Origins of symbolism

In the Russian literature of the 80s and early 90s of the 19th century, the tone asked for a prose, and there was no poets of Equal Pushkin, Lermontov or Nekrasov. Words of the most popular poet of that time S. Nadson: "If only it was even poured, the multi-eyed heart is full" caused the sympathy of many who forgot about the fact that "somehow" in the literature cannot be said in the literature. Meanwhile, in the West, first of all in France, from the mid-19th century, large poets appeared one after another: Charles Bajler, Paul Verlin, Arthur Rambo, Stephen Mallarme. Each of them had their own addictions: Baudelers taught to see beauty in ugly, the verson fascinated by the readers of the music of verse and the finest shades of poetic painting, Rambo hit the inhole energy, Mallarm the mysteriousness of the content, and when in 1886, the poet Jean Seaas published "Manifesto Symbolism", new school In French poetry, he relied on their experience.

Who are

Stephen Mallarm in 70-80. He became one of the poets of French symbolism. With the democratic maturity of dissatisfaction with the bourgeois reality, the thirst for the ideal ("azure", "windows", "wind from the sea") and the willingness to impressionistic to evaluate the colorfulness of the world. Mallarm came to the tragic concept of breaking poetry and life ("Swan"), to the idea of \u200b\u200bextremely closed poetry, only by means of the symbols of the transmitting superweight.

Spring update.

Spring Spring Sad and Light

Winter transparent art broke out

And in creature, where the blood rushed sluggishly,

Zevaot for a long time powerless fell fixed.

Own skull, and, as in the grave,

Paired twilight has long seen in it,

And, sad, I wander in the fields behind the vague window.

Where dasy crops in full force

And brings me a fragrance trees

Used by a silence of the grave of roy.

And I'm a rherry land where the valley ring,

Fearing, collapsed, rebel again, ...

And on the shoulder azure laughs and dawn

Pierce of blossomed birds chirbins the sun.

Artyur Rembo - the Great French Poet. The epoch, in which he lived, caused a crisis in his early 1871: the attacks of despair and squeezed cynicism were replaced by the dreams of the supernatural power of the poet clanmine, capable of indicating humanity to the harmonic world order. The Paris Commune of 1871 returned Rombo faith into social progress. He sought to take a personal participation in the struggle, created masterpieces of the revolutionary poetry of France. Realistic imagery, psychologism and satire developed in Rembo poetry. The offensive of the reaction was seriously affected by the mental state and the further creative path of Rembo. The transition to the symbolism was designated in a "drunken ship", in the sonnet "vowels". In the symbolic period, Rembo created the so-called. "The latest poems" and poem in prose. Subsequently, Rembo moved away from the literature and after long wandering was forced to become an agent of a trading company in Ethiopia. In the XX century The struggle between realism and modernism has unfolded around the heritage. The best poetic traditions of Rembo were perceived by Apolliner, P. Eluar, resistance poets.

Apolliner Guy. His real name - Guillaume Apollinarian Kostromitsky. His lyrics are inherent in courageous sincerity, the tragic feeling of cruelty of life (the cycle "Bestiary, or a tuction of Orpheus"), merged with the joy of her acceptance, confrontation of loss and time (Art. "Bridge Mirabo"). In the book of poems "Alcohol" - the intonation of the folk song, and the epic voice of a big city, and the call to drink the universe "Paris's throat" ("Vandemier"), and thinking a poet about prison capture.

The creativity of the Apolliner collided the formalistic experimentation and innovative development of the classical tradition.

What was the symbolism in France? One-only answer to this question can not be given. The symbols called themselves themselves and those who sought to foggy hints to unclear themselves and guided the thought of the reader along the path of whimsical associations and claimed to identify with the words yet by anyone, the essence of the universe.

These famous French poets in the democratic attitudes in their work expressed dissatisfaction with the bourgeois reality, the thirst for the ideal, the readiness to impressively assess the color of the world. Many of them came to the tragic concept of breaking poetry and reality, to the idea of \u200b\u200bextremely closed poetry, only by means of a symbol of transmitting superweight.

In general, symbolism is a significant and multifaceted phenomenon of poetic culture at the turn of the 19-20 centuries, which was under the influence of a number of ideas and theories of that time, but in which words-symbols were considered more often than concrete values.

Symbol- 1) In the ancient Greeks - a conditional real identification mark for members of a certain public Group, secret society, etc.; 2) subject, action, etc., employees conditional designation any image, concepts, ideas; 3) artistic imageembodying any idea.

Symbolists, believing that the existing philosophical systems are not able to explain the nature of a person or help a dying civilization, looking for new paths in the literature. The art of the beginning of the 20th century sought to find a person a new place in the world - this is the task of which all the significant artists of the era worked. Symbolism was looking for ways from a dead end against the background of the crisis of traditional humanism, the feeling of instability of being, consciousness of impotence, disappointment and confusion. True to "clean art", the new course declared its reality of reality and strongly denied naturalistic attitude towards life. The question arises, how, in this case, modern art should reflect life? The symbolists argued that an objective reflection of reality is impossible: the poet is able to transfer only its subjective attitude of life, sharing its purely personal feelings with others. Convinced of the association of art and in his ability to remake the imperfect world, the symbolists argued that they would inevitably come through subjectivism higher level objective characteristic reality. The symbolist lyrics prevailing the existential theme of the inevitable death and reflection on the secret of the afterlife, their poetry is imbued with mystics and faith in supernatural forces, in their opinion, outside of rational thinking. Considering that the mirror reflection of life is alien to their art, they went to the world of Middle Ages, antiquity, dragged inspiration in folk legends and legends, filling their works by elements of folklore.

Russian symbolism occurred not isolated from the West, but later for a decade. The movement of symbols arose as a protest against the cloing of Russian poetry, as the desire to say in her fresh word, to return to her vitality, because Russian poetry experienced decodes, almost a disease. In the 80-90s. Russian poetry has lost its former height, former tensions and strength, it has fallen and blocked. The poetic technique itself lost a truly creative start and energy. The great innovative word Nekrasov in it has become only a tradition. Large talents in poetry seemed extremely extremely. Only as if inertia wrote epigions of the Civic Nekrasov school, deprived of depths and brightness. "There are no poets ... / did not become light songs, / walked peace, as a predestal ringing," complained in the 90s. N. Minsky.

The first swallows of the symbolist movement in Russia were the treatise of D.S. Memerovsky "On the reasons for the decline and new currents of modern Russian literature" (1892), his collection of poems "symbols", as well as the books of N. Minsk "in the light of conscience" and A.Volynsky "Russian critics."

Very often creativity Dostoevsky called symbolic, and his very - Forerunner symbolism Since the feature of the symbol is that it is in one of the situations in which it is used, it cannot be interpreted unequivocally. Even at the same author in one product, the symbol may have an unlimited number of values. That is why it is interesting to trace how these values \u200b\u200bchange in accordance with the development of the plot and with a change in the state of the hero. An example of the work, from the title to the epilogue built on the symbols, may serve as a "crime and punishment". Already the first word - "Crime" - a symbol. Each hero "crosses the line", a trait conducted by himself or others. The phrase "abandon" or "cross the line" permeates the entire novel, "moving from mouth to mouth." "There is a trait in everything, for which it is dangerous for which it is impossible to cross, turn back it is impossible." All heroes and even just passersby are already united that they are all "crazy", i.e. Complete with the path devoid of mind. In St. Petersburg there are many people, people go, they say with themselves. This is the city of polushemissed ... rarely where there are so many gloomy, sharp and strange influences on the soul of a person, as in St. Petersburg. It was Petersburg - the fantastic city of Alexander Sergeevich Pushkin and N. V. Gogol with his eternal "foolot and unbearable zone" turns into Palestine, awaiting the arrival of the Messiah. But this is another inner world of Rodion Skolnikov. The name and surname of the main character is also not accidental. Dostoevsky emphasizes that the hero is "lacking air." "Rodion" means "native", but the splitters are split, split. And now all the narrative turns out to be an enchanted chained challenge. The color of F. M. Dostoevsky is symbolic. The brightest color is yellow. For M. A Bulgakov is anxiety, a blast; for A.A. Blak - fear; For A.A.Akhmatova, this is hostile, the most misstant color; In F.M.Dostoevsky he is yellow and malicious. "And the bile, the bile in them in all how much!" This "poison" is distinguished everywhere, it is in the atmosphere itself, and "there is no air", only a stool, "ugly", "terrible." And in this foolote, the splitters beats "in the fever", he has "chills" and "cold in the back" (the worst punishment of hell is a punishment by cold). You can get out of the circles of hell only on the stairs, so the splitters (except wandering through the streets) is most often on the threshold or moving along the stairs. The staircase in mythology symbolizes the ascent of the spirit or its descent in the depths of evil. For A.A.Akhmatova "Climbing" - happiness, and "descent" - trouble. The heroes "are moving" on this staircase of life, then down, in the abyss, then up, in the unknown, to faith or idea. There is in the novel and hero, "I got out of the ground", but, choosing, Svidrigayilov (like all heroes) hits the street.

None of the heroes have a real house, but only the rooms in which they live and which they remove; Room Katerina Ivanovna and passing at all, and all of them "Nowhere to go." All scandals that occur, occur on the street, where people walk "crowds" (biblical motive). Evangelical motives also acquire a new sound in this Devil City. "Thirty Srebrennikov", turn into thirty kopecks, which Sonya gives marmalad to drinking; Under the stone, instead of the grave of Lazaror turn out to be hidden stolen after the murder; Raskolnikov, like Lazar, "RESJET" on the fourth day. Symbols of numbers (four - cross, suffering; three - trinity, absolute perfection), based on mythology, goes into a symbolism of consonant words, where "seven" means "death", "narrow" gives rise to "horror", and the tesna goes into the longing. The symbol of faith is truly unreasonable, because "what you believe, that's." All the novel becomes like a symbol of faith, a symbol of the idea, a symbol of a person and, above all, the symbol of the revival of his soul.

The founder of the Russian symbolism is considered to be V.Ya. Bruisov. Being another eighteen-year-old gymnasium, he in 1892 read an article about French symbols and immediately felt - here there is something very interesting that he can hurt in Russian soil.

He began timidly to create a new literary direction, translating the French (most of all or the best of his own poems:

Shadow of unoccupied creation

Sweets in sleep

Like Latan blades

On the enamel wall

Violet hands

On the enamel wall

Hoody drawing sounds

In sonorous silence

The month of nude is included

With Lazoroe Moon

Sounds are solid

Sounds will go to me.

"Creativity" 1895

The poem outraged readers seeking meaninglessness. The philosopher and poet V.Solovyov wrote even a parody where he raged the "double moon". Meanwhile, the explanatory comment can clarify this landscape: the shadows of homemade palm trees - are reflected in brilliant, like enamel, kafels of the furnace; Behind the big lantern opposite the window resembling a Lazorian moon, the sky is visible, where the real month is already rising ... But such a decoding speaks very little about the meaning of the poem. The hint rather serves his name - "Creativity." In a null-stop room, everything is transformed waiting for inspiration.

The Creator for his world surrounding him, seeing other, the sound of future poems hears, vaguely flood images ("suffered creatures"), making the world as strange, very unlike the usual.

Or another poem - "At night" (1895).

Dormlet Moscow, as if a female of sleeping ostrich,

Dirty wings on dark soil are stretched,

Round - heavy eyelids shifted lifelessly,

The neck is stretched silent, black Jauza.

You feel yourself in the African desert on retire

Chu! What for Shusi? Do not the Arab riders fly?

No, having swam in the air,

Keeping birds are approaching - vultures.

The smell is smelled by winged robbers,

Stand up, you look, and they all circle over the dead man,

In the sky, the constellation sparkles brightly brightly.

symbolism literary art philosophy

Moscow comparison itself with an African bird made it possible to present the capital as mysterious as the most mysterious part Sveta. But why is not just talking about ostrich, namely about the female? Most likely, in order for both nouns to be one, female. In addition, there is a sound similarity: "Moscow - female" (and there and there are two syllables, and there and there are currently sounding vowels). In the second and beginning of the third lines, combinations are injected: gr - cr - rk - kr, reminiscent of the scream of ostrich. In addition, as Bruces wrote, "already one expectation of the rhyme for the word" ostrich "the mystical trepsticks." And then it was still possible to find rhyme unusual "Ostrich - Yauza". And unusual size for poetry size - with a different number of shock syllables in lines. And the beauty of ugly (dirty wings, vultures, fell). All this was unusual for the Russian reader. Brucers deliberately sought to stun the reader, make him wonder and indignant. For example, a poem from one line: "Oh, close your pale legs" (1894 years), or the phrase from the preface to the first book of the poems: "Not to contemporaries and not even mankind I will have this book, but eternity and art."

Three collections "Russian symbolists" (1894 - 1895), the publisher and the main author, who was Bryusov, translated by him "Romances Without Words" and their own book, proudly entitled "Chefs" D Oeuvre "(" masterpieces "), stirred Russian poetry . In a critical attack, the concept of "symbolism" has established itself, they have become mutual, they began to use widely. What a symbolism mean for Bruce and his like-minded people? First of all - new topics, new Language. In 1893, he records in the diary: "What if I thought to write a treatise on spectral analysis in Homerovsky? I would not have enough words and expressions. The same, if I try to express the feelings of FindesieCle in Pushkin! "

V. Bryusov and his colleagues also dislikes each other, like French symbolists. For Bruce himself in the 90s, symbolism is primarily "poetry hints". K. Balmont Eastened the "sophistication of Russian slow speech", A. L Miropolsky described the world of spirits available to spiritites. And they all sought to demonstrate exacerbate sensitivity, incomprehensible to the usual senses, unexpected visions.

Very relevant for symbolist poetry was the idea of \u200b\u200bdowemine, borrowed by them from romantics. This idea was developed in his poetry Vladimir Solovyov. Earth reality is only a distorted semblance of the Foreign World, and the person is "a link between the Divine and Natural Mir." In his mystical religious and philosophical prose and in verses V.Solovyov, the name of the real and temporary existence to the otherworldly, the eternal and beautiful world. In the poem "Although we, forever ...", the idea of \u200b\u200bdowemine transmitted by hints, allegoryrs passes. The life of a man is mimoletny, it depends on the "will of the Higher". A man on Earth must make a "circle that the gods outlined." In the poem "Walking Spirit" lyrical hero in a dream, the "former world in the neurotic shine" seems. Awakening from sleep is hard. The soul lives in anticipation of the night, waiting for "again the reflections of the Supervisory Vision, again the szokut of Holy Harmony." The idea that our world is only reflected in the poem "cute friend ...". Solovyov had a huge influence on Russian symbols, and this idea of \u200b\u200btwo worlds - "Dwymiria" - was deeply learned by them. He informed the symbolists to implement the idea of \u200b\u200bhuman connection with God, his faith in the embodiment of wisdom, good and beauty, whose personification he called "eternal femininity", or wise Sophia, designed to save the world. Solovyov argued that Sofia is the only carrier of spirituality in the world. The cult of beauty, the worship of it largely determined the problems of poetry symbolists. Putting it purpose Achieving harmony and perfect life and linking your ideal with unearthly Sofia, poets embodied the idea of \u200b\u200bSolovyov in various forms. In his philosophical and poetic works, Solovyov has planned the main features of symbolism as a literary and philosophical direction. According to the poet for symbolism characteristic:

• - poetics of hint and allegory;
• - aesthetization of death as a fortunate principle;
• - Signal filling of everyday words;
• - APOLOGY MIGA, MY MILITY, as a reflection of eternity.

To this should be added to the instructions for the following qualities:

• - the desire to create a picture of the ideal world existing according to the laws of eternal beauty;
• - Attitude by the way as a political message, as a semantically difficult to lead, as to the cipher of some spiritual secretion;
• - Deep historicism, from the standpoint of which the events of modernity are seen;
• - Exquisite imagery, musicality and ease of a syllable.

At first, in the nineties, the poems of symbolists, with their unusual phrases with phrases and images, were often subjected to ridicule and even mockery. Symbolist poets from the very beginning of the new flow was made by the name of decades, implying under this term falnial moods of hopelessness, the feeling of the rejection of life, sharply pronounced individualism. In the consciousness of most readers of the pore, "symbolism" and "decpendents" were almost synonyms, and in the Soviet era, the term "decpendency" began to use as a generic designation of all the modernist trends. Meanwhile, in the minds of the new poets "Decpendence" and "symbolism" correlated not as homogeneous concepts, but almost like antonyms.

We seek meaningless poems, the strange tricks of young poets caused the resentment of the public and newspaperrs. Symbolists, as Vladislav Khodsevich recalled, painted "bare lobs with violet hair and a green nose." Psychiatrists argued that the new poetry was a symptom of degeneration of mankind, the authors, with her connected, do not want to know the true problems of today's life, invent their own, few people who are interesting, peace.

The nickname "decadents" thought them to be vulnered, and they made it their second name. From the point of view of symbolists, this "decline" is much more valuable for normal media. They not only wrote the "decadent" poems, but also led the "decadent" lifestyle.

One of the brightest poets of Russian symbolism Andrey White in October 1903 ordered in the printing house and sent business cards on familiar:

Vindalay Levuelovich UNICORN Bellandrikov Fields 24th break, 1b 31	Paul Lewowkovich Mios Kozney. Horn street D. Shazhranova

Fastivva's "Surname" was scored for a particular expressiveness with church-Slavic font with two - at that time already not used letters - Fitua and Izhitsa. This white card wanted to create a special atmosphere in which the game (funny fictional names and addresses) and mythical characters (unicorn, and on other cards - centaurs, dwarfs) became part of the surrounding real world. After all, the business cards are printed in the printing houses came from a real mail or a messenger brought them. Being a man of a circle of white (and all Moscow symbolists) meant not to deny the possibilities of the existence of unicorns in Moscow Zakoleki. Any kind of "oddity" in the Russian symbolist environment appeared almost simultaneously with the birth of symbolism. Back in the 90s. Brucers hit the interlocutors mysterious speeches, deliberately explaining anything. And Balmont "wild" conquered women and brought men to the frenzy.

The reader's upbreddown in such an atmosphere was no longer surprised that the wonderful lady (from the eponymous cycle of poems of the block) - a girl in which the poet loved, and at the same time embodiment of eternal femininity.

Life gave rise to art, art shifted into life - built it in its laws. The game has surrendered into reality, and everything turned out to be the correspondence of everything.

In today's meetings saw the former once. The story "Tale of the XVII century" (with such a subtitle printed Roman Brysov "Fire Angel", 1907 reproduced by many events from the author's life. And in the poem "Horse Bled" on the usual street with Ceba, cars, signs suddenly arose "Horseman Fire", in the hands of which "long whistle" with the inscription: "Death".

This whimsal reality became an everyday atmosphere, she lived and breathed. Such was the Moscow symbolism, which in the 90s. They did not want to let into serious magazines, and the books could only be published at their own expense. In the northern capital, everything was somewhat different.

Two years before the "Russian symbolists, the young poet D. Mezhovsky published a book of poems and symbols (songs and poems)" and read the sensational lecture. "On the reasons for decline and about new currents in modern Russian literature." And in verses and in the lecture, the author, like Muscovites, sought to draw a FindesieCle man. Merezhovsky believed that "modern people stand defenseless, face to face with an unspeakable darkness, on a border line of light and shadows, and no longer protects their hearts from a terrible cold, having an abyss ... We are free and lonely!" The motto of the previous generation of Russian poets - Nekrasov strings "Poet can not be, but to be obliged to be" Merezhkovsky, "said:" Three main elements of new art - mystical content, symbols and expansion of artistic impressionability. " But in verses of the Merezhkovsky himself, brought up by the very civil poetry of the 80s, the principles of which he rejected any of these "elements" practically was not.

And the first, and the second, and the third appeared in the verses of other St. Petersburg symbolists - Zinaida Hippius and Fyodor Sologuba. In one of the poems of Zinaida Hippius wrote:

I look at the sea greedy eyes

To the ground chained, on the shore ...

Standing over the abyss over heaven -

And I can't fly to the lazores

I'm going to the sun, to the sun hands I stretch

And I see a cave side of pale clouds ...

It seems to me that I know the truth -

And only for her I do not know words

"Impossile" 1893

The beginning of the poem seems to be echoing with Lermontov's "white sail lonely ..." and the mood seems similar to what dominates in many, ordinary romantic verses for Russian lyrics. But Hippius, the sea and the sky seems to be confused ("stand over the heavens", the azure is equally marine and heavenly) - these are no longer elements of the real landscape, but something ghostly, abstract. In the Busst poem "At night", Moscow and its similarity are equally important - ostrich. Here, at the hypause, the sea, the shore, the sky, the clouds, the azure is only a reason to express the main thing:

"It seems to me that I know the truth -

And only for her I do not know the words "

But the poem F. Sologuba:

I put my ear to Earth,

To hear horse stuff, -

But only Ropot, only whisper

Comes to me on the ground

There are no loud knocks, no rest,

But who whispers, and what?

Who is under my shoulder

And the ear does not give rest?

Crawling worm? Grow grass?

Water backed up to clay?

Silent the surrounding valleys,

Land of dry, quiet grass.

Will something silent whisper?

Ile may be calling me

To the rest of the eternal clone,

Sad ropot, dark whisper?

"I did my ear to Earth"

As if the scenery of Cookin, and the behavior of a person is quite real, but even the most distant from the symbolism reader will feel here and a certain one, much more important meaning. Someone will see in this poem thinking about the eternal and easy essence of nature, and someone image of the soul, waiting for the foresight and their receiving or prefigure death ... other interpretations are also possible. The main thing that the poem was not only an external meaning. And Merezhkovsky, and Hippius, and Sologub not only poets like Moscow symbolists. In the first books, Hippius and Sologuba included poems and stories that completed each other. In the prose of symbolists, there were also many meanings. But they described the events as real, the characters are so recognizable that the reader is unfamiliar with symissual literature, could perceive the stories and novels Hippius and Sologuba as a completely traditional story, however, with some "oddities". Of course, this reading did not exhaust the whole depth of their works, but had the right to exist. In the story, the hypius "Apple trees bloom" (1896) The hero reflects about himself: "I think I will die soon. I don't have any illness, but I have to die, because the one who wants who wants to live, and I have no will. IN the last daysWhen I realized this and saw that I had nothing more and wait, "I even thought about suicide. But I can not. I'm afraid". It is such a type of people of Zinaida Hippiiius passionately rejected throughout his life. An individual, personal experience on the thought of Hippiius (and Merezhkovsky), only then valuable when it is supplemented not just a habit or the most acute carnal passion, but a sense of unity of two in the love of real genuine love. But this is not all. For the secret love, a man should be opened by the secret of the new community of people united by some common aspirations. Naturally, the easiest possible connection could be carried out in religion, where people are connected with a common faith (after all, the very word "religion" in translation from Latin means "communication"). Therefore, St. Petersburg symbolism is sometimes called "religious". Religiosity, however, is understood as widely as possible - this is not only Orthodoxy, but also other religions and religious searches from folk, sectarian, to the rational structures of highly educated people. And Old I. New Testament, Merezhkovsky and Hippius were believed, already exhausted. Humanity must step over to the kingdom predicted by the apocalypse. And they tried to show modern Orthodoxy a new path of the Third Testament. Meriazhkovsky in his novels sought to prove that the whole history of mankind is based on the confrontation of Christ and Antichrist, which is repeated from the century, only embodied in historical figures. Hippiiius determined with extreme prisons what the whole life said:

Trinoine Cleanness The World is rich

Triple bottomlessness is given to poets.

But do not say poets

Only about it?

Only about it?

Triple Truth and Triple Threshold

Poets, to believe in faithful

Only God thinks about it:

About a human.

And death.

"Triple" 1927

Not to mention the religion, many similar questions tried to resolve in their novels and F. Sologub. Thus, the St. Petersburg symbolism did not seem so causing as Moscow. And the characters were more transparent, and the tongue is traditionally, and the "fallacy" was not built in a valor. Therefore, criticism treated him less hostile (although even here without scandalous reviews, but it cost). In addition, in St. Petersburg there was a magazine "Northern Bulletin", who willingly printed symbolists. One of his leaders A.L. Voloshnsky, who was interested in the quest for new poets, in his articles sharply criticized civil poetry, revered by Russian intellectuals. He tried philosophically to justify the poverty of materialism, which was also the ally of the symbolists. On the pages of the Northern Bulletin, the poems and the prose of Meriazhkovsky, Hippius, Sologuba adjacent to the names of Lion Tolstoy, Leskova, Chekhov. Thus, symbolism was made by a respected literary phenomenon, and not a fun of polulous. Brucers could have a whole section of the book to entitle "sonnets and tercins", Hippius wrote a cycle "Three forms of Sonet." The experiments were also completely exotic: Rondo, triolet, sextine, Spencerian stanfa, old French ballad and much more - Classical Russian poetry did not know these forms or these genres.

Sologub created his world, where the star Mayre was illuminated by the country Oil and the League River, and the poet himself said with pride: "I am the God of the Mysterious World." Balmont, fascinated readers incredible to the observance, broadcast about the sacraments of love and exotic countries. Hippius passionately prayed: "I want what is not in the world!"

Symbolists made the city of Russian reader. Creativity Polislav Příbyshevsky, Norwegian Knuta Gamsuna, Italian Gabriel D, Annunzio, Belgian Emil Verjnun, little-known past poets.

In the same first years of the 20th century, a new generation of symbols came to the literature - they were called "younger", "Solovyevtsy", "Theurgs".

"The younger" were even more decisive in the representation of Ivanov, like white, and in (lesser extent) of the block, a poet symbolist - a link between the two worlds: earthly and heavenly. Because they were considered particularly valuable insights, revelations that allowed them to imagine other worlds on weak reflections.

Vyacheslav Ivanov said: "True symbolism inherent to portray the earthly, rather than heavenly is not the power of sound, but the power of the otzok.

The arrival of the "second wave" of symbolists foreshadowed the emergence of contradictions in the symbolistic camp. It was the poets of the "second wave", young-minded, developed theurgic ideas. The crack took place primarily between the generations of symbolists - senior and younger. The revolution of 1905, during which the symbolists took away unequal ideological positions, aggravated their contradictions. Again, in different ways, they sought to develop the teachings and poetic culture of the Russian idealistic thinker. Solovyov. Along with this source, of course, turned to others: the inheritance of the Russian classics, the writings of Kant and Schopenhauer, Nietzsche, the mystics poets of world literature. But it was the idea of \u200b\u200bSolovyov - the achievement of special theocracy (of universal equality as a result of the spiritual transformation of the world), the motives of his creativity: selfless searches in the name of judgment of the coming, art as a power that gives birth to a spiritual lift, an artist who is able to answer the amazing and harmonious "world soul", " Eternal femininity "- were laid in the foundation of the young-life aesthetics. It, despite the transcendent ideals, was much more closely related to the requests of the era, offered a much more effective role of literature than the aesthetics of Merezhkovsky. By 1910, a clear split was marked between the symbolists. In March of this year, first in Moscow, then in St. Petersburg, in the society of Jealous artistic words, Vyacheslav Ivanov read its report "Covenants of Symbolism".

In support of Ivanov, a block was made, and later and white. V.Ivanov put forward as the main task of the symbolist movement of its theurgic impact, "Life Department", "Transfiguration of Life". Brucers called the theurgs to be the creators of poetry and no more, he stated that the symbolism "wanted to be and was always only art." Poets - Theory, he noticed, clone to to deprive the poetry of her freedom, her "autonomy." Bruce was more resolutely marked from Ivanovo mysticism, for which Andrei White accused him of treason symbolism.

Buses opened a new magazin of Russian symbols "Scales", which began to leave from January 1904. The creation of your journal meant - on the literary arena, there are no loners, but a holistic group, ready for battles and counting on victory.

In the first two years of its existence, "scales" united everyone,

Who sought to oppose themselves the art forgotten about all-life and eternal. "The younger" all sharper declared disagreements with the "seniors".

If in 1907 most critics said that symbolism occupies the leading position in Russian literature, then by the spring of 1910 it became obvious: he is in a serious crisis.

But the death of symbolism did not mean that writers - the symbolists no longer played any role in the literature. In the 10th and early 20s. : the third volume of the lyrical trilogy of the block was created (see Article "Alexander Aleksandrovich Blok"); Petersburg and "First Date" Andrei White; Almost the best poetic books. Vyacheslav Ivanova, still crystal clear poems F. Sologuba; "Unalmable Kupina" M. Voloshina ... And even the poets who have gone from symbolism understood that symbolism,

According to the exact expression of O. Mandelstam, the "wide LONO", which is obliged to life all Russian poetry of the 20th century.

Symbolism manifested itself not only in the literature. Symbolism can be observed in Russian painting, although it has not been as authoritative phenomenon as in France and Germany. For the first time, his features were manifested in 18g in the work of M. Vrubel. However, he remained almost the only artist of this direction until the beginning of the 20th century. The second wave of symbolism began in painting with V. Borisov-Musatov, who not only approved new principles in visual arts, but also had a significant impact on contemporaries, first of all in the union " Blue Rose", P. Kuznetsova, P.Takina, Brothers Nicholas and Vasily Miliotin. The third wave of symbolism is associated with the organization in the 20th years of the group "Makovets". The rattles of symbolism in Russian painting is connected with the fact that there was neither a slender theory, nor a single association of artists. The freedom of associations, assumptions and guesses brought them closer, interpretation of similar phenomena of life, a common figurative world. The receptions proposed by them are blurry color spots, "interfigure space", the dynamics of color transitions - will be later in demand with impreitable art, will become part of the aesthetics of abstractionism. No less indicative of the appeal of symbolists to the theater. Considering the playwright of the ideal means to express the thought, they watched the theater as a sphere practical embodiment The results of their search. The main theorists of the drama in Russia were A. Block, V.Ivanov and Andrei White. They sought to oppose their plays with naturalism and realism. In their interpretation, the theater gained a fantastic dream of dream. However, the main role in the type of drama developed by them was not allocated to actrators, but the playwright, so their plays were rather meant for productions, but for reading. Similar trends we meet in the European Theater. In the drama M.Terlinka, instead of people on stage, there are disembodied shadows, signs, glare, sounds. The action develops simultaneously in two plans. For example, the "blind" play can be viewed as a specific episode where lost blind are trying to find a way out of the forest, and as the search for the path of mankind to an unknown goal.

Symbolism enriched Russian poetic culture with many discoveries. Symbolists gave poetic Word Unknown formerly mobility and multigid, taught Russian poetry to open in the Word additional shades And the face of the meaning. Their searches were fruitful in the sphere of poetic phonetics: Masters of the Expressive Asonance and Effective Alliterate were K. Balmont, V. Bruzov, I. Annensky, A. Block, 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 20th century were in a new way a question about the public role of the artist, began to search for such forms of art, whose comprehension could unite people again. The idea of \u200b\u200b"Cathedral Art" from the side looked utopian, but symbolists and did not count on its rapid practical implementation. It was more important to recruit a positive perspective, to revive the faith in the high purpose of art. With external manifestations of elitism and formalism, symbolism managed in practice to fill work with the artistic form of meaningful and, most importantly, make art more personal. That is why the legacy of symbolism remained for modern Russian culture with a genuine artistic treasury.

D.S. Melezhkovsky "On the reasons for decline and new currents of modern Russian literature" 1892 "... New currents will have to revive literature, having committed a huge transitional and preparatory work. ... its main elements - mystical content, symbols and expansion of artistic impressionability ... "

Symbols Senior Junior 1890s, GG. D.MERGEKOVSKY, V. Bryusov, A.Bippiius, A.Bilaub, Z.Gippiius, F.Sologub, I. Annensky, K. Balmont V.Ivanov did not take reality taken reality and appealed to the foregoing to the world in mystical experiences. Gaps between her and proceedible

1910 G - symbolism symbolism symbolism is closely connected with a decadence (decadence is a type of consciousness, relations to the world in a crisis era, a feeling of despondency, anxiety, fear of life, disbelief in the possibility of a person to know the world, change it and change himself.)

Friedrich Nietzsche German philosopher F. Nitsche was one of the founders of the "Life Philosophy". He spoke against rationalism, calling for irrational in the human psyche. Nietzsche paid the criticism of Christianity and rationalism, which "oppress the will to life." He offered to overcome this depressing effect by liberation " vitality"A person to reveal the path to the" superman "standing" on the other side of good and evil. " The artistic intelligentsia of the beginning of the 20th century attracted this special imagery, a peculiar art form, aphoristic and mysteriousness.

(Vladimir Solovyov () - poet, critic, publicist, philosopher. The most famous writings: "Theoretical Philosophy" (1897-1899), "Justification of Good" (1897- 1899), "Spiritual Basics of Life" (1882- 1884) and etc.

Solovyov proceeded from the fact that in addition to cash, there is a divine sphere, i.e. Absolute, unconditional principles that have a positive effect on humanity. The peculiarity of his idealism in the desire to express the language of philosophical concepts of a person to two worlds - material and ideal. According to Solovyov, good, truth and beauty - three hypostasis of ideal being, the most important categories expressing its unity. Genuine art, by Solovyov, should be the synthesis of vital content and the idea of \u200b\u200bthe need to re-create reality in such a way that the divine, human and natural elements are combined in it. The poetic expression of the idea of \u200b\u200bunity is the symbols of "eternal femininity", "souls of the world", "Golden Lazuri", "unearthly light" and "consonance of the Universe".

V.Solovyov dear friend, Ile You do not see that everyone visible - only the gleam, only the shadows from invisible eyes? Dear friend, Ile you do not hear that everyday noise is a cracker - only the response of a distorted triumph consonance? Dear friend, Ile you do not feel that one for the whole light is only the fact that the heart speaks to the heart in the death? 1892.

Zinaida Hippius I cutely distracted: I create life ... I am all the secluded, implicitly love. I am a slave of my mysterious, extraordinary dreams ... But for the speeches, I do not know the local words

Poems are written on the first person. They belong to Peru personality outstanding, most likely, this is a man of art, an artist, a creator who has introduced to the highest reality conclusion: the symbolists belonged to the Word, as to the cipher of some spiritual secretion, appreciated the moment, mumbiness. This is another characteristic feature of symbolism.

Amethysts When, burning blue, the crimson is growing frantic, how often the dusk I call, cold dusk amethysts. And so that the angry rays burned the face of ametist, but only the flickering of the candle was lighted there with liquid and lightning. And, lilac and frantic, so that the shiny assures there, that somewhere there is not our connection, but a radiant merger ... I. Annensky

The main features of symbolism: -Etics hint and allegory; - Right to the Word, as to the cipher of some spiritual secretion, a marked filling of everyday words; -Pology (praise) Mig, which reflects eternity; - Strength to create a picture of the perfect world existing according to the laws Eternal beauty; - Chief historicism, from the standpoint of which modern events are seen; - Explicit image, musicality and ease of the syllable.

Homework: (to choose from) Presentations on the work of one of the poets chosen by you: V. Brysov, I. Annensky, A. White, A. Bloka, K. Balmont. The presentation should be as follows: Portrait of the poet; I.O.F. poet (years of life); Quote, reflecting the essence of the personality and creativity of the poet; Chronological table for the work of the poet: year, the genre of the work or the name of the collection; A poem that can be called a "poet's business card" or the one with which this poet is associated with you. Reading by izist poem one of poet symbolists With a brief analysis

"Senior Symbolists"

The symbolism of D.Mergekovsky and Z.Gippiius was emphasized by religious nature, developed in line with the neoclassical tradition. The best poems of Merezhkovsky, who have entered the collections of symbols, eternal satellites, were built on the "ugly" with other people's ideas, were devoted to the culture of the ears, gave a subjective revaluation of world classics. In the prose of Merezhkovsky on a large-scale cultural and historical material (the history of antiquity, rebirth, national history, religious thought of antiquity) - search for the spiritual foundations of being, ideas moving history. In the camp of Russian symbolists, Merezhkovsky represented the idea of \u200b\u200buncoolency, looking for a new Christ (not so much for the people, as for the intelligentsia) - "Jesus Unknown".

In the "electric", according to I. Bunin, verses, Z. Hippiius, in its prose - a philosophical and religious problem, foreigners. The rigor of the shape, the defects, the movement to the classification of expression in combination with religious metaphysical sinner distinguished Hippius and Merezhkovsky in the "Senior Symbolist" environments. In their work, there are a lot of formal achievements of symbolism: music of sentiment, freedom of spoken intonation, the use of new poetic sizes (for example, dolnik).

If D. Mezhkovsky and Z.Gippiius thought symbolism as the construction of artistic and religious culture, V. Brusov, the founder of the symbolic movement in Russia, dreamed of creating a comprehensive art system, "synthesis" of all directions. Hence the historicism and rationalism of Brasov's poetry, the dream of "Pantheon, the temple of all the gods." The symbol, in the representation of Bruce, is a universal category that allows you to generalize everything ever existed, truth, ideas about the world. A compressed program of symbolism, "Covenants" of the current V. Brysov gave a young poet in the poem:

The young man is pale with the gaze burning,
Now give you three covenants:
The first acceptance: do not live in
Only the coming - the poet area.
Remember the second: do not sympathize with anyone
Himself love is limblessly.
The third store: worship art,
Only him, fearlessly, aimlessly.

The approval of creativity as a goal of life, the glorification of a creative person, the aspiration from the gray everyday life of the present in the bright world of imaginary coming, dreams and fantasies is such a postulate symbolism in the interpretation of Bruce. Another, the scandalous poem of Bruce Creativity expressed the idea of \u200b\u200bintuitiveness, the scope of creative impulses.

From the creativity of D.Mergekovsky, Z.Gippiius, V. Brysov was significantly different by neoromantism K. Balmont. In lyrics, K. Balmont, singer vastness, - romantic pathos elevation over everyday life, look at poetry as life. The main thing for Balmont-symbolist appeared limitless opportunities Creative Individuality, an inflated search of means of its self-expression. The admission of the transfiguration, titanic personality affected the installation on the intensity of life-sends, expanding emotional imagery, impressive geographical and temporal scope.

F.Sologub continued in Russian literature F.Dostoevsky line of the study of the "mysterious communication" of the human soul with a disastrous beginning, developed a general-grained plant for understanding human nature as nature irrational. Some of the basic symbols in poetry and prose SOLOGYUB have become "spinning swings" of human states, "heavy sleep" of consciousness, unpredictable "transformations". Sologub's interest to the unconscious, his deepening in the secrets of mental life gave rise to mythological imagery of his prose: so the heroine of the novel is a small demon of Varvara - "Centaur" with the body of the nymph in flea bites and ugly face, three sisters of Rutilov in the same novel - three sisters, three graces Three Harites, three Chekhov sisters. Comprehension of Dark Benefits of peace of mind, neomymophism - the main signs of the symbolist model of SOLOGUB.

A huge impact on Russian poetry of the twentieth century. Psychological symbolism of I. Annensky, whose collections of the quiet songs and the cypress casket appeared at the course of the crisis, the decline of the symbolist movement. In the poetry of Annensky - a colossal impetus to update not only poetry symbolism, but also the whole Russian lyrics - from A.Akhmatova to Aadamovich. The symbolism of Annensky was built on the "effects of exposure", on complex and, at the same time, very subject, real associations, which makes it possible to see in the Annensky predica of aqmeism. "The poet symbolist," the poet and critic S. Makovsky, wrote about I. Annensky, the editor of Apollo and critic S. Makovsky, - takes something physically and psychologically concrete and, without defining it, often even without calling him, depicts a number of associations. Such a poet loves to hit unforeseen, sometimes a mysterious combination of images and concepts, seeking an impressionistic effect of exposure. The subject is exposed in this way seems to be a new person and as if experienced for the first time. " The symbol for Annensky is not a springboard for a jump to metaphysical altitudes, but a means of displaying and explaining reality. In the mourning-erotic poetry of Annensky, the decadent idea of \u200b\u200b"prison", longing of earthly existence, unfulfilled Eros was developed.

In the theory and artistic practice of "senior symbols" the latest trends were connected with the inheritance of achievements and discoveries of Russian classics. It was within the framework of the symbolist tradition with the new sharpness, the creativity of Tolstoy and Dostoevsky, Lermontov (D.Melegekovsky L. Tolstoy and Dostoevsky, M.Yu.Lermontov. Poet of superhuman), Pushkin (article VlSolovyev Fate Pushkin; Copper rider V. Bryusova ), Turgenev and Goncharov (books of reflections of I. Annensky), N.Nekrasov (Nekrasov as the poet of the city V. Brusov). Among the "Young Graduate" brilliant researcher of the Russian classics, A. Brevoy (the book of the poetics of Gogol, numerous literary reminiscences in the Roman Petersburg) became a brilliant researcher.
Tatyana Shabalina

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).

IN 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 new stage Development related to 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 concept 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 - size 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 earth Mir It is only a shadow, reflections 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 little 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, it seems that in addition to the city where the login lives, there is nothing more in the world. Chronotop's closure - The trait inherent in the novels of Dostoevsky (Petersburg in the "Crime and Punishment", a scotoponevsk in the "Karamazov Brothers"), - acquires a special meaning in the context of poetics of symbolism. The hero of the novel exists in a terrible closed, and therefore self-destructive (like any closed system) in the world, in which is not and there can be no place for good and justice, and his crime ultimately turned out to be meaningless, for 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.

I. Mashbits-faith

The leader of Russian symbolism is usually called Valery Brysov. This is not quite so. In his speech at the anniversary celebration on the occasion of the fiftieth anniversary (December 17, 1923), Bryusov said: "It is necessary to attribute to the anniversary exaggeration that I was the leader of symbolism, created the magazine" Scales "... Created all this not me, and I was One of the wheels of that car was some part of that collective that created a symbolic poetry ... In the very first period of my life, I saw me among the comrades older than me - Merezhkovsky, Sologuba, Balmont ... ".

Indeed, the first theorists and practitioners of symbolism - to Brysov - were D. Merezhkovsky, N. Minsky, 3. Hippius, F. Sologub and a number of other writers who spoke in the late 80s - early 90s with poems, stories, articles . They actually laid the foundations of the new flow. Yes, and the name "symbolism" appeared later. At first, as, however, it was often even subsequently, they spoke at all about the "new current" in art, "modernism", "decadency". At the same time, the most essence of symbolism was not quite clear in those years, even the pioneers of the new movement, and they were proposed therefore different definitions.

So, for example, the poet N. Minsky, he was the author of a number of philosophical works, named G. Plekhanov "the Gospel of Decadane", determined symbolism only in its most common foundations, as the art that "inspires the reader the metaphysical moods" (P.Pernov. Literary memories). Balmont considered the main thing in the symbolism of the multigid of the images in which "in addition to a specific content there is still a hidden content."

Bryusov, declaring even then (1895) the symbolism "radiant crown of the entire history of literature", nevertheless, according to his own recognition, was just looking for a "solo" of his essence and distinctive features. And to the question (in the emphasis, supplied to him), then P. Persove then: "I can't answer right. In any case, [case] not in the characters. I am looking for a randile primarily in the form, in the harmony of images or, or rather, in the harmony of those impressions that cause images ... Words lose their usual meaning, the figures lose their specific meaning, - remains a means to master the elements of the soul, give them voluptuous-sweet combinations. " In other words, Bryusus saw the originality of symbolism in its special formal structure and above all - in his impressionisticity.

The uncertainty of statements, the dispersion of opinions on the essence of symbolism (among its creators themselves) was aggravated by the fact that much in the emerging symbolism was from the desire to "pin" the public, from artificial exaggeration, "orgiasm" of feelings in the imitation of Western Teachers (Edgar by, Baudelaire , Nietzsche, etc.). It is not by chance that, for example, one of the early symbols, Alexander Dobrolyubov, whom Bruces stated extremely highly, lived in the "black-made black room with different symbolic objects", and in society "Cuhedil and loved to speak POPII", calling, in particular to suicide! It is not by chance that Zinaida Hippiiius performed with reading poems, attaching paper wings behind her back. In general, for early symbolists are extremely characteristic, according to the testimony of contemporaries, "breaking in manners, thoughts and words", tested "theatricality", a tendency to pose. " Obviously, the sensational Brussian single-line poem "On Closing its pale legs" or the demonstrative alogyrism of the "Creativity" poem should be attributed to the same "Epatolation", besides poser.

However, with all the different opinions and with all the extremes of the mouth, a single, ultimately, the essence of a new literary flow was clearly scheduled.

The first in time tried to theoretically find out its foundations D. S. Merezhkovsky, who in 1892 wrote the work "On the reasons for decline and about the new currents of modern Russian literature."

Poetry by nature is irrational, unearthly power, "Merezhkovsky writes," Power primitive and eternal, spontaneous ... The immediate gift of God. People over her almost do not rule. " At the same time, this is the greatest cultural power of history, "driving whole generations, whole nations on the well-known cultural path."

That is the first, the most common thesis of Merezhkovsky.

"The genius of the people", "People's Soul" - this is what is the true internal content of poetry, continues Merezhkovsky. Great poets and express this "folk soul." In Russia, in particular, those of the greatest artists were, first of all, F. Dostoevsky and L. Tolstoy. But we did not and are not in this area, unlike Europe, continuity, and there are only some single geniuses, cut off from each other and from the people. Therefore, after Tolstoy and Dostoevsky, the deepest decline comes, which has now reached the extreme "barbarism and wildness - continue to go now."

The crisis experienced by the literature should be overcome, because it is the question of "to be or not to be in Russia the Great Literature - the embodiment of the Great People's Consciousness." The irreconcilable enemy of the revival of literature is, however, "rough materialism", unable to understand " great theory Cognition of the XIX century, laid by Kant. " "Scientific and moral materialism corresponds to artistic materialism with the prevailing realistic taste of the crowd." The essence of the struggle in the field of spiritual culture is thus lies in the irreconcilable struggle of materialism and idealism - "two views on life, two diametrically opposite worlds".

The ultimate victory, however, will be for idealism in his religious-Christian formation, - trying to convince Merezhkovsky. For this idealism, despite the development of positivism and materialism in the XIX century, is the "eternal need of the human heart." It was Tolstoy and Dostoevsky, "two of our mystic writers ... showed Europe to the Russian mode of a free religious feeling, which resulted out of the heart of the people." That is why, only following the path specified by these religious-mystical genius, "Just returning to God, we will return ... to our great Christian people."

From these false positions of Merezhkovsky and appreciates the whole path of Russian literature. He is ready to recognize revolutionary-democratic writers - Nekrasov, Gleb Uspensky, - but only throwing their democracy and revolutionism. In their work, he sees a terrible picture of poverty and the powerlessness of the Russian peasantry, not "one hundred million economic units", but the embodiment of the King of Heaven in slave form. " "True Nekrasov," therefore, Merezhkovsky says, is a mystic, who believes in the divine and suffer image of a crucified God, the most pure and holy embodiment of the Spirit of People's Spirit, "and the true Gleb Ospensky is the creator of Paramon Yurody, this" real desires of God from the people. " In general, speaking of the people and depicting it, Meriazhkovsky believes, it is necessary for the whole "abyss to separate questions about the bread from the questions about God, about beauty, about the meaning of life." "The people can not, do not dare to talk about bread, not to mention God. He has a faith that unites all the phenomena of life into one divine and excellent whole. "

In the "painful-sophisticated sensitivity" of the artist, in the microscopic corners drawn by the "fleeting moods, in microscopic corners - the Merezhkovsky argues," whole worlds open. " This is a symbolism connected to impressionism. And through these "unknown impressions" the life arises "as a ghost, freeing the human heart from the burden of life."

So Chekhov turns out to be the course of Russian literature, to which the modern poetic poetry is adjacent ... Fofanov, Minsk, as well as other decadeles-symbolists of the initial period.

From the above, the general conclusion of Merezhkovsky on the further ways of developing Russian literature follows. Continuing the "eternal", "religious", "mystical", what constitutes, they say, the basis of all the great arts, the basis, in particular the greatest Russian geniuses - Dostoevsky and Tolstoy, - "All literary temperatures, - Merezhkovsky writes, - all directions All schools (nineties - I. M.) are covered by one impulse, wave of one mighty and deep flow, the foreboding of divine idealism. This is "indignation against the soulless, positive method" caused by the "tireless need of a new religious or philosophical reconciliation with unknowable." "Comprehensive latitude and strength of this passionate, although an even indefinite and unrecognized current makes it believing that he belongs to the Great Future."

Having come, thus, to the conclusion that the future of Russian literature in the "Divine Idealism", Merezhkovsky and put forward the "three main elements of this art." First, "mystical content." Our literature should show Europe and the world all the "Russian mode of a free religious feeling", which rests on the "sufferer image of a crucified God - the most pure and holy incarnation of the spirit of the people." That is why new literature expresses the reached "until the last limits of our modern grief and our need of faith."

The second "main element" arising from the content concerns the form. New poetry is primarily the poetry of "characters", that is, such a figurative embodiment, when any "scenes - from everyday life, reveal the revelation of the Divine side of our spirit." All the artist depicted is therefore not a reflection of some phenomena of the objective world, but only "like" (Vergleichniss - the term is taken by Merezhkovsky at Goethe), only the "symbol of the transient".

Finally, due to the fact that new art expresses the "unopened impression items", elusive shades, unconscious, dark, etc., it is inevitably impressionistic. The expansion of artistic impressionability in the spirit of sophisticated impressionism is the "third chief element of new art."

We looked at the Book of Merezhkovsky, this first experience of theoretical understanding of symbolism. It may seem that Merezhkovsky in its theory is very optimistic: after all, the new literature approved by him is the revelation of "Divine" in everything and, it became, life and art find their understanding and justification here.