious teachings that were widespread at the beginning of the 20th century. So, the poems about the Beautiful Lady refer to Soloviev's images of the divine Sophia Wisdom, the World Soul, Eternal Femininity, the Virgin of the Rainbow Gates. In Blok's interpretation, the image of the World Soul - the spiritual beginning of the Universe, designed to save the world and endow it with divine harmony - merges with the image of an ideal woman and becomes very personal, reflecting not only the religious and philosophical views of the poet, but also his attitude to love. Therefore, in the verses of A. Blok after 1901, when the poet discovered the philosophy of Vl. Solovyov, the appeal to the divine Beautiful Lady merges with a prayer:

They will be terrible, they will be unspeakable

Unearthly face masks...

I will cry out to You: "Hosanna!"

Crazy, prostrate prostrate.

"You are holy, but I do not believe You..."

Of course, A. Blok's poetry also reflects traditional Orthodox ideas and images. The core of the religious concept sphere of Blok's works are the concepts of God, Soul, Faith, Church and Christ.

Significant for the poet's idiostyle is also the concept of the Beautiful Lady, which can be attributed to secondary religious concepts.

The concept of Christ was singled out as the core of Blok's religious concept sphere, since it is he who expresses the supermoral values of the author.

This concept is characterized by capacity and ambiguity: its significant part is the concept of Russian Christ, but in the author's idiostyle it acquires other characteristics, sometimes opposite to the evaluative and semantic content of the concept Russian Christ. The most important property of this concept is the use by its author in order to characterize the personal qualities and mental state of the lyrical hero:

Yes. You are native Galilee

I am the unresurrected Christ.

"You left, and I'm in the desert..."

The pronominal verbalizers of the concept Christos "He" / "His", quite often used by the poet, deserve special attention:

And He comes from a smoky distance;

And angels with swords are with Him;

Like we read in books

Missing and not believing them.

"Dream"

The use of personal pronouns and their onymization endows the concept

Christ with additional meanings, indicating his special significance for the author. Deliberately "avoiding" direct nomination, the poet creates a kind of mystical image of Christ, an image-mystery. In the poem "Dream" the name of Christ is not mentioned, and the reader can "decipher" it thanks to indirect indications: Resurrection, angels with swords, an ancient crypt, etc.

The analysis of lexical units that verbalize the religious concepts God, Soul, Faith and Church in the works of A. Blok made it possible to identify such features:

1) The concept of God in the poetry of A. Blok is motivated by an abstract concept, and its anthropomorphic characteristics, characteristic of the Russian naive picture of the world, appear irregularly and are of a metaphorical nature.

2) The concept of the Soul in the works of A. Blok does not always have a religious connotation. Its direct nomination is most often used in the meanings of “the inner, mental world of a person”, “man”, “a supernatural, intangible immortal principle in a person that continues to live after his death”, which is due to its close connection with the concept of Man. However, the last interpretation of this lexeme indicates the sacred nature of the soul as link between man and God:

I will ascend with an imperishable soul

On unknown wings.

Blessed are the pure in heart -

See God in the sky. "A new brilliance poured out the sky ..."

3) The concept of the Church, represented in the works of A. Blok by a large number of various verbalizers, acquires several specific connotations: the temple in Blok's works becomes a mysterious, mystical place where the lyrical hero meets surreal beings (ghost, Beautiful Lady). The verbalizer of this concept, the lexeme "monastery", endows the concept with special, individual author's meanings, in which the idea of seclusion, voluntary renunciation of the world is realized: You yourself will come to my cell / And wake me up from sleep.

4) The same symbolic meaning is fulfilled in the idiostyle of A. Blok by the lexeme "monk", verbalizing the concept of the clergyman. Like many block concepts, it is characterized by ambiguity. Some of his verbalizers have a negative assessment and are used to create a picture of Russian peasant life (“pop”, “priest”), others are stylistically neutral and call the subject of a religious rite (“priest”), others acquire a symbolic meaning (“monk”, “priest”). ").

5) The concept of Faith is realized in the poetry of A. Blok through two ideas: faith, as a natural mental state of a person, and religion. At the same time, the value component of the concept is expressed in the first understanding of faith, which the poet considers a necessary condition for the inner harmony of a person. Proceeding from this, A. Blok opposes unbelief to faith as an inharmonious, restless state of mind:

Or in a moment of disbelief

Did he send me relief?

“Slowly at the church doors…”

In Blok's idea of religion, the value component is weakened. The poet does not clearly express his belonging to Orthodoxy. N. A. Berdyaev noted that “Blok always stubbornly resisted all dogmatic teachings and theories, the dogmatics of Orthodoxy and Catholicism, the dogmatics of Merezhkovsky, the dogmatics of R. Steiner and the numerous dogmatics of Vyach. Ivanova. His concept of honesty included resistance to dogma ... But his lyrics are connected with the search for God and the Kingdom of God. Therefore, in the poetry of Alexander Blok there are practically no names of religious denominations, and the lexeme "Orthodox" is used only as part of the stable phrase "Orthodox Russia". The Christian position of the author is expressed through an invaluable opposition of the concepts of faith - other faith, Christianity - paganism.

The concepts of Devil and Sin are axiologically opposed to the above concepts. In A. Blok's poetic picture of the world, they are on the periphery of the religious concept sphere.

How the evaluative concept of Sin is used in Blok's works

to characterize and evaluate the inner world, feelings, actions of a person. So, sinful, or sinful, can be dreams, thoughts, poems, songs, laughter, soul.

In the poetry of A. Blok there is no differentiation of human sins: they are not concretized and are not evaluated as “light” or “serious”. There is also no connection between the Blok concept and the internal form of direct nomination (“burning of conscience”), and, consequently, the desire of a linguistic personality to justify a sinful act or delegate responsibility for its commission to an infernal being, which is typical for the Russian naive picture of the world.

In addition, in the works of the poet, Sin is closely connected with the concept of Love and is understood not so much as a heavy burden of guilt, but as an integral part of pleasure. Therefore, along with the epithets mortal and vile, Blok's poems use such characteristics of Sin as secret and innocent:

Sin while you're worried

Your innocent sins

While the beauty is being conjured

Your sinful verses.

"The Life of My Buddy"

Thus, in the religious picture of the world of A. Blok, the ideas of canonical Orthodoxy, religious sectarianism and philosophical and religious teachings of the late 19th - early 20th centuries were intertwined.

The active functioning of verbalizers of religious concepts in the poet's works (we analyzed about 1000 microcontexts) and the filling of these concepts with individual authorial meanings testify to their importance in A. Blok's idiostyle.

2.2. Symbolist legacy of Verlaine

One of the most musical poets of France is Paul Verlaine. Softened, as in ancient folk lamentations, mournfully witchcraft, wavy flowing melody of his poems sometimes pushes the content content into the shadows. And at the same time, Verlaine is aptly observant. He, as if by chance, sketches a sketch, giving it an airy lightness, involving the things he barely mentioned in a swift whirling-flickering. In Verlaine's poems, one can hear, according to M. Gorky, “the cry, despair, pain of a sensitive and tender soul that yearns for purity, seeks God and does not find it.” A city dweller in all his habits and tastes, even when he gets into nature, Verlaine owned the secret, according to B. Pasternak, to be "supernaturally natural in colloquial terms."

Here are some of his poems.

Chanson d'automne

Les sanglots longs

Des violons

De l'automne

Blessed mon cour

D'une langueur

Monoton.

Tout suffocant

Et blême, quand

sonne l'heure,

Je me souviens

Des jours anciens

Et je pleure;

Et je m'en vais

Au vent mauvais

Qui m'importe

De çà, de là,

Pareil a la

Feuille morte.

Autumn Song. per. A. Revich

Autumn in tears

Violins dreary

crying out loud,

So monotonous

Sighs and groans -

My heart is bleeding.

Throat squeezed,

struck sadly

Tough hour.

Remember when you're sad

Days that have passed -

Tears from eyes.

No return for me

Drives somewhere

Rushing without roads -

Flying with the wind

Plucked in the thicket

Il pleure dans mon cœur

Comme il pleut sur la ville;

Quelle est cette langueur

Qui penetre mon cœur?

Ô bruit doux de la pluie

Par terre et sur les toits!

Pour un cœur qui s'ennuie

Ô le chant de la pluie!

Il pleure sans raison

Dans ce cœur qui s'éco e ure.

Quoi! Nulletrahison?...

Ce deuil est sans raison.

C'est bien la pire peine

De ne savoir pourquoi

Sans amour and sans haine

Mon cœur a tant de peine!

*** Translated by B. Pasternak

And in the heart of raster.

And rain in the morning.

From where, right,

Such a blues?

Oh dear rain,

Your rustle is an excuse

The soul of mediocre

Cry out loud.

Where is the twist

And hearts of widowhood?

Blues for no reason

And from nothing.

blues from nowhere

But that and the melancholy

When it's not bad

And not for good.

Consider in detail the following poem by Verlaine.

“Today,” writes in the “Prologue” to the “Saturnian Verses” a beginner

P. Verlaine, - destroyed the original, but worn out over the past centuries, the union of action (l’Action) and dream (le Rêve)”, that is, poetry: “action, which in ancient times tuned the song mode of the lyre, now, imbued with anxiety, intoxicated covered with the soot of an agitated century” remains alien to the poetic word.

P. Verlaine says that changes have taken place in the effective sphere that have essentially transformed it, and this has catastrophic consequences for poetry. In what light, in the context of the poetic word, should attempts be made to conceive of precisely this sphere as a legislative one for art?

In the poem "Mandolin" Verlaine exquisitely recreates the aesthetic positions of a bygone era. In particular, the pinnacle achievement of the gallant age, created by the French artist Jean-Antoine Watteau (1684–1721), the genre of “gallant festivities” (Les fetes galantes) finds its direct reflection. The image of social pastime in the open air, where lovers are united by the sounds of music and fun, is permeated by Watteau with subtle nuances of mood, aimed at creating a common poetic atmosphere, which gives the “gallant celebration” a touch of an unreal, elusive mirage.

In an effort to recreate the atmosphere of a “gallant festivity,” Verlaine opens the poem with a direct quote from the title of Watteau’s painting “Givers of Serenades” (the hero of the canvas is Mezettin playing music on a mandolin); the poet populates the poem with the masks of the Italian comedy dell`arte, which enjoyed undoubted popularity in the 18th century, admires the smallest details of their elegant outfits (“silk jackets”, “long dresses with trains”).

However, in addition to the above external attributes, Verlaine uniquely embodies a certain “intriguing duality” inherent in the gallant era, the uncertainty of the boundaries between the theatrical-illusory and the real world.

It should be noted the exceptional musicality of the poem, which, in addition to the exquisite instrumentation emphasized by literary critics, is created by characteristic phrases directly related to sound ("les donneures de sérénades" - "givers of serenades", "la mandoline jase" - "mandolin chirps", "les belles écouteuses" - "beautiful listeners", "les ramures chanteuses" - "singing branches").

Les donneures de serenades

Et les belles ecouteuses

Changent des propos fades

Sous les ramures chanteuse.

C'est Tircis et c'est Aminte,

Et c'est l'éternel Clitandre.

Et c'est Damis qui pour mainte

Cruelle fait maint vers tendre.

Leurs courtes vestes de soi,

Leurs longues robes and queues,

Leur elegance, leur joie

Et leurs molles ombres bleues

Tourbillonnent dans l'exstase

D'une lune rose et grise,

Et la mandoline jase

Parmi les frissons de brise.

Serenade givers

And their wonderful listeners

Exchanging tasteless speeches

Under the singing branches

This is Tirsis and this is Amant,

And this is the eternal Klitander.

And this is Damis, who for many

The cruel writes many tender verses.

Their little jackets of silk

Their long dresses with trains,

Their elegance, their fun,

And their soft blue shadows

Spinning in ecstasy

The moons are pink and grey,

And the mandolin chirps

In the wind.

The ephemerality and irreality of the scenery created by the poet is directly manifested on the verge of the third and final fourth stanza of the poem. Here, the "cheerful" and "elegant" characters turn out to be only "soft blue shadows" circling to the accompaniment of the mandolin, which for a moment came to life in the poet's imagination.

Conclusion

The Crisis of Symbolism in the 1910s-1911s gave rise to a new poetic school, proceeding from the fact that the beyond - the ideal of the Symbolists - cannot be comprehended, no matter how original the attempts to do so may be. So, on the literary scene, instead of renewed romanticism, which was the literary ideal of the symbolist, the rehabilitation of French classicism with its refined severity and elegant simplicity is affirmed. This means that symbolism is being replaced by a new direction. Historical meaning the symbolism is great. The Symbolists sensitively captured and expressed the disturbing, tragic forebodings of social catastrophes and upheavals at the beginning of our century. Their poems capture a romantic impulse towards a world order where spiritual freedom and unity of people would reign.

Symbolism features:

The simplest individualism of symbolism, its interest in the problem of personality.
Escape from real life to a fictional world, the opposition of life and death.
The desire to generalize.
A vivid identification of the life position, attitude of the author.
The poetics of conventions and parables, the great role of sounds, rhythm, which are called upon to replace the exact meaning of the word.

The best works of luminaries of Russian and foreign symbolism are now of great aesthetic value. Symbolism brought forward the creators-artists of the all-European, world scale. They were poets and prose writers, and at the same time philosophers, thinkers, high scholars, people of extensive knowledge. They refreshed and updated the poetic language, enriching the forms of verse, its rhythm, vocabulary, colors. They kind of instilled in us a new poetic vision, taught us to perceive and evaluate poetry more voluminously, deeper, more sensitively.

List of used literature

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Andreev L.G. French poetry of the late XIX - early XX century / / Foreign literature XX century: Proc. / Ed. L. G. Andreeva. M., 1996.
Bely A. Criticism. Aesthetics. Theory of symbolism. T. 1. - M .: Art, 1994.
Bely A. Symbolism as a worldview / Comp., entry. Art. and approx. L.A. Sugay / Andrey Bely. - M.: Respublika, 1994. -528s.
Berdyaev N.A. Philosophy of freedom. The meaning of creativity / Nikolai Alexandrovich Berdyaev. - M.: Pravda, 1989. - 608s.
Blok A. Collected works: in 6 volumes - Vol. 1. Poems and poems. 1898–1906 / introductory article by M. Dudin; comp. and note. Vl. Orlov. - M., 1980. - 512 p.
Blok A. Collected works: in 6 volumes - Vol. 2. Poems and poems. 1907–1921 / comp. and note. Vl. Orlov. - M., 1980. - 472 p.
Bozhovich V.I. Traditions and interaction of arts: France, the end of the 19th - the beginning of the 20th century. M., 1987. (Ch. "Poetry of the visible and invisible." S. 100-136.)
Bulgakov S.N. Non-Evening Light: Contemplation and Speculation / Sergey Nikolaevich Bulgakov. - M.: Respublika, 1994. - 415p.
Bychkov V.V. Aesthetic prophecies of Russian symbolism Polygnosis No. 1. - M., 1999. - S. 83-104
Valerie P. Villon and Verlaine. Passing Verlaine // Valerie P. Birth of Venus. SPB., 2000.
Velikovsky S. I. In the crossing of rays. Group portrait with Paul Eluard. M., 1987.
Verlaine P. Three collections of poems / Paul Verlaine. – M.: Raduga, 2005. – 512 p.
Voloshin M. Paul Verlaine // Voloshin M. Faces of creativity. L., 1988.
Golubeva L.N. Theurgic anxiety of a modern artist as an aesthetic problem // Bulletin of the Moscow University. Series 7. Philosophy. - 2001. - No. 5. - P. 94–103
Grachev R. Paul Verlaine // Writers of France. M., 1964.
Ivanov V.I. Two elements in modern symbolism / V.I. Ivanov Native and universal / Comp. intro. Art. and approx. V.M. Tolmacheva. - M.: Respublika, 1994. - 428 p.
Ivanov V.I. Native and universal / Comp., entry. Art. and approx. V.M. Tolmachev / Vyacheslav Ivanovich Ivanov. - M.: Respublika, 1994. - 428 p.
Kandinsky V. About the spiritual in art. - M .: Publishing house "Archimedes", 1992. - 108 p.
Carré J.M. The Life and Adventures of Jean-Arthur Rimbaud. SPb., 1994.
Kosikov G.K. Two ways of French post-romanticism // Poetry of French symbolism. M., 1994.
Kosikov G.K. Symbolism in French and Belgian poetry // Foreign literature of the late XIX - early XX century: Proc. allowance; Ed. V.M. Tolmacheva. - M., 2003.
Miller G. Time of killers // IL. 1992. No. 10. Dep. ed.: Miller G. The time of the killers. M., 2002.
Murashkintseva E.D. Verlaine and Rimbaud. M., 2001.
Orlov V. N. Gamayun: The Life of Alexander Blok / V. N. Orlov. - K .: Mystetstvo, 1989. - 626 p.
Paiman A. History of Russian symbolism /Authorized trans. Per. from English. V.V. Isaakovich / Avril Payman. - M. Respublika, 2000. - 415s.
Pasternak B. L. Paul-Marie Verlaine. // Pasternak B. L. Collected works: In 5 vol. M., 1991. T. 4; or: Pasternak B. L. Airways. M., 1982.
Prigogine I. Philosophy of instability // Questions of Philosophy. - 1991. - No. 6. – pp. 46–52
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Solovyov V.S. Poems and comic plays / Introductory article, compilation and notes by Z.G. Mints / Vladimir Sergeevich Solovyov. - Leningrad; Owls. writer: Leningrad. otd., 1974. - 350 p.
Solovyov V.S. Three speeches in memory of Dostoevsky / V.S. Solovyov Philosophy of Art and Literary Criticism. - M.: Art, 1991. - S. 227-259.
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Symbolism was the most significant phenomenon in the poetry of the Silver Age. Originating in the 1890s as a protest against positivism and "wingless realism", symbolism was an aesthetic attempt to get away from the contradictions of reality into the realm of eternal ideas, to create an overreal world. The theoretical foundations of symbolism were given by D.S. Merezhkovsky in his 1892 lecture "On the Causes of the Decline and New Trends in Modern Russian Literature". The Symbolists asserted three main elements: the mystical content; symbols that naturally arise from the depths of the artist's soul; refined ways of expressing feelings and thoughts. The aim of symbolism was the rise to the "ideal human culture", which can be realized through the synthesis of the arts. The key concept of symbolism was the symbol. A symbol is a multi-valued allegory that contains the perspective of the development of meanings. In a compressed form, the symbol reflects the true, hidden essence of life. Vyach. Ivanov wrote: “A symbol is only a true symbol when it is inexhaustible and limitless in its meaning. He is many-sided, thoughtful and always dark in the last depth. But the symbol is also a full-fledged image, it can be perceived without the meanings contained in it.

In Russian symbolism, there were two branches - "senior symbolists" (late 1890s) and young symbolists (early 1900s). The "senior" associated art with the search for God, with religious ideas (D. Merezhkovsky, Z. Gippius, K. Balmont, V. Bryusov, F. Sologub). In their poetry, they developed the motifs of loneliness, the fatal duality of man, the unknowability of reality, the escape into the world of forebodings.

The "younger" symbolists (A. Blok, A. Bely, Vyach. Ivanov) are looking for its secret meaning in the real. Their symbols, outwardly not naming connections with reality, were supposed to reflect reality, cognizable not by reason, but intuitively. The philosophical basis of the "junior symbolists" were the ideas of Vladimir Solovyov, who believed that the World Soul rules the world. She is embodied in the image of the Eternal Femininity, to which the poet must aspire, try to express her. The Symbolists proceeded in their work from the idea of two worlds: the real world only bears the imprints of eternal entities, the true world. material from the site

The poetry of the Symbolists is distinguished by a special tonality, bright emotionality, and musicality. It creates its own system of images - the Beautiful Lady, the Eternal Femininity, the Soul of the World. It also develops its own vocabulary, where the words “mystery”, “spirit”, “music”, “eternity”, “dream”, “foggy ghost”, etc. are often used. Each symbolist had his own circle of key symbolic images.

Symbolism (from the French word "symbolisme") is one of the largest trends in art (literature, painting, music), it arose in France in the 70-80s of the XIX century, and reached its peak in France, Belgium and Russia at the beginning of the twentieth century. Under the influence of this trend, many types of art have radically changed their form and content, changing the very attitude towards them. The followers of the symbolist movement, first of all, extolled the primacy of the use of symbols in art, their work was characterized by a mystical fog, a plume of mystery and mystery, the works are full of hints and understatement. The purpose of art in the concept of adherents of symbolism is the comprehension of the surrounding world at an intuitive, spiritual level of perception through symbols, which is the only correct reflection of its true essence.

For the first time, the term "symbolism" appeared in world literature and art in the manifesto of the same name by the French poet Jean Moréas "Le Symbolisme" (Figaro newspaper, 1886), which proclaimed its basic principles and ideas. The principles of the ideas of symbolism are vividly and fully reflected in the work of such famous French poets as Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, Stéphane Mallarmé and Lautreamont.

The poetic art of the beginning of the 20th century, which was in a state of decline and had lost its energy, former strength and bright creativity due to the defeat of the ideas of revolutionary populism, urgently needed to be revived. Symbolism as a literary trend was formed as a protest against the impoverishment of the poetic power of the word, created in order to return strength and energy to poetry, to pour new, fresh words and sound into it.

The beginning of Russian symbolism, which is also considered the beginning of the Silver Age of Russian poetry, is associated with the appearance of an article by the poet, writer and literary critic Dmitry Merezhkovsky “On the Causes of Decline and New Trends in Modern Russian Literature” (1892). And although symbolism originated in Europe, it was in Russia that it reached its peak and the Russian symbolist poets brought their original sound and something completely new, which was absent from its founders, to it.

Russian symbolists did not differ in unity of views, they did not have a common concept of artistic understanding of the reality around them, they were scattered and disunited. The only thing that united them was their unwillingness to use simple, ordinary words in their works, their worship of symbols, the use of metaphors and allegories.

Literary researchers distinguish two stages in the formation of Russian symbolism, which differ in time and in the worldview concepts of symbolist poets.

The senior symbolists who began their literary activity in the 90s of the XIX century include the works of Konstantin Balmont, Valery Bryusov, Dmitry Merezhkovsky, Fyodor Sologub, Zinaida Gippius, for them the poet was the creator of exclusively artistic and spiritual personal values.

The founder of the St. Petersburg symbolist movement is Dmitry Merezhkovsky, his works written in the spirit of symbolism: the collection "New Poems" (1896), "Collected Poems" (1909). His work differs from other symbolist poets in that he expresses in it not his personal experiences and feelings, as Andrei Bely or Alexander Blok did, but the general mood, feelings of hope, sadness or joy of the whole society.

The most radical and striking representative of the early Symbolists is the St. Petersburg poet Alexander Dobrolyubov, who was distinguished not only by his poetic work (a collection of innovative poetry "Natura naturans. Natura naturata" - "generating nature. Nature generated"), but by a decadent way of life, the creation of a folk religious sects of "volunteers".

The creator of his own separate poetic world, standing apart from the entire modernist trend in literature, is the poet Fyodor Sologub. His work is distinguished by such a bright eccentricity and ambiguity that there are still no single correct interpretations and explanations of the symbols and images he created. Sologub's works are imbued with the spirit of mysticism, mystery and loneliness, they both shock and attract close attention, not letting go until the last line: the poem "Loneliness", the prose epic "Night Dew", the novel "Small Demon", the poems "Devil's Swing", " One-eyed dashing."

The most impressive and vivid, full of musical sound and amazing melody were the poems of the poet Konstantin Balmont, a symbolist of the early school. In search of a correspondence between the semantic sounding, color and sound transmission of the image, he created unique semantic-sound texts-music. In them, he used such a phonetic means of enhancing artistic expressiveness as sound writing, used bright adjectives instead of verbs, creating his original poetic masterpieces, which, according to his ill-wishers, were practically meaningless: poetry collections “This is Me”, “Masterpieces”, “Romances without words”, the books “Third Guard”, “To the City and the World”, “Wreath”, “All Melodies”.

The younger symbolists, whose activity dates back to the beginning of the 20th century, are Vyacheslav Ivanov, Alexander Blok, Andrei Bely, Sergei Solovyov, Innokenty Annensky, Jurgis Baltrushaitis. This second wave of this literary movement was also called Young Symbolism. A new stage in the development of the history of symbolism coincides with the rise of the revolutionary movement in Russia, decadent pessimism and disbelief in the future are replaced by a premonition of imminent inevitable changes.

The young followers of the poet Vladimir Solovyov, who saw the world on the verge of death and said that it would be saved by divine beauty, in which the heavenly life principle would unite with the earthly one, thought about the purpose of poetry in the world around us, the place of the poet in developing historical events, the connection between the intelligentsia and the people . In the works of Alexander Blok (the poem "The Twelve") and Andrei Bely, one feels a premonition of impending, turbulent changes, an imminent catastrophe that will shake the foundations of the existing society and lead to a crisis of humanistic ideas.

It is with symbolism that the creativity, main themes and images of poetic lyrics (World Soul, Beautiful Lady, Eternal Femininity) of the outstanding Russian poet of the Silver Age Alexander Blok are connected. The influence of this literary trend and the poet's personal experiences (feelings for his wife Lyuba Mendeleeva) make his work mystical and mysterious, isolated and detached from the world. His poems, imbued with the spirit of mystery and riddles, are distinguished by ambiguity, which is achieved through the use of blurry and obscure images, fuzziness and uncertainty, the use of bright colors and colors is rejected, only shades and half-hints.

The end of the first decade of the 20th century was marked by the decline of the Symbolist movement, new names no longer appear, although individual works are still being created by the Symbolists. Symbolism as a literary trend had a huge impact on the formation and development of the poetic art of the early twentieth century; with its masterpieces of poetic literature, it not only significantly enriched world art, but also contributed to the expansion of the consciousness of all mankind.

its unreliability. The limitedness, superficiality of ideas about the world was confirmed by a number of natural scientific discoveries, mainly in the field of physics and mathematics. The discovery of x-rays, radiation, the invention of wireless communication, and a little later the creation of quantum theory and theories of relativity shook the materialistic doctrine, shook faith in the absoluteness of the laws of mechanics. The previously identified “unambiguous regularities” were subjected to a significant revision: the world turned out to be not only unknowable, but also unknowable. The awareness of the fallacy and incompleteness of the previous knowledge led to the search for new ways of comprehending reality.

One of these paths - the path of creative revelation - was proposed by the symbolists, according to whom the symbol is unity and, therefore, provides a holistic view of reality. The scientific worldview was based on the sum of errors - creative knowledge can adhere to a pure source of superintelligent insights.

The appearance of symbolism was also a reaction to the crisis of religion. "God is dead," F. Nietzsche proclaimed, thus expressing the common sense of the borderline era of the exhaustion of the traditional dogma. Symbolism is revealed as a new type of God-seeking: religious and philosophical questions, the question of the superman - about a man who challenged his limited opportunities. Based on these experiences, the Symbolist movement attached primary importance to the restoration of ties with the other world, which was expressed in the frequent appeal of the symbolists to the "secrets of the coffin", in the increasing role of the imaginary, the fantastic, in the fascination with mysticism, pagan cults, theosophy, occultism, magic. Symbolist aesthetics was embodied in the most unexpected forms, delving into an imaginary, transcendent world, into areas that had not been explored before - sleep and death, esoteric revelations, the world of eros and magic, altered states of consciousness and vice.

Symbolism was also closely connected with the eschatological forebodings that seized the man of the borderline era. The expectation of the "end of the world", "the decline of Europe", the death of civilization exacerbated metaphysical moods, made spirit triumph over matter.

Among the important ideas of this time are the following:

Darwinism (a trend named after Charles Darwin, a scientist). According to this idea, a person is determined by his environment and heredity, and he is no longer a "copy of God";

The pessimism of culture (according to Friedrich Nietzsche, philosopher and writer) is based on the notions that there are no more religious ties, there is no overwhelming meaning, there is a reassessment of all values around. Most people are interested in nihilism;

Psychoanalysis (according to Sigmund Freud, psychologist), aimed at discovering the subconscious, interpreting dreams, studying and understanding one's own Self.

The turn of the century was the time of the search for absolute values.

Symbolism as an artistic movement

The development of the history of world culture (the turn of the 19th-20th centuries, the 20th century and the turn of the 20th-21st centuries) can be viewed as an endless chain of novels and partings of “high literature” with the theme of capitalist society. Thus, the turn of the 19th-20th centuries was characterized by the emergence of two key trends for all subsequent literature - naturalism and symbolism.

French naturalism, represented by the names of such prominent novelists as Emile Zola, Gustave Flaubert, the Brothers Jules and Edmond Goncourt, perceived the human personality as absolutely dependent on heredity, the environment in which it was formed, and the "moment" - that particular socio-political situation in which it exists and operates at the moment. Thus, naturalist writers were the most meticulous writers of everyday life in capitalist society at the end of the 19th century. On this issue, they were opposed by the French symbolist poets - Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, Stefan Mallarmé and many others, who categorically refused to recognize the influence of the modern socio-political situation on the human personality and opposed the world of "pure art" and poetic fiction.

SYMBOLISM (from French symbolisme, from Greek symbolon - a sign, an identifying sign) is an aesthetic trend that was formed in France in 1880-1890 and became widespread in literature, painting, music, architecture and theater of many European countries at the turn of the 19th-20th centuries. Symbolism was of great importance in Russian art of the same period, which acquired the definition of "Silver Age" in art history.

The symbolists believed that it was the symbol, and not the exact sciences, that would allow a person to break through to the ideal essence of the world, to go "from the real to the real." A special role in the comprehension of superreality was assigned to poets as carriers of intuitive revelations and poetry as the fruit of superintelligent intuitions. The emancipation of the language, the destruction of the usual relationship between the sign and the denotation, the multi-layered nature of the symbol, which carries in itself diverse and often opposite meanings, led to the dispersal of meanings and turned the symbolist work into a “multiplicity madness”, in which things, phenomena, impressions and visions were mixed and underwent a constant metamorphosis. The only thing that gave integrity at every moment to the splitting text was the unique, inimitable vision of the poet.

The removal of the writer from the cultural tradition, the deprivation of the language of its communicative function, the all-consuming subjectivity inevitably led to the hermeticism of symbolist literature and required a special reader. The Symbolists modeled for themselves his image, and this became one of their most original achievements. It was created by J.-C. Huysmans in the novel “On the contrary”: the virtual reader is in the same situation as the poet, he hides from the world and nature and lives in aesthetic solitude, both spatial (in a distant estate) and temporal ( renouncing the artistic experience of the past); through a magical creation, he enters into a spiritual cooperation with its author, into an intellectual union, so that the process of symbolist creativity is not limited to the work of a magical writer, but continues in the deciphering of his text by an ideal reader. There are very few such connoisseurs, congenial to the poet, there are no more than ten of them in the entire universe. But such a limited number does not confuse the Symbolists, for this is the number of the most chosen, and there is not one among them who would have his own kind.

The concept of a symbol and its significance for symbolism

Speaking of symbolism, one cannot fail to mention its central concept symbol, because it was from him that the name of this trend in art came from. It must be said that symbolism is a complex phenomenon. Its complexity and inconsistency are due, first of all, to the fact that different poets and writers put different content into the concept of a symbol.

The very name of the symbol comes from the Greek word symbolon, which translates as a sign, an identification sign. In art, a symbol is interpreted as a universal aesthetic category, which is revealed through comparison with adjacent categories of an artistic image, on the one hand, and a sign and allegory, on the other. In a broad sense, it can be said that a symbol is an image taken in the aspect of its symbolism, and that it is a sign, and that it is a sign endowed with all the organicity and inexhaustible ambiguity of the image.

Every symbol is an image; but the category of the symbol points to the image going beyond its own limits, to the presence of a certain meaning, inseparably merged with the image. The objective image and the deep meaning appear in the structure of the symbol as two poles, unthinkable, however, one without the other, but divorced from each other, so that in the tension between them the symbol is revealed. I must say that even the founders of symbolism interpreted the symbol in different ways.

In the Symbolist Manifesto, J. Moreas defined the nature of the symbol, which supplanted the traditional artistic image and became the main material of Symbolist poetry. “Symbolist poetry is looking for a way to clothe the idea in a sensual form that would not be self-sufficient, but at the same time, serving the expression of the Idea, would retain its individuality,” Moréas wrote. A similar "sensual form" in which the Idea is clothed is a symbol.

The fundamental difference between a symbol and an artistic image is its ambiguity. The symbol cannot be deciphered by the efforts of the mind: at the last depth it is dark and not accessible to the final interpretation. The symbol is a window to infinity. The movement and play of semantic shades create indecipherability, the mystery of the symbol. If the image expresses a single phenomenon, then the symbol is fraught with a whole range of meanings - sometimes opposite, multidirectional. The duality of the symbol goes back to the romantic notion of two worlds, the interpenetration of two planes of being.

The multi-layered nature of the symbol, its open polysemy was based on mythological, religious, philosophical and aesthetic ideas about super-reality, incomprehensible in its essence.

The theory and practice of symbolism were closely associated with the idealistic philosophy of I. Kant, A. Schopenhauer, F. Schelling, as well as F. Nietzsche's reflections on the superman, being "beyond good and evil." At its core, symbolism merged with the Platonic and Christian concepts of the world, having adopted romantic traditions and new trends.

Not realizing the continuation of any particular trend in art, symbolism carried the genetic code of romanticism: the roots of symbolism are in a romantic commitment to a higher principle, an ideal world. “Pictures of nature, human deeds, all the phenomena of our life are significant for the art of symbols not in themselves, but only as intangible reflections of the original ideas, indicating their secret affinity with them,” wrote J. Moreas. Hence the new tasks of art, previously assigned to science and philosophy - to approach the essence of the "most real" by creating a symbolic picture of the world, to forge the "keys of secrets".

Formation symbolism

1 Western European symbolism

As an artistic trend, symbolism publicly announced itself in France, when a group of young poets, who in 1886 rallied around S. Mallarme, realized the unity of artistic aspirations. The group included: J. Moreas, R. Gil, Henri de Regno, S. Merrill and others. In the 1990s, P. Valery, A. Gide, P. Claudel joined the poets of the Mallarmé group. P. Verlaine, who published his symbolist poems and a series of essays “Damned Poets”, as well as J.K. Huysmans, who came out with the novel "On the contrary". In 1886, J. Moreas placed the Manifesto of Symbolism in Figaro, in which he formulated the basic principles of the direction, based on the judgments of C. Baudelaire, S. Mallarmé, P. Verlaine, C. Henri. Two years after the publication of the manifesto by J. Moreas, A. Bergson published his first book “On the Immediate Data of Consciousness”, in which the philosophy of intuitionism was declared, which in its basic principles echoes the symbolist worldview and gives it additional justification.

2 Symbolism in France

The formation of symbolism in France - the country in which the symbolist movement originated and flourished - is associated with the names of the largest French poets: C. Baudelaire, S. Mallarmé, P. Verlaine, A. Rimbaud. The forerunner of symbolism in France was Charles Baudelaire, who published the book Flowers of Evil in 1857. In search of ways to the "ineffable", many symbolists took up Baudelaire's idea of "correspondences" between colors, smells and sounds. The proximity of various experiences should, according to the symbolists, be expressed in a symbol. Baudelaire's sonnet "Correspondences" became the motto of symbolist quests with the famous phrase: "Sound, smell, form, color echo." The search for correspondences is at the heart of the symbolist principle of synthesis, the unification of arts.

P. Verlaine in the famous poem "Poetic Art" defined the adherence to musicality as the main sign of genuine poetic creativity: "Musicality is first of all." In Verlaine's view, poetry, like music, strives for a mediumistic, non-verbal reproduction of reality. Like a musician, the symbolist poet rushes towards the elemental flow of the beyond, the energy of sounds. If the poetry of C. Baudelaire inspired the symbolists with a deep longing for harmony in a tragically divided world, then the poetry of Verlaine amazed with its musicality, subtle feelings. Following Verlaine, the idea of music was used by many symbolists to denote creative mystery.

In the poetry of the brilliant young man A. Rimbaud, who first used vers libre (free verse), the symbolists adopted the idea of abandoning “eloquence”, finding a crossing point between poetry and prose. Invading any, the most non-poetic spheres of life, Rimbaud achieved the effect of "natural supernaturalness" in the depiction of reality.

3 Symbolism in Western Europe

Belgian symbolism is represented by the figure of the greatest playwright, poet, essayist M. Maeterlinck, known for his plays The Blue Bird, The Blind, The Miracle of St. Anthony, There, Inside. According to N. Berdyaev, Maeterlinck depicted "the eternal tragic beginning of life, cleansed of all impurities." Maeterlinck's plays were perceived by most contemporaries as puzzles that needed to be solved. M. Maeterlinck defined the principles of his work in the articles collected in the treatise Treasure of the Humble (1896). The treatise is based on the idea that life is a mystery in which a person plays a role that is inaccessible to his mind, but understandable to his inner feeling. Maeterlinck considered the main task of the playwright to be the transfer of not an action, but a state. In The Treasure of the Humble, Maeterlinck put forward the principle of “secondary” dialogues: behind an apparently random dialogue, the meaning of words that initially seem insignificant is revealed. The movement of such hidden meanings made it possible to play with numerous paradoxes (the miraculousness of everyday life, the sight of the blind and the blindness of the sighted, the madness of the normal, etc.), to plunge into the world of subtle moods.

One of the most influential figures of European symbolism was the Norwegian writer and playwright G. Ibsen. His plays Peer Gynt, Hedda Gabler, A Doll's House, The Wild Duck combined the concrete and the abstract. “Symbolism is a form of art that simultaneously satisfies our desire to see embodied reality and rise above it,” Ibsen defined. - Reality has a flip side, facts have a hidden meaning: they are the material embodiment of ideas, an idea is presented through a fact. Reality is a sensual image, a symbol of the invisible world. Ibsen distinguished between his art and the French version of symbolism: his dramas were built on "the idealization of matter, the transformation of the real", and not on the search for the beyond, the otherworldly. Ibsen gave a specific image, a fact a symbolic sound, raised it to the level of a mystical sign.

In English literature, symbolism is represented by the figure of O. Wilde. The desire to shock the bourgeois public, the love of paradox and aphorism, the life-creating concept of art (“art does not reflect life, but creates it”), hedonism, the frequent use of fantastic, fairy-tale plots, and later “neo-Christianity” (perception of Christ as an artist) allow attribute O. Wilde to the writers of the symbolist orientation.

Symbolism gave a powerful branch in Ireland: one of the greatest poets of the 20th century, the Irishman W.B. Yeats considered himself a symbolist. His poetry, full of rare complexity and richness, was fed by Irish legends and myths, theosophy and mysticism. A symbol, Yeats explains, is "the only possible expression of some invisible entity, the frosted glass of a spiritual lamp."

The works of R.M. Rilke, S. George, E. Verharn, G.D. are also associated with symbolism. Annunzio, A. Strinberg and others.

Symbolism in Russia

After the defeat of the Revolution of 1905-07. in Russia, decadent moods were especially widespread.

Decadence (French decadence, from late Latin decadentia - decline), the general name for the crisis phenomena of bourgeois culture of the late 19th and early 20th centuries, marked by moods of hopelessness, rejection of life, and individualism. A number of features of the decadent mentality also distinguish some areas of art, which are united by the term modernism.

A complex and contradictory phenomenon, decadence has its source in the crisis of bourgeois consciousness, the confusion of many artists before the sharp antagonisms of social reality, before the revolution, in which they saw only the destructive force of history. From the point of view of the decadents, any concept of social progress, any form of social class struggle pursues grossly utilitarian goals and must be rejected. "The greatest historical movements of mankind seem to them to be profoundly 'petty-bourgeois' in nature." The refusal of art from political and civic themes and motives was considered by the decadents to be a manifestation of the freedom of creativity. The decadent understanding of individual freedom is inseparable from the aestheticization of individualism, and the cult of beauty as the highest value is often imbued with immorality; constant for the decadents are the motives of non-existence and death.

As a characteristic trend of the time, decadence cannot be attributed entirely to any particular one or several trends in art. The rejection of reality, the motives of despair and all-negation, the longing for spiritual ideals, which took on artistically expressive forms among major artists captured by decadent moods, aroused sympathy and support from realist writers who retained faith in the values of bourgeois humanism (T. Mann, R. Martin du Gahr, W. Faulkner).

In Russia, decadence was reflected in the work of symbolist poets (first of all, the so-called "senior" symbolists of the 1890s: N. Minsky, the decadents Merezhkovsky, Z. Gippius, then V. Bryusov, K. Balmont), in a number of works L. N. Andreev, in the works of F. Sologub and especially in the naturalistic prose of M. P. Artsybashev, A. P. Kamensky and others.

The heyday of Russian symbolism came in the 900s, after which the movement waned: significant works no longer appear within the framework of the school, new trends appear - acmeism and futurism, the symbolist worldview ceases to correspond to the dramatic realities of the "real, non-calendar twentieth century". Anna Akhmatova described the situation at the beginning of the 1910s in the following way: “In 1910, a crisis of symbolism was clearly indicated, and beginning poets no longer joined this trend. Some went to futurism, others - to acmeism.<…>Undoubtedly, symbolism was a phenomenon of the nineteenth century. Our rebellion against symbolism is completely justified, because we felt like people of the twentieth century and did not want to live in the previous one.

Only those authors who dealt with the problems of a single class pleasing to the new government, the proletariat, got into Soviet textbooks of literature. All the other classes were admitted to "high art" only from the point of view of exposing their viciousness (aristocracy), passivity (intelligentsia) and outright hostility (bourgeoisie) in building a new society - classless and, by and large, non-economic communism. Naturally, with this approach, many authors frankly misrepresented, while others are champions of " pure art”, who were not at all concerned with economic and class problems - were simply thrown out of the Soviet history of literature or declared to be “decadent followers of idealistic philosophy”.

Despite this, such features of symbolism appeared on Russian soil, such as: the diversity of artistic thinking, the perception of art as a way of knowing, the sharpening of religious and philosophical problems, neo-romantic and neoclassical tendencies, the intensity of the worldview, neo-mythologism, the dream of a synthesis of arts, rethinking the heritage of Russian and Western European culture, installation on the marginal price of the creative act and life-creation, deepening into the sphere of the unconscious, etc.

Numerous are the echoes of the literature of Russian symbolism with painting and music. The poetic dreams of the Symbolists find their correspondence in the “gallant” painting of K. Somov, the retrospective dreams of A. Benois, the “created legends” of M. Vrubel, in the “motives without words” of V. Borisov-Musatov, in the exquisite beauty and classical detachment of the canvases of Z. Serebryakova , "poems" by A. Scriabin.

The main place in the movement of artistic symbolism rightfully belongs to M.A. Vrubel, who absorbed all the contradictions, all the depth of brilliant insights and tragic prophecies of the time. In his spiritual visions, he often outstripped the discoveries of literary and philosophical thought, with his formal innovations he laid the foundations for the plastic features of modernity. In his graphic heritage, as well as in all his work, the task of synthesis dominates, equally manifested as a desire to create a stylistic unity of all fine arts, the construction of a new artistic space, and in the ideological "pan-aestheticism".

Symbolism in the dense space of art of the late 19th - early 20th centuries took shape in parallel with the development of other important artistic processes in Russian culture. Its national feature was a complex structure of relationships, when the common soil of densely mixed ideas of European and Russian philosophical and aesthetic thought equally nourished both symbolism (late compared to Western European) and the direction of the Russian avant-garde. It is not for nothing that the categories of synthesis, intuitionism, insight, cardinal in the creative method of symbolism, have become one of the fundamental ones in the art of the avant-garde.

In this situation, artistic symbolism, which adopted the aesthetic program of Russian literary symbolism and was distinguished by great heterogeneity (we note that all the major masters of the avant-garde experienced its impact on early stages his work), did not put forward the problem of form.

At the turn of the century, Russian art overcame national boundaries and became a world-class phenomenon. It used all the richness of world and its own cultural traditions for the formation of domestic modernity. The artistic language of Art Nouveau in Russia manifested itself both in a pan-European version (“floreal”) and in a bouquet of “neo-styles”. The impulsive and variable nature of the development of Russian culture was clearly manifested in a mixture of styles, schools and trends of the Silver Age. None of the mentioned directions of painting disappeared with the appearance on the scene of a powerful avant-garde movement. Only the leader has changed.

Art Nouveau acted as a powerful unifying movement of culture based on the synthesis of the arts, primarily music, painting, theater. He had every chance of becoming a real "Big style" of the era. Synthetism of the Silver Age served as an accelerator for the development of a type of new culture.

Conclusion

Symbolism as an artistic movement arose in Europe in the 60s and 70s. and quickly covered all areas of creativity from music to philosophy and architecture, becoming the universal language of culture of the late XIX - early XX centuries. A new artistic wave spread throughout Europe, captured both Americas and Russia. With the emergence of the current of symbolism, Russian literature immediately found itself in the mainstream of the pan-European cultural process. Poetic symbolism in Russia, Jugendstil in Germany, the Art Nouveau movement in France, European and Russian Art Nouveau - all these are phenomena of the same order. The movement towards a new language of culture was pan-European, and Russia was among its leaders.

Symbolism laid the foundation for modernist trends in the culture of the 20th century, became a renewing ferment that gave a new quality to literature, new forms of artistry. In the work of the largest writers of the 20th century, both Russian and foreign (A. Akhmatova, M. Tsvetaeva, A. Platonov, B. Pasternak, V. Nabokov, F. Kafka, D. Joyce, E. Pound, M. Proust , W. Faulkner, etc.), - the strongest influence of the modernist tradition inherited from symbolism.

Symbolism turned out to be a new worldview. It turned out that the era of a certain breakdown of past values could not be satisfied with a formal, logical, rational approach. She needed a new method. And accordingly, this method gave rise to a new unit - a symbol. Thus, symbolism not only brought the symbol into the toolkit of modernity, it also drew attention to the possible path after the symbol, to the intuitive path, and not just the rational one. However, each won piece of intuitive knowledge as a result, as a rule, is rationalized, because they tell about it, call for it. The new that symbolism brings can be seen in the connection to contemporary issues the whole variety of past cultures.

This is, as it were, an attempt to illuminate the deepest contradictions of modern culture with the colored rays of diverse cultures; “Now we seem to be living through the whole past: India, Persia, Egypt, like Greece, like the Middle Ages, come to life, epochs that are closer to us are rushing past us. They say that during the important hours of life, a person's whole life flies before the spiritual gaze of a person; now the whole life of mankind flies before us; we conclude from this that an important hour of his life has struck for all mankind. We really feel something new; but we feel it in the old; in the overwhelming abundance of the old - the novelty of the so-called symbolism "

This is a paradoxical statement - the most "modern" direction for that period sees its novelty in clear references to the past. But it reflects the actual inclusion in the "data bank" of the symbolism of all epochs and all peoples. Another explanation for this phenomenon may be that symbolism, in a certain sense, reaches the meta level, giving rise not only to texts, but also to their theory, and such “self-descriptions” to a large extent crystallize around themselves not only their own reality, but also any other.

Thus, the change in worldview foundations at the turn of the XIX - XX centuries. combined with creative searches in the field of artistic language. The most full-blooded result of the changes was expressed in the formation of the aesthetic system of symbolism, which became the impetus for the renewal of all spheres of culture. The pinnacle of the poetry of symbolism falls on the generation of A.A. Blok and A. Bely, when it was developed artistic language new art based on retrospectivism, synthesis of various areas of creativity, installation on co-authorship of the creator and consumer of the cultural product.

Symbolism played the role of a formative, carrying aesthetic construction for the entire Russian culture of the early twentieth century. All other aesthetic schools, in fact, either continued and developed the principles of symbolism, or competed with it.

Bibliography

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3. History of Russian literature: XX century: Silver Age / Ed. J. Niva et al. M., 1995.

4. Mikhailovsky B.V. Russian literature of the twentieth century: From the 90s. 19th century until 1917 - L. 1989.

5. Nolman M.L. Charles Baudelaire. Fate. Aesthetics. Style. M., 1979.

6. Oblomievsky M.A. French symbolism. M., 1973.

7. Payman A. History of Russian symbolism. M., 1998.

8. Rapatskaya L.A. Art of the Silver Age. M., 1996.

9. Rapatskaya L.A. Russian artistic culture. M., 1998.

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11. Encyclopedia of Symbolism / Ed. J. Kassu. M., 1998.

Silver Age. Symbolism

Introduction

Chapter 1. Russian and foreign symbolism

Chapter 2. Symbolism of Blok and Verlaine

2.1. The specifics of Blok's creativity

2.2. Symbolist legacy of Verlaine

Conclusion

List of used literature

ecosystems

Zoology

Biology

Long 19th century

recent history

Middle Ages

new time

Interwar period