Which of foreign philosophers was a cumier of symbolists. Art of Western Europe of the late XIX - early XX century

1.2 Russian symbolism and its features

Symbolism - the current of modernism, for which "three main elements of new art: mystical content, symbols and expansion of artistic impressionability ...", "new combination of thoughts, paints and sounds"; The basic principle of symbolism is an artistic expression by the symbol of the essence of objects and ideas outside of sensory perception.

Symbolism (from Franz. Simbolism, from Greek. Simbolon - a sign, symbol) appeared in France at the end of the 60s - early 70s. 19th century (Initially, in the literature, and then in other art types - visual, musical, theater) and soon included other phenomena of culture - philosophy, religion, mythology. The favorite themes, to which the symbolists appealed, were death, love, suffering, waiting for any events. The scenes prevailed the scenes of the evangelical history, the semi-imaging and semi-historical events of the Middle Ages, antique mythology.

Russian symbolists writers are traditionally divided into "senior" and "younger."

Senior - the so-called "Decadents" - Dmitry Merezhkovsky, Zinaida Hippius, Valery Bryusov, Konstantin Balmont, Fedor Sologub - reflected in his work the features of the pan-European Panstretis.

Junior symbolists - Alexander Blok, Andrei White, Vyacheslav Ivanov - in addition to aesthetism, embodied in their work aesthetic utopia of searching for mystical eternal femininity.

Deafly locked doors

We do not dare to open them.

If the heart is true,

The comforted lamin, we are lamin.

What is in the zlovonnoye zlovon and badly,

We forgot long ago, we do not know.

To the repetition of the heart is familiar -

Singly and boring care.

All in the zoom is impersonal, usually.

We are about the will for a long time not forgiving.

Firmly locked doors,

We do not dare to open them.

F. Sologub.

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

The problem of the theurgical creativity, which expressed a deep connection of symbolism with the sphere of Sacred, Volnovalla V.S. Solovyov. He argued that the art of the future should create a new relationship with religion. This connection should be more free than it exists in the sacred art of Orthodoxy. In the restoration of communication between art and religion on a fundamentally new basis by V.S. Solovyov sees the theurgical beginning. Theurgy is understood as the process of creating an artist with God. Understanding theburgi in the works of V.S. Solovyova found a living response in the writings of religious thinkers of the beginning of the twentieth century: P.A. Florensky, N.A. Berdyaeva, E.M. Trubetsky, S.N. Bulgakov et al., As well as in verses and literary and critical works of Russian poets-symbolists of the beginning of the twentieth century: Andrei White, Vyacheslav Ivanova, Maximilian Voloshin, and others.

These thinkers and poets felt a deep connection that exists between symbolism and sacral.

The history of Russian symbolism, covering various aspects of the phenomenon of Russian culture of the end of the twentieth century, the beginning of the twentieth century, including symbolism, was written by an English researcher A. Payman.

The disclosure of this issue is essential for understanding the entire complexity and variety of aesthetic process and artistic creativity as a whole.

The Russian symbolism of the end of the XIX - the beginning of the twentieth century was directly preceded by the symbolism of icon painting, which had a big impact on the formation of the aesthetic views of Russian religious philosophers and theoretics of art. At the same time, Western European symbolism in the face of the "damned poets" of France P. Vellen, A. Rambo, S. Mallarm took first of all the ideas of the philosophers-irrationalists 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 XIX century, in particular

F. Nietzsche, sought to create a new religion from art. This religion should not be a religion proclaiming a single god of the highest sacred value, but the religion of the superman, who is associated with the Earth and the bodily start. This religion has established fundamentally new symbols that, according to F. Nietzsche, should express the new true meaning of things. The symbolism F. Nietzsche had a subjective, individual character. It in shape and content opposed the symbolism of the previous stage of development of culture, since the old symbols were largely related to the traditional religion.

Russian poet symbolists Vyacheslav Ivanov and Andrei White Following F. Nietzsche, proceeded from the fact that the destruction of traditional religion is an objective process. But their interpretation of "art-religion" the future differed significantly from Nietzshean. They saw the possibility of religious renewal on the ways of reviving the art of antiquity and the Middle Ages, the art speaking the language of myth-symbol. With the significant potential of sacred and preserved itself in the artistic forces affordable, the art of the past epochs, according to theoretics of symbolism, can be reborn in a new historical context, in contrast to the dead of antiquity religion, and the Middle Ages in the history of the spiritual atmosphere.

That is how it happened once in the Renaissance, when the sacral beginning of the past epochs, transformed into aesthetic, became the basis on which the great art of the European Renaissance was developed and developed. As inaccessible samples of the theurgic creativity, the works of art of antiquity embodied this basis, due to which it became possible to preserve the sacralism of the art of Christian Middle Ages in the aesthetic sense for many years. It was precisely this that led to an inaccessible takeoff of European culture in the Renaissance Epoch, a synthesizing antique symbolism and Christian sacralism.

The Russian poet symbolist Vyacheslav Ivanov comes to Teurgy through the understanding of space through artistic expressive opportunities of art. According to his statements, in art, the most important role is played along with the symbol such phenomena as a myth and mystery. IN AND. Ivanov emphasizes a deep connection that exists between a symbol and myth, and the process of symmetic creativity is considered as a myth-making country: "There is a myth-making of the most complete symbolic disclosure of reality. Realistic symbolism goes through the symbol to the myth; The myth is already contained in the symbol, he is immanent him; The contemplation of the symbol discloses a myth in the symbol. "

Myth, in understanding Vyacheslav Ivanov, deprived of any personal characteristics. This is an objective form of preservation of knowledge of reality, found as a result of mystical experience and taken on faith until the act of a new breakthrough for the same reality will not be opened about her new knowledge of a higher level. Then the old myth is filmed new, which occupies his place in the religious consciousness and in the spiritual experience of people. With myth-making, Vyacheslav Ivanov connects the "sincere feat of the artist himself."

According to V.I. Ivanov, the first condition of true myth-making is the "spiritual feat of the artist himself." IN AND. Ivanov suggests that the artist "must stop creating out of connection with the divine alliance, must raise himself up to the possibilities of creative realization of this connection." As V.I. notes Ivanov: "And the myth before he will be stated by everyone, should become an event of internal experience, personal in his arena, super-permanent content." This is the "theurgic goal" of symbolism about which many Russian symbols of the Silver Century dreamed of.

Russian symbolists proceed from the fact that the search for the exit from the crisis lead to the awareness of the person of their capabilities that appear in front of him on two ways, 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 associated with the fact that the artist is trying by magic spells to breathe "magic life" in his creation and thereby commits a "crime" because there is a "protected limit" of its capabilities. This path leads ultimately to the destruction of art, to turn it into a completely torn abstraction from real life. The second path was in the theurgic creativity, in which the artist could realize himself as the creator of God, as a guide of a divine idea and revitalize his work reality, embodied in artistic work. It is the second way that means the creation of a living. This path is the path of theurgic symbolistic creativity. As Vyacheslav Ivanov considers the highest example of the symbolistic creativity of the work of antique art, it puts the perfect image of Aphrodite in one row with a "miraculous icon". Symbolistic art, according to the concept of Vyacheslav Ivanov, is one of the essential forms of the impact of higher reality on the lowest.

The problem of the theurgical creativity was associated with the symbolic aspect of the nature of sacred and another representative of the Russian symbolism - A. White. Unlike Vyacheslav Ivanova, who was an adherent of ancient art, Andrei White Theurgy is mainly focused on Christian values. Andrei White considers the inner engine of the theurgic creativity precisely good, which, as it beats in Theburg. For Andrei White Teurgy is the goal to which all culture is directed in its historical development and art, as part of it. Symbolism he considers as a higher achievement of art. According to the concept of Andrei White, symbolism reveals the content of human history and culture as a desire for the embodiment of the transcendental symbol in real life. It seems to him theurgic symbolization, the highest stage of which is the creation of life. The task of the theurgs is to bring real life as much as possible to this "norm", which is possible only on the basis of a new understanding of Christianity.

Thus, sacred as a spiritual start seeks to continue in new forms adequate to the worldview of the twentieth century. The high spiritual content of art is ensured due to the coding of sacred as religious in aesthetic, due to which it is ensured in the art of the adequacy of the artistic form, an adequate spiritual situation of the era.

"Poets-symbolists with their characteristic sensitivity felt that Russia flies into the abyss that old Russia ends and there should be new Russia, another unknown" - so spoke by the philosopher Nikolay Berdyaev. ESChatological predictions, thoughts worried everyone, "death of Russia", "the edge of history", "End of Culture" - these statements sounded as an alarming Nabat. As in the picture of Leon Bakst "The Death of Atlantis," in the prophecies of many breathing, anxiety, doubt breathing. The impending catastrophe is seen as a mystical insight, designed above:

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

Someone in the dark, the wizard as Owl,

Draws the circles and builds pentagram,

And whispering prophetic spells and words.

Symbol for symbolists is not a conventional sign. It differs from the realistic image in that it transmits not an objective essence of the phenomenon, but the individual representation of the poet about the world, most often a vague and indefinite. The symbol converts the "coarse and poor life" in the "sweet legend."

Russian symbolism arose as a solid direction, but was ordered in bright, independent, unlike individualities. If the flavor of poetry F. Sologuba was dark and traged, then the worldview of the early Balmont, on the contrary, is permeated by the sun, optimistic.

The literary life of St. Petersburg at the beginning of the Silver Age was boiling and concentrated on the "tower" V.Ivanov and in the Gippiius-Merezhkovsky salon: individuality developed, intertwined, pushed out in hot discussions, philosophical disputes, improvised lessons and lectures. It is in the course of these living interreplications from the symbolism that new flows and schools were departed - Akmeism, the head of which N.Gumilev became, and egofulurism, presented first of all the word perment of I.Serevienin.

Ambamests (Greek.acme - the highest degree of something, blooming strength) opposed themselves to symbolism, criticized the nebula and poor symbolist language and image. They preached a clear, fresh and "simple" poetic language, where words would be directly and clearly called objects, and they would not appeal as in symbolism, to "mysterious worlds."

Simple objects, caricature compositions, sharp, sharp, real signs of the world came to replace the uncertain, beautiful, elevated symbols, inexpensive and disreglates. Poets - innovators (N. Gumilev, S. Gorodetsky, A. Akhmatova, O. Mandelshtam, V. Narbut, M. Kuzmin) felt like the creators of fresh words and not so much the prophets as masters in the "Poetry Working Room" (expression I. Annensky). No wonder the communion united around the aqmeists called himself by the shop of poets: an indication of the earth's attack of creativity, the possibility of collective inspired efforts in poetic art.

As you can see, the Russian poetry of the Silver Age has passed a big way in a very short time. She threw her seeds to the future. The thread of legends and traditions did not break. Poetry of the stroke of the ages, the poetry of the Silver Century - the most difficult cultural phenomenon, the interest in which only begins to wake up. New and new discoveries are waiting ahead.

The poetry of the Silver Century reflected in itself, in its large and small magic mirrors, a complex and ambiguous process of socio-political, spiritual and moral, aesthetic and cultural development of Russia in the period marked by three revolutions, world war and especially terrible for us - the war internal Civilian. In this process, captured poetry, there are lifts and sharp decals, bright and dark, dramatic sides, but in its depths - this is the tragedy process. And at least time pushed this amazing plastic poetry of the "silver century", but he radiates his energy and today. Russian "Silver Age" unique. Never before, nor after - there was no such emotion of consciousness in Russia, such a strain and aspirations, as when, according to eyewitness, one block of the block meant more and was magnificent than all the content of "thick" magazines. The light of these unforgettable zor will forever remain in the history of Russia.

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Symbolism (from the Greek Sýmbolon - a sign, symbol) - the direction in the European literature and the art of the late XIX - early XX century. The basics of aesthetics of symbolism have developed at the end of the 60-70s. In the works of French poets P. Verlena, A. Rambo, S. Mallarm and others. As a method of artistic reflection of reality, symbolism in images familiar reality discloses the presence of phenomena, trends or patterns, directly outwardly not expressed, but very significant for the state of this reality. The symbolist artist seeks to turn the specific phenomenon of the objective environment, nature, life, human relationships into an image symbol, including it in widely developed associative relations with these hidden phenomena, which, as it were, fill the image, shone through it. An artistic combination of different plans is happening: the general, the abstract is mediated in a particular and introduced through an image-symbol into an area available to emotional perception, detects its presence and significance in the world of life reality.

On the development of symbolism, time, epoch, public sentiment affect. In Western European countries, he reflected the aggravation of public contradictions, the tragic experience of the gap by the artist between the humanistic ideal and bourgeois reality.

In the work of the largest Belgian playwright and theorist of the Summalist Theater Maurice Metherlinka (1862-1949), a person exists in the world, where it is surrounded by a hoping, invisible evil. Heroes Meterlinka - weak, fragile creatures, unable to protect themselves, change their enemy vitality. But they retain the beginning of humanity, spiritual beauty, faith in the ideal. This is the source of drama and high poetic advantages of Pieces Meterlinka ("Death of Tentup," Peleas and Melisanda ", etc.). He created the classic form of a symbolist drama with its weakened external action, intermittent, full of hidden anxiety and inexpensively dialogue. Each detail of the situation, the gesture, the actor intonation was performed in it their figurative function, participated in the disclosure of the main topic - the struggle of life and death. The symbol of this struggle was the man who surrounding the world was becoming an expression of his inner tragedy.

The Norwegian playwright of the city of Ibsen appeals to the techniques of symbolistic imagery in their later plays. Without glowing with realistic world, he used it to disclose conflicts of the individualistic consciousness of his heroes, the objective pattern of the catastrophe experienced by them ("Builder Solness", Rosmersholm, "When we, the dead, awaken", etc.). In his own way, symbolism in the work of Gauptman (Germany), A. Strindberg (Sweden), W. B. Yeits (Ireland), S. Vyspyansky, S. Psibyshevsky (Poland), D "Annunzio (Italy).

Directors - Symbolists P. Foren, O. Ljuna, J. Rusho in France, A. Appia in Switzerland, Crang in England, Fuchs, partly M. Reinhardt in Germany sought in their performances to overcome the concreteness of domestic, naturalistic Images of reality that prevailed in the theater of that time. In the practice of scenic art, the conditioned decorations, techniques of a generalized, figurative-concentrated image of the medium, actions; Scenography began to be coordinated with the mood of a fragment of the play, to activate the subconscious perception of viewers. To solve their tasks, the director combined the means of painting, architecture, music, colors and light; Household Misaneszen replaced the miceanese plasticly organized, static. A great importance in the performance acquired a rhythm, reflecting the hidden "life of the soul", the voltage of the "second plan" of action.

In Russia, symbolism arose later than in Western Europe, and was associated with the public lifting caused by the revolution 1905-1907. Russian symbolists saw in the theater an effective means of combining scenes and spectators in the overall experience of important modern ideas and sentiment. A gusting of a person to freedom and immortality, protest against the dead dogmas and traditions, a tragic interpretation in the Drams "Earth" V. Ya. Brysov and Tantalt, V. Ya. Ivanova received their own tragic interpretation. The breath of the Revolution of the Drama of A. A. King in Square, in which the theme of the poet and the people, culture and elements arises. "Balaganchik" and "Stranger" treated the traditions of the People's Square Theater, to Social Satire, expressed a premonition of the coming renewal of life. The "Fate Song" reflected the complex path of the poet intellectual to the people. In the "Rose and Cross" play, the block expressed its comprehensive historical change.

In difficult years, art was not homogeneous. The philosophical rejection of life, in which there is no place for high spirituality, for beauty and truth, distant drama F. K. Sologuba. The topic of ominous games of the masks developed on the folk material A. M. Remizov. Symbolistic influences affected some Pieces L. N. Andreeva, they also touched on futurists, in particular the creativity of the early V. V. Mayakovsky (the tragedy "Vladimir Mayakovsky"). The symbolists brought together the modern scene with poetry, stimulated the search for a new theatrical imagery, expanding the associative content of the performance. V. E. Meyerhold was one of the first to think about how to coordinate the conditionality of registration, Misanszen with the accuracy of the acting game, how to overcome the household characterity, to build the work of the actor to the level of high poetic generalization. In his aspirations, he does not remain lonely: in symbolism, something necessary theater is found in general.

In 1904, according to the council, A. Ya. Chekhov K. S. Stanislavsky put in the Moscow Art Theater Trilogy Meterlinka ("Blind", "Disadvantaged", "there, inside"), seeking to overcome the pessimism of the author, to express the idea that "Nature eternal. " In 1905, he opened the theater studio at the cook, where, together with Meyerhold, studied the production capabilities of the new artistic direction. Using the methods of symbolism in working on the performance of the "Drama of Life" K. Gamsun and the "Life of Man" Andreeva, Stanislavsky was convinced of the need to upbringing a new actor who could deeply disclose the "life of the human spirit", began his experiments on the creation of the System. In 1908, he put the philosophical play-fairy tale metierlinka "Blue Bird". In this performance, still persists in the repertoire of Mkhat, he showed that the eternal desire of a person to the ideal is the embodiment of the general law of life, the hidden and mysterious needs of the World Soul. A convinced realist, Stanislavsky was not tired of repeating that he applied to symbolism only for the purpose of deepening and enriching realistic art.

In 1906-1908 In the Dramatic Theater V. F. Commissarzhevskaya in St. Petersburg, Meyerhold was produced by the "Balabanchik" block, "sisters Beatrice" metierlinka. He studied theatricality at the Square Theater and Balagan, turned to stylization, was looking for new techniques of a visual and spatial solution to the performance. The essence of these quest gradually decided for him no longer so much in the embodiment of symbolistic ideas, as in the further development of artistic means of the modern theater, the search for new forms of acting art, the relationship of the scene and the public. Caused acute disputes and conflicts of Meyerhold Stage Experiments, continued in the Alec Sandrinsky Theater, in the Studio Theater on Borodino, were of great importance in the development of the director.

The experience of theatrical symbolism was mastered the XX century theater. In its most different directions.

Symbolism (from the French word "Symbolisme) is one of the largest directions in artistic art (literature, painting, music), it arose in France in the 70s and 190s of the XIX century, and reached the peak of his heyday in France, Belgium and Russia at the beginning of the twentieth century. Under the influence of this direction, many types of art radically changed their form and content, changing and the attitude towards them. The followers of the flow of symbols were primarily extroduced by the primacy of the use of symbols in art, for their creativity, the impression of mystical fog, the plume of mysteriousness and secrets, the works are full of hints and inexpensiveness. The purpose of art in the concept of adept symbolism is the comprehension of the surrounding world on an intuitive, spiritual level of perception by means of symbols, which is the only correct display of its true entity.

For the first time, the term "symbolism" appeared in world literature and art in the manifestic manifest of the French poet Jean Sea "Le Symbolisme" (Figaro newspaper, 1886), in which his basic principles and ideas were proclaimed. The principles of symbolism ideas are bright and fully displayed in the work of such famous French poets as Charles Baudelaire, Paul Verlin, Arthur Rembo, Stephen Mallarme and Lotreamon.

The poetic art of the beginning of the twentieth century, which is in a state of decline and lost its energy, the former strength and bright creative principle in connection with the defeat of the ideas of revolutionary nationality, urgently needed revival. Symbolism as a literary direction was formed as a protest against the omnouncement of the poetic strength of the word, created in order to return strengths and energy, pour new, fresh words and sound to it.

The beginning of Russian symbolism, which is simultaneously considered and the beginning of the silver century of Russian poetry, is associated with the advent of the Poet, writer and literary criticism of Dmitry Meriazhkovsky "On the reasons for decline and new currents in modern Russian literature" (1892). And although symbolism originated in Europe, it was in Russia that he reached his highest heyday and Russian-poets symbolists brought their original sound and something completely new, absent from its founders.

Russian symbolists did not differ in the unity of views, they did not have the overall concepts of an artistic understanding of their surrounding reality, they were scattered and disassembled. The only thing that was unwilling to be used in their works are simple, ordinary words, their adolescence in front of the symbols, the use of metaphor and allegories.

Literary researchers allocated two stages in the formation of Russian symbolism, having differences in time and in the worldview concepts of symbolist poets.

To senior symbols, which began their literary activities in the 90s of the XIX century, include the work of Konstantin Balmont, Valery Brysov, Dmitry Merezhkovsky, Fedor Sologuba, Zinaida Hippius, for them the poet was the Creator of solely artistic and spiritual personal values.

The founder of the St. Petersburg motion of the symbolists - Dmitry Merezhkovsky, his works written in the spirit of symbolism: a collection "New poems" (1896), "Meeting of poems" (1909). His creativity is different from other symbolist poets by the fact that he expresses not his personal experiences and feelings as Andrei White or Alexander Blok, but common sentiment, feelings of hope, sadness or joy of all society.

The most radical and bright representative of early symbols is the St. Petersburg poet Alexander Dobrolyubov, who was not different from his poetic creativity (a collection of innovative poetry "Natura Naturans. Natura Naturata" - "Nature generating. Nature is generated"), and a decadent lifestyle, creating folk religious Sects "Dobrolytsev".

The creator of his own separate poetic world, standing by a mansion from the entire modernist destination in the literature - the poet Fyodor Sologub. Its creativity is characterized as vivid originality and ambiguity that there is still no only true interpretations and explanations of the symbols and images created by him. The works of SOLOGUB are impregnated with the spirit of mysticism, mystery and loneliness, they simultaneously shock and attract close attention, without letting it up to the last line: the poem "loneliness", the prose-free epic "Night dew", the novel "Small Dev", poem "Damn Swing", " One-eyed famously.

The most impressive and bright, full of musical sound and amazing melodiousness were poems of the poet Konstantin Balmont, the symbolist of the early school. In search of conformity between the semantic sound, the color and sound transmission of the image, he created a unique meaning of sound text music. In them, he used such a phonetic means of strengthening artistic expressiveness as a sound test, instead of the verbs, bright adjectives, creating its original poetic masterpieces, which, according to his ill-wishers, were practically deprived of meaning: Poetic collections "I am", "Masterpieces", "Romances Without words, "the book" Third Guard ", the" city and peace "," wreath "," all singing ".

The younger symbols, whose activities are at the beginning of the twentieth century, this is Vyacheslav Ivanov, Alexander Blok, Andrei White, Sergey Soloviev, Innokenty Annensky, Yurgis Baltrushatis. This second wave of this literary flow was also called brotherly massolism. The new stage in the development of the history of symbolism coincides with the rise of the revolutionary movement in Russia, decadent pessimism and the disbelief into the future is replaced by the foreboding of future inevitable changes.

Young followers of the poet Vladimir Solovyov, who saw the world on the edge of the death and speaking about the fact that his divine beauty will save his divine beauty, in which heavenly life began with earthly, thought about the purpose of poetry in the surrounding world, the poet's place in developing historical events, the communications of the intelligentsia and the people . In the works of Alexander Blok (the poem "Twelve") and Andrei White feels a premonition of the coming, stormy changes, a close disaster that shakes the foundations of an existing society and will lead to the crisis of humanistic ideas.

It is with a symbolism that the creativity, the main topics and images of the poetic lyrics (world soul, beautiful lady, eternal feminine) of the outstanding Russian poet of the silver century Alexander Bloka are connected. The influence of this literary direction and personal experiences of the poet (feelings for his wife of any Mendeleeva) make it creativity to mystical mysterious, isolated and detached from the world. His verses impregnated by the spirit of secrets and riddles are distinguished by meaningful, which is achieved by applying blurred and unclear images, fuzziness and uncertainty, the use of bright colors and colors, only shades and semi-rods are rejected.

The end of the first decade of the twentieth century was marked by decaying the movement of symbolists, no new names appear, although some symbols are created by individual works. On the formation and development of the poetic art of the beginning of the twentieth century, symbolism as a literary direction had a huge influence, he not only enriched world art with its masterpieces, and also contributed to the expansion of the framework of the consciousness of all mankind.

your inaccuracy. Limitations, the superficialness of the ideas about the world was confirmed by a number of natural science discoveries, mainly in the field of physics and mathematics. The opening of X-ray rays, radiation, the invention of the wireless communication, and a little later, the creation of a quantum theory and the theory of relativity shakeped the materialistic doctrine, laid the faith in the uncondition of the laws of mechanics. Detected before "unambiguous patterns" were subjected to a significant revision: the world was not just unknown, but also unrecognizable. Consciousness of the fallacy, incompleteness of the former knowledge led to the search for new ways to comprehend reality.

One of these paths is the path of creative revelation - was proposed by symbols, according to which the symbol is unity and, therefore, provides a holistic understanding of reality. The scientific worldview was built on the amount of errors - creative knowledge can adhere to a pure source of ultra-affected insights.

The appearance of symbolism was a reaction and a crisis of religion. "God died," the f.nitsche proclaimed, thereby expressing the sense of the exhaustion of traditional creeds to the perched era. Symbolism is disclosed as a new type of foreigner: religious and philosophical issues, the question of superman - about a person who has rushing its limited opportunities. The symbolistic movement, based on these experiences, the dominant value attached to the restoration of connections with the world to otherwise, which was expressed in the frequent handling of symbolists to the "secrets of the coffin", in the increasing role of imaginary, fantastic, in the hobby of mysticism, pagan cults, theosophy, occultism, magic. The symbolistic aesthetics was embodied in the most unexpected forms, deepening in the imaginary, the Covenant world, in the area, not yet investigated, - sleep and death, esoteric revelations, the world of Eros and magic, altered states of consciousness and vice.

The symbolism was closely connected with the eschatological premonitions, who mastered the man of the commodity era. Waiting for the "end of the world", "Sunset of Europe", the death of civilization aggravated the metaphysical moods, made the spirit to triumph over the matter.

Among the important ideas of this time, the following can be called:

Darwinism (the current called so in honor of Charles Darwin, a scientist). According to this idea, a person predetermines his environment and heredity, and it is no longer a "copy of God";

The pessimism of culture (by Friedrich Nietzsche, the philosopher and the writer) is based on those ideas that there are no more religious ties, there is no all-sensing meaning, there is a revaluation of all values. Most people are interested in Nigilism;

Psychoanalysis (according to Sigmund Freud, Psychologist), aimed at the opening of the subconscious, interpretation of dreams, the study and awareness of their own Ya.

The bonds of the centuries became the time of searches for absolute values.

Symbolism as a feature stream

The development of the history of world culture (border of the XIX-XX centuries, the XX century and the turn of the XX-XXI centuries) can be considered as an infinite chain of novels and the partitioning of "high literature" with the theme of capitalist society. So, the turn of the XIX-XX centuries was characterized by the emergence of two key directions for all subsequent literature - naturalism and symbolism.

French naturalism, presented by the names of such outstanding novelists as Emil Zol, Gustave Flaubert, Brothers Jul and Edmond Gangra, perceived the human personality with absolutely dependent - from heredity, the environment in which it was formed, and the "moment" - the specific social and political situation, in which it exists and is valid at the moment. Thus, naturalist writers were the most meticulous by the world's capitalist society of the late XIX century. On this issue, they were opposed by the French poets symbolists - Charles Baudelaire, Paul Verlin, Arthur Rambo, Stefan Mallarme and Mn.d., categorically refused to recognize the impact on the human personality of the modern socio-political situation and opposing the world of "pure art" and poetic fiction.

Symbolism (from Fr. Symbolisme, from Greek. Symbolon - a sign, identifying sign) - aesthetic course formed in France in 1880-1890 and gained widespread in literature, painting, music, architecture and theater of many European countries at the turn of 19-20 explosive Huge importance symbolism had in the Russian art of the same period, which acquired in art historian science determination "Silver Age".

The symbolists believed that the symbol, and not exact sciences allow a person to break through to the ideal essence of the world, pass "from real to the realmost." A special role in comprehending ultraoughness was assigned to poets as carriers of intuitive revelations and poetry as the fetus of ultra-industrial natives. Refracting the language, the destruction of the usual relationship between the sign and the denotate, the multi-layer of the symbol carrying the diverse and often opposite meanings, led to the spraying of meanings and turned the symbolistic work in the "madness of the multiplicity", in which they mixed and undergo permanent metamorphosis of things, phenomena, impressions and Vision. The only thing that attached the integrity at every moment the splitting text was a unique, unique vision of the poet.

The removal of the writer from the cultural tradition, the deprivation of the language of its communicative function, all-consuming subjectivity inevitably led to the sealing of symbolist literature and demanded a special reader. Symbolists simulated his image for themselves, and it became one of their most original achievements. He was created by J.-K.Guysmanc in the novel "On the contrary": the virtual reader is in the same situation as the poet, he is hiding from the world and nature and lives in aesthetic solitude as a spatial (in the distant estate) and temporary ( renovated from the artistic experience of the past); Through the magical creation, he enters with his author to spiritual cooperation, in the intellectual union, so that the process of symbolistic creativity is not limited to the labor of the magician writer, but continues to decipher his text by the ideal reader. Such connoisseurs, a congenial poet, extremely few, their no more than ten in the whole universe. But such a limited number does not confuse symbolists, for this is the number of the most elected, and there is no one who would have a similar one.

The concept of a symbol and its value for symbolism

Speaking about symbolism, it is impossible not to mention his central concept of a symbol, because it was from him that the name of this flow in art took place. It must be said that symbolism is complex phenomenon. Its complexity and inconsistency are due, first of all, the fact that the character of different poets and writers invested in the concept of different poets and writers.

The name of the symbol itself happened from the Symbolon Greek word, which is translated as a sign, identifying sign. In art, the symbol is interpreted as a universal aesthetic category, revealing through comparison with adjacent categories of an artistic image, on the one hand, sign and allegory - on the other. In a broad sense, it can be said that the symbol is an image taken in the aspect of its badge, and that he is a sign, and that he is a sign endowed with the whole organicity and inexhaustible multigid image.

Each character is an image; But the category of the symbol indicates the way out of the image for its own limits, to the presence of a certain meaning, inseparably merged with the image. The subject image and deep meaning perform in the structure of the symbol as two poles, inconceivable, nevertheless, one without the other, but also divorced themselves, so that the symbol is disclosed in the voltage between them. I must say that even the founders of symbolism interpreted the symbol in different ways.

In the manifest of symbolists, J. Seaace determined the nature of the symbol, which displaced the traditional artistic image and became the main material of symbolist poetry. "Symbolistic poetry is looking for a way to apply an idea into a sensual form, which would not be self-sufficient, but at the same time, serving the idea of \u200b\u200bthe idea, would preserve their individuality," said Seaas. A similar "sensual form", in which the idea is checked - a symbol.

The fundamental difference of the symbol from the artistic image is its meaningfulness. The symbol cannot be decrypted the efforts of the mind: on the last depth it is dark and is not available to final interpretation. Symbol - window in infinity. The movement and the game of semantic shades create non-judgment, the mystery of the symbol. If the image expresses a single phenomenon, the symbol is in charge of a number of values \u200b\u200b- sometimes opposite, multidirectional. The playback of the symbol dates back to the romantic idea of \u200b\u200bthe dvoemiria, the interpenetration of the two plans of being.

The multi-layerness of the symbol, its unlocked multi-consciousness relied on mythological, religious, philosophical and aesthetic ideas about supercrossibility, incomprehensible in its being.

The theory and practice of symbolism were closely conjugated with the idealistic philosophy of I.Kanta, A.Shopengauer, F. Schellling, as well as reflections F. Nitsche about superman, staying "on the other side of good and evil." At its heart, symbolism was closed with the Platonic and Christian concepts of the world, having learned the romantic traditions and new trends.

Not realizing the continuation of some particular direction in art, symbolism carried the genetic code of romanticism: the roots of symbolism - in the romantic commitment to the highest principle, the ideal world. "The pictures of nature, human acts, all the phenomena of our lives are meaningful for the art of symbols, not by themselves, but only as intangible reflections of the primary, which have been placed on their secret affinity with them," wrote J. Moreas. From here, the new tasks of the art, elected earlier on science and philosophy, to come close to the essence of the "real" by creating a symbolic picture of the world, forge "the keys of secrets".

Formation symbolism

1 Western European symbolism

As an artistic course, symbolism publicly declared itself in France, when a group of young poets, in 1886, which rushed around S. Mallarm, was aware of the unity of artistic aspirations. The group includes: J. Seaas, R.Gil, Henri de Reno, S. Merril, and others. In the 1990s, P. Valerie, A. Ya, P. Klodel joined poets. The design of a symbolism in the literary direction was a lot of facilitated by P. Motlen, who published his symbolistic poems in the newspapers "Paris" and "Cursed poets", as well as Zh.K. Guismans, who spoke with the novel "On the contrary". In 1886, the manifesto of the symbolism was placed in Figaro to Figaro, in which the basic principles of the direction formulated, relying on the judgments of S. Bodler, S. Mallarm, P. Carllen, S.Anry. Two years after the Publication of Manifesta, J. Seaasa A. Bergson released his first book "On direct data of consciousness", in which the philosophy of intuivism was stated, in the basic principles echoing with the worldview of symbolists and gives it an additional rationale.

2 Symbolism in France

The formation of a symbolism in France - a country in which the symbolist movement originated and bloomed, is due to the names of the largest French poets: S. Bodler, S. Mallarm, P. Carllen, A. Grazo. The forerunner of the symbolism in France is S. Bodler, who released in 1857 the book "Flowers evil". In search of paths to the "unspeakable" symbolists, the thought of Bodler about "correspondences" was picked up between flowers, smells and sounds. The proximity of various experiences should, in the opinion of symbols, put in the symbol. The motto of symbolistic quest was the sonnet of the Baudelair "Compliance" with the famous phrase: "Sound, smell, shape, color." Search for compliantations - at the heart of the symbolistic principle of synthesis, unification of the arts.

S. Mallarm, "The Last Romance and the First Decadent" insisted on the need to "instill images", to transfer not things, and their impressions of them: "Call the subject means to destroy three quarters of pleasure a poem, which is created for gradually guessing, inspire it - Here is a dream. "

P. Carllen in the famous poem "Poetic Art" determined the commitment of musicality as the main admission of genuine poetic creativity: "Music is primarily". In the presentation of the Reline, poetry, like music, seeks to the medium, non-verbal reproduction of reality. Like a musician, the poet symbolist rushes towards the echrial flow of the exhaust, the energy of the sound. If the poetry S. Bodler inspired the symbolists in a deep longguing in harmony in a tragically forced world, the poetry of Verlene struck with their musicality, difficult-to-worn experiences. Following the faithful, the idea of \u200b\u200bmusic was used by many symbols to designate creative secrets.

In the poetry of the genius young men A. Grab, for the first time, who used the Verlibre (free verse), was embodied by symbolists to armared the idea of \u200b\u200brefusal from "eloquence", finding the point of crossing between poetry and prose. Coming in any, the most non-elective spheres of life, Rambo reached the effect of "natural supernaturalness" in the image of reality.

Symbolism in France manifested itself in painting (Moro, O. Emin, O. Redon, M. Denis, Puwa de Chavann, L. Levi-Durmer), music (Debussy, Rather), Theater (Poet Theater, Miksta Theater, PC Theater du Marionette), but the main element of symbolistic thinking always remained lyrics. It was French poets that were formulated and embodied the basic covenants of the new movement: mastering creative secrets through music, deep compliance with various sensations, the maximum price of a creative act, installation on a new intuitive way of knowledge of reality, on the transfer of elusive experiences. Among the forerunner of the French symbolism, all the largest lyrics from Dante and F. Viyon were realized, to E.P. and T. T.

3 symbolism in Western Europe

Belgian symbolism is represented by the figure of the largest playwright, poet, Esseist M.Terlinka, famous for the play "Blue Bird", "Blind", "Miracle of St. Anthony", "there, inside." According to N. Berdyaeva, Meterlink depicted "eternal, purified from all impurities a tragic start of life." Most viewers of contemporaries play Materilline were perceived as rebuses that need to solve. The principles of his creativity M.Terlink identified in the articles collected in the "Treasure of Smirien" tract (1896). The basis of the treatise is the idea that life is a mystery in which a person plays an inaccessible mind, but a role intelligible inner feeling. The main task of Materillink's playwright considered the transfer of non-action, but states. In the "treasure of humbled" metrylink, the principle of the "second plan" dialogues were put forward: for the outwardly random dialogue, the meaning of words originally excreted insignificant. The movement of such hidden meanings made it possible to beat numerous paradoxes (the wondery of everyday, shallow blindness and blindness, madness of normal, etc.), dive into the world of hardly catchy sentiment.

One of the most influential figures of the European symbolism was the Norwegian writer and playwright G. Ibsen. His plays "Per Gunt", "Gedda Gabler", "Puppet House", "Wild Duck" combined concrete and abstract. "Symbolism is a form of art that simultaneously satisfies our desire to see the embodied reality, and climb over it, - IBSEN defined. - Reality has a reverse side, the facts have a hidden meaning: they are the material embodiment of ideas, the idea is represented through the fact. Reality is a sensual image, a symbol of the invisible world. " Ibsen delimited his art and French version of symbolism: his drama was built on the "idealization of matter, the transformation of real", and not in search of the proven, otherworldly. Ibsen attached a specific image, the fact of symbolic sound, raised it to the level of mystical sign.

In the English literature, symbolism is represented by the figure of O. Aild. The patch of the bourgeois public, the love of paradox and aphorism, the life concept of art ("Art does not reflect life, but creates it"), hedonism, frequent use of fantastic, fabulous plots, and later "uncoolency" (the perception of Christ as an artist) allow Take O. Uald to writers of symbolist orientation.

The powerful branch of the symbolism gave in Ireland: one of the greatest poets of the 20th century, Irishman U.B. Yeats counted himself to symbolists. His poetry, performed by the rare complexity and wealth, was fed by Irish legends and myths, theosophy and mysticism. The symbol, as Jeels explains, is "the only possible expression of a certain invisible essence, a matte glass of the spiritual lamp."

Creativity R.M. Rilek, S.Gorge, E. Terem, also associated with symbolism, Annunzio, A. Prinberg, etc.

Symbolism in Russia

After the defeat of the revolution 1905-07. In Russia, the mood of decadency received special distribution.

Decadence (Franz. Decadence, from Late Late. Decadentia - decay), the general name of the crisis phenomena of the bourgeois culture of the late 19th - early 20th centuries, noted by the sentiments of hopelessness, the rejection of life, individualism. A number of decadent mindshooting features also distinguishes some directions of art that are combined with the term modernism.

A complex and controversial phenomenon, a decadence has a source of a crisis of bourgeois consciousness, confusion of many artists in front of sharp antagonisms of social reality, before the revolution, in which they saw only the destructive power of history. From the point of view of decadents, any concept of public progress, any form of socio-class struggle pursue rough utilitarian goals and must be rejected. "The greatest historical movements of humanity seem to be deeply" mesh "by their nature." The refusal of art from the political and civil topics and the motives of Decadents considered the manifestation of freedom of creativity. Decadent understanding of individuals' freedom is inseparable from the aesthetization of individualism, and the cult of beauty as the highest value is often imbued with immoralism; Permanent for decades are the motives of non-existence and death.

As a characteristic trend of time, the decadence cannot be attributed entirely to any particular one or several directions in art. The rejection of reality, the motives of despair and all-negious, longing for spiritual ideals that took artistically expressive forms among major artists captured by decadent moods caused sympathy and support from the realist writers who preserved faith in the values \u200b\u200bof bourgeois humanism (T. Mann, R. Martin Du GAR, W. Falkner).

In Russia, decadency was reflected in the work of poets symbolists (primarily t. N. "Senior" symbolists of the 1890s: N. Minsk, Decadents of Merezhkovsky, Z. Gippius, then V. Brysov, K. Balmont), in a number of works L. N. Andreeva, in the writings of F. Sologuba and especially in naturalistic prose M. P. Arztsybasheva, A. P. Kamensky, etc.

The flourishing of Russian symbolism fell on the nine-day years, after which the movement began to decline: within the framework of the school there are no longer significant works, new directions arise - acmeism and futurism, the symbolistic minority ceases to correspond to the dramatic realities of the "present, nekhalandar twentieth century". Anna Akhmatova so described the situation of the beginning of the tenths: "In 1910, the symbolism crisis was clearly marked, and beginner poets were no longer adjacent to this flow. Some went to futurism, others in aqmesis.<…> Undoubtedly, symbolism was the phenomenon of the nineteenth century. Our riot against symbolism is completely legitimate, because we felt like people of the twentieth century and did not want to live in the previous one. "

Only the authors who were engaged in the problems of the single, plenty of the new class - proletariat fell into the Soviet textbooks of literature. Nevertheless, the remaining classes were allowed in "high art" only in terms of the crushing of their viciousness (aristocracy), passivity (intelligentsia) and frank hostility (bourgeoisie) in the construction of a new society - classless and, by and large, non-economic communism. Naturally, with this approach, many authors were frankly relended, the other - the advocates of "pure art", not at all concerned about economic and class problems - from the Soviet history of the literature, simply threw or declared "fallen followers of idealistic philosophy".

Despite this, in Russian soil, such features of symbolism appeared on the Russian soil, the mold of artistic thinking, the perception of art as a way of knowledge, the pointing of religious and philosophical issues, neoromantic and neoclassical trends, the intensity of the world, neomymphologism, the dream of the synthesis of arts, rethinking the heritage of the Russian and Western European Cultures, installation at the limit price of a creative act and livestock, deepening in the scope of the unconscious, etc.

Numerous rollouts of the literature of Russian symbolism with painting and music. Poetic dreams of symbols find conformity in the "gallant" painting by K.Sovov, the retrospective dreams of A. Benua, "Cutting Legends" M. Vrubel, in the "motifs without words" V. Borisov-Musatova, in the exquisite beauty and classical disgracement of the cloth Zserbryakova , "Poems" A.Chryabina.

The title in the movement of the artistic symbolism on the right belongs to M.A.Vrubel, who has absorbed all the contradictions, all the depth of the ingenious insights and the tragic prophecies of time. In his spiritual providence, he often ahead of the discovery of literary and philosophical thought, with its formal innovations laid the foundation of the plastic features of modernity. In his graphic heritage, as well as in all his work, the task of the synthesis, which is manifested as in the desire to create the stylistic unity of all the visual arts, the construction of a new artistic space, and in ideological "Polestetism".

The symbolism in the dense space of art of the late XIX - the beginning of the 20th century was in parallel with the development of other important artistic processes in Russian culture. A national feature of him was the complex structure of relationships when the total soil of the all-mixed ideas of the European and domestic philosophical and aesthetic thought was also energized and symbolism (belated compared with Western European) and the directions of the Russian avant-garde. Not a gift of the synthetic category, intuusionism, illusion, cardinal in the creative method of symbolism, became one of the fundamental and in the art of avant-garde.

In this situation, an artistic symbolism, who accepted the aesthetic program of the Russian literary symbolism and distinguished by great heterogeneity (we note that all the largest masters of the avant-garde experienced his impact in the early stages of their creativity), did not put forward the problems of the form.

At the turn of the centuries, Russian art overcomed the national framework and became a world-class phenomenon. It used all the wealth of world and its own cultural traditions for the formation of a domestic modern. The artistic language of modern language in Russia manifested itself as in the pan-European version ("Floreal") and in the bouquet of "uncompleteness". The impulse and variable nature of the development of Russian culture clearly manifested itself in the mixture of styles, schools and directions of the silver century. None of the mentioned areas of painting disappeared with the appearance on the stage of a powerful movement of the avant-garde. Only the leader was changed.

Modern has performed as a powerful combining movement of culture based on the synthesis of arts, first of all - music, painting, theater. He had every chance of becoming a real "big style" of the era. Syntheticism of the silver century served as an accelerator of the production of type of new culture.

Conclusion

Symbolism as an artistic direction arose in Europe in the 60s - 70s. And quickly covered all areas of creativity from music to philosophy and architecture, becoming a universal language of culture of the end of the XIX - early XX centuries. The new art wave passed throughout Europe, seized both America and Russia. With the emergence of the flow of symbolism, Russian literature immediately found himself in line with the pan-European cultural process. Poetic symbolism in Russia, "Yighdstil" in Germany, the movement "AR Nouveau" in France, the European and Russian Modern - all this phenomena of one order. The movement to the new language of culture was pan-European, and Russia was among his leaders.

Symbolism laid the beginning of the modernist flows in the culture of 20 V., became an update enzyme, which gave new quality of literature, new forms of art. In the work of the largest writers of the 20th century, both Russians and foreign (A.Akhmatova, M. Tsvetaleva, A. B. Plotonova, B. Pasternak, V.Nabokova, F.Kafki, D.Jaisa, E. Pyunda, M. Prust , U.Folkner, etc.), is the strongest influence of the modernist tradition inherited from the symbolism.

Symbolism turned out to be a new world. It turned out that the era of a certain broken of past values \u200b\u200bcould 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 made a symbol in the toolkit of modernity, he also attracted attention to a possible way after the symbol, to the path intuitive, and not only rational. However, every conquered slice of intuitive knowledge as a result is usually rationalized, because it is narrated, they are called to him. That new, which brings symbolism, can be seen in connecting to modern problems of the entire variety of past crops.

This is how an attempt to illuminate the deepest contradictions of modern culture with colored rays of diverse crops; "We now seek all the past: India, Persia, Egypt, like Greece, like the Middle Ages, come to life, rush past us era, we are closer. It is said that in the important hours of life, the whole life flew by the spiritual gaze; Nowadays, the whole life of mankind flies by us; We conclude from here that for all mankind they struck an important hour of his life. We truly touch something new; But touches it in the old one; In the overwhelming abundance of the old - novelty of the so-called symbolism "

This paradoxical statement is the most "modern" direction for the period sees its novelty in clear references to the past. But it reflects the actual inclusion in the "data bank" symbolism of all eras and all nations. Another explanation of this phenomenon can be the fact that symbolism in a certain sense goes to the metaurion, generating not only texts, but also the theory of them, and this kind of "self-describing" is strongly crystallized around themselves not only their reality, but also any other.

Thus, the change in the ideological basis at the turn of the XIX - XX centuries. Connected with creative searches in the area of \u200b\u200bthe artistic language. The most full-blooded result of the change was expressed in the formation of aesthetic system of symbolism, which became an impulse of updating of all spheres of culture. The top of poetry symbolism falls on the generation of A.A. Blok and A. White, when the artistic language of new art was developed on the basis of retrospectivism, the synthesis of various areas of creativity, installation on the co-authorship of the creator and consumer of the cultural product.

Symbolism played the role of a form-forming, carrier aesthetic structure for the entire Russian culture of the beginning of the twentieth century. All other aesthetic schools, in fact, or continued and developed the principles of symbolism, or competed with it.

Bibliography

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

Flow symbolism

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

"Senior" symbolists

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

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

"Junior" poets symbolists

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

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

Features of early symbolism

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

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

New trends

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

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

Symbols and revolution

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

Decline symbolism

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

List of basic poets representing symbolism in literature

• Innokenty Annensky;
• Valery Bryusov;
• Zinaida Hippius;
• Fedor Sologub;
• Konstantin Balmont;
• Alexander Tynyakov;
• Wilhelm Zorgenfray;
• Alexander Dobrolyubov;
• Victor Strazhev;
• Andrey White;
• Konstantin Fofanov;
• Vyacheslav Ivanov;
• Alexander Blok;
• Georgy Stockhkov;
• Dmitry Merezhkovsky;
• Ivan Konevskaya;
• Vladimir Phas;
• Polyken Solovyov;
• Ivan Manduts.