Russian symbolism as a literary direction is the main features and characteristics. silver Age

Modern

Modern (Franz. moderne. - The newest, modern) is an artistic style in Evpouch and the ICCCTWER NA PYBEE XIX-XX. In different countries, various names were obtained: in Russia - Modern, in France, Belgium, England, "AR Nouveau", in Germany - "Yighdstil", in Austria-Hungary - "Specialist", in Italy - "Liberty".
The aesthetic-philosophical basis of Modern has become symbolism.
Despite its sophistication and refinement, modern was focused on the mass consumer, while maintaining the principle of "art for art".
The beneficiality of the benefits of the ICCCCTVA of the Paznx Epox will also have completed, and you have been able to use XyDelectful, OCNEFFAX, OPNAnTables and DEKOPATIVE.
The prevailing motifs of modernity are poppies, irises, lilies and other plants, snakes, lizards, swans, waves, dance, as well as the image of a woman with fluttering hair. Cold tones are dominated in the color scheme. The compositional structure is characterized by an abundance of curvilinear outlines and sewing uneven contours.
Modern covered all types of plastic arts - painting, graphics, decorative and applied and theatrical and decoration art, architecture.
The ideas of creating a single artistic decorated home appointed environment were greatly distributed.
Artist's artists of the modern man sought to universalism, dealing with various types of artistic activities. The members of the World Art of Art (K. Somov, N. Sapunov, M. Dobuzhinsky, S. S. Sapunov, M. Dobuzhinsky, S. S. Sapunyn, and others), who combined painting, graphics, decorative and applied creativity, sculpture in their work.

SYMBOLISM. The symbolism in the literature is called such a flow at which the symbol (see. Symbol) is the main technique for artist for the artist, who is in surrounding reality only the correspondences with the other world.

Under the grinding of the substance
I turned a rapid porphyra - -

vladimir Solovyov wrote, teacher Andrei White and Alexander Blok. For representatives of the symbolism "All - only a character." If the rose is important for a reality by itself, with its own delicate petals, with its aroma, with its own-black or pink-gold color, then for a symbolist not an affluent world, the rose is only conceivable like Mystical love. For a symbolist, reality is only a jump in an unknown jump. With symbolic work, two content are organically merged: hidden distraction, imaginable similarity and explicit Concrete image.

Alexander Blok in his book "On the current state of Russian symbolism" connects symbolism with certain worldview, he deletions between that The visible world, the gross boalan, on the stage of which the puppets are moving, and the world of the other, long-night shore, where the "The eyes of the blue bottomless" mysterious stranger bloom, as the embodiment of something unclear, unknowable, forever feminine. The poet symbolist comes from opposition to this world

worlds are different, he does not have a stylist, and priest, the prophet, who is the owner of secret knowledge, with his own symbol images, as a sign, he is "distortion" with the same mystics, which "all the mystery of the coming meeting" who are worn by the dream to Mira of other "beyond the limits". For poets - mystics symbols, it is "keys tyne", It is" windows in eternity", Windows from this world in other. There is no longer literary, but mystically - the philosophical interpretation of symbolism. The basis of this interpretation is the gap with the reality, the rejection of the real visible world - the Balaganchik with his "cardboard bride" - according to A. Blok's expression, or with its "disgusting", coarse aldons - by expression of F. Sologuba. "Realists are captured as a suit, concrete life, behind which they do not see anything, are symbolists, detached from real reality, see only their dream in it, they look at life from the window" (Mountain peaks, p. 76. K. Balmont ). Thus, the basis of symbolism is the mental splitness, the opposition of two worlds and the desire to escape from this world with his struggle in another, other, unrecognizable world. Embodge from everyday storms and battles in the cell, leaving the tower with windows with color, the poet Mystic serenely contemplates in Buddhist, rolling life - out of the window. Where the masses expire in blood in the struggle, there the retired poet dreamer creates his legend and turns the gross aldons and an excellent Dulcine. The noise of the sea surf hears in the sink of his characters, and not before the face of the turbulent element.

Created I am a dream
Peace perfect Nature.
Oh, how insignificant before
Rivers and rocks, and water ...

(Valery Bryusov).

The poet is experiencing a special happiness "to escape the irrevocably soul of his soul to the fact that I am fleeing that shines with joy other Being "

(K. Balmont).

Such an attitude to the surrounding life, by reality, is far from the visible world. It is a significant and

characteristic for the late 19th century. "It is impossible not to recognize - writes K. Balmont, - that the closer we are to a new century, the votes of symbolist poets, the need for more sophisticated ways of feelings and thoughts is becoming more perceptible, which is the distinctive feature of the symbolic poetry." (Mountain vertices, p. 76). The need to escape from reality to the world of unclear characters, full of mystical experiences and premonitions, has occurred more than once among those romantics, unacceptable world, which were worn by a dream to a blue flower, to an excellent lady, to forever feminine.

Medieval romantics replaced romance German early 19th century. Neoromantica of the late 19th century is connected with the romance, neoromantics of symbolists: Oscar Wilde, Fields of Veline, Stephen Mallarm, Arthur Rambo, S. Bodler, Alexander Blok, Andrei White, F. Sologuba, Vladimir Solovyova; The same gap with this world, the same protest against rough reality.

If the end 18 and the beginning of the 19th century - the collapse of feudalism, then the end of the 19th century is the collapse of the 3rd estate, which was nothing and became all, and which was waiting for his grave. The end of the 19th century is the collapse of bourgeois culture, it is a formidable approach of the new century, fraught with revolutions.

The end of the 19th century, associated with the death of some classes and the performance of others, full of disturbing sentiment and premonitions among representatives of the dominant classes. Those social strata by which the reality of death is responsible to correspond with the reality of the reality itself, as reality denies themselves and hurry, according to Nietzsche's expression, "to cover their head in the sand of the heavenly things."

Corresponding to doubts Hamlet bourgeois society speaks by his Muse: "Ophelia! Founded to the monastery from people. "

On the one hand, the fear of "barbarians", "Scythians", "Coming Huns", "Coming Hama", all those who own the future of all those who carry the death of old culture, old privileges, old

cumiram, and on the other hand, contempt for the tavern to the dominant layer, with which the bourgeois aristocrats of the Spirit, all creates a transitional, unstable, intermediate position. The destruction of the old life, the ambiguity of the new, lifelessness leads a ghostly life to something ghostly, foggy-blurry. The poet rejects the despicable world, the damned world, begins to love the "clouds of the rimperic", legend and dreams, poetry of irreparable sentiment and gloomy premonitions.

If a representative of an organic creative era and the winning class is a realist and creates certain, clear, day-old images, the representative of the era of the critical, the representative of the dying class lives in the ghostly world of his fantasy and clothe into the symbols of foggy, unclear vague ideas. The poetics of symbolists grows on the basis of the soil of the ghostly and unclear, anxious and dual.

Symbolism and its poetics. Symbolists are reproached in the causing darkness, in the fact that they create encrypted poetry, where words - Hyeroglyphs need as the figures of the rebusa in the guess that their poetry is for dedicated to single sophias. But ambiguity, vagueness, the duality of the experiences is also associated with the appropriate form. If the classically clear Kuzmin speaks about the croupism - clarity in poetry, then the romantic poet of the occultist Andrei White loved the "current of darkness". At the sincere symbolist poet, Alexander Blok, "Dark Hands of the Soul is predicted." B Small drama A. King "King on Square" Daughter of the Arch Republic addresses to the poet, poet the prophet with the words:

Safety soul yours
And I love dark speeches.

The poet answers:

I vague Just like to talk,
Talking souls - non-promenade.

The field is ridiculous in its poetry by the link and unclear how the ambiguous

johnda smile, the same dark speeches and the same vague ....

As if he shines someone's eyes
Through the veil...

Poets symbolists avoid bright colors and a clear drawing. For them "The best song in shades Always "(Verlang), for them" the finest paints are not in bright consonant "(K. Balmont). The sophisticated, tired, shallow soul, the poet of the outgoing life souls catch "the shadows of the outstanding day."

Colorful, accurately and clearly chased words do not satisfy poets - symbolists. They need "words - chameleons", sing words, singers, they need songs without words. Together with Fetom, they repeated repeated: "Oh if it can be affected by the soul", together with the field of Verlen, they are the basis of their poetry, the music style is considered:

Music, music primarily

(Verrahan).

Poets symbolists their unclear attacks of premonition and misty dreams are transmitted in musical consonents, "in barely noticeable tremors strings" They embodied their dreams and insight into musically sounding images. For Alexander Blok, this most string from all poets, all life is "Dark music, sounding only about one star. " He is always captured by one " musical theme. He speaks of his writer manner:

Always pousing, always melodious,
Flooring fogs of verse.

A vague and foggy, unrecognizable, unraded to say the souls cannot be conveyed by words, they can be inspired by musical consonents, customizing the reader to consonant in the poet with the poet priest, the poet of prophetically unclear as an ancient Pythy.

Just like in France, the picturesque style of the Hugo, Flaubert, Letonte de Lily, Gautho, the brothers of the gonkels who conscious in their "musical deafness" came to the change of marble architectural style of classics, and the musical style of symbolists came to replace painting and plastic, blinded for real life.

These guests of the paradise side find the charm of their symbolic dreams in the beauty of musicality. In his poem "Chords" K. Balmont writes or sings:

And in mute musicality
This new mirror
Creates their live dance
The new world is underwater
But with the associated
In the depth of reflective waters.

When K. Balmont read the lion to Tolstoy his poems, chanting the "scent of the Sun", did not understand them and said: "What a cute nonsense". I didn't understand the most vile from realists, I did not hear the musical out of symbolists ... He had to say: "What does it ring," and he asked himself: "What is dominated by me?" The first book of poems K. Balmont issued in 1890 was simple and understood, but not characteristic of the poet. Only after the translations of the musical poets Shelly and Edgar Pochkan poetry A. I. Urusov opened K. Balmont Balmont, emphasizing his main thing: "Love for poetry consonant, worship before sound musicality." This love for poetry consonance is characteristic of Symbols Shelly, Edgar Poe, Stef. Mallarm, Verlena fields, F. Sologuba and V. Brysov. Not a gift, the symbolists were passionate fans of Wagner's music. Mallarm - a Matcher of French Symbolists loved to visit concerts of a conversion in Paris, and sitting in the first row with a notebook, he was given poetry consonant to the music of Wagner. Junior Konevskaya One of the first Russian symbolists went to Bayreit to hear Wagner music in the Wagner Temple. Andrei White in his wonderful poem "First Movie" Heats Symphony Concerts in Moscow, where his poetic heart flourished. When in 1894 the first collections of Russian symbolists appeared sounded in the belling sonorous silence; The very title talked about music first of all: "notes", "chords", "Gamma", "Suites", "Symphony".

For the poet-symbolist, the musicality, the singularity of the verse is in the first place, he seeks not to convince, but set up.

Perhaps everything in the world only means
For bright Pevichiy poems
And I'm from a carefree childhood
looking for combination words.

he says the poet symbolist, seeking to tell the verse to the bright singer, the melody through a skillfully selected combination of words, letters, through a complex tool tool and its fraud. Take the poems of Edgar Poe, in the translation of Balmont "Bells and Bells", "Raven", "Annabelley" - you will immediately feel that the symbolists created a new poetic. Brilliant treatise Edgar Pooh "Philosophy of Creativity" in introducing you to workshop of creativity (see t. II Op. Po in Per. Balmont). Listen to the thick blows of the Big Bell and the chime of small, and then read the poem of Balmont:

Oh, quiet Amsterdam
With sad chime
Vintage bells
Why am I here, not there ...

All poem is built on a combination of dental, smooth and parallers. Selection of letters D, T, L, M, N, Well allows the poet to build his musical an elegue and capture, we have a singer of the evening bell tongue in Amsterdam:

Where devotee dreams
Some kind of ghost sick.
Longing with long moan
And eternal chime
Sings here and there:
Oh, quiet Amsterdam,
Oh, quiet Amsterdam.

In the poems "Butter", "moisture", "Kamyshi", "Rain" Balmont reaches external musical means, sound symbolism of extraordinary results. He was right when exclaimed:

Who is equal to me in my singement force?

No one! No one!

Symbols in the field of vehicle musicality, in variability, in the diversity of rhythms, in the prowiness of the verse, opened a new page in the history of poetry, they surpassed Feta and even Lermontov. Valery Bryusov in 1903 in the world of art (№ 1-7 p. 35) wrote: "There was no equal Balmont in the art of verse in Russian literature. Could seem in the heads

Feta Russian verse has reached extreme carelessness, airiness. But where others saw Balmont's limit, loyalty opened. Such an unattainable singer's sample, like Lermontovskoe "in the air ocean" completely fades before the best songs of Balmont. " Valery Bryusov himself, this eternal experimentator, in his experiments and technical exercises made a lot in the field of musical style of symbolists. He managed to transfer the entire orchestra of urban sounds: "Gula, talk, roar wheels." Sometimes purely external emphasized musicality unpleasantly cuts the ear, and the same balmont has not enough gross poems, similar to a parody, like a famous poem:

Evening, seaside, sigh wind,
Music exclamation of waves ...
Near the storm to the shore beats
Alien Charm Black Chill. "

All this justifies the parodies of the ll. Solovyov:

Mandragora immibra
Rustled in reeds,
And Sherchavo-Deferates
Virsha in worst ears!

Unlike externally Music K. Balmont, Poet Alexander Blok internally Music. He reaches the musical suggestion of the topics of the theme, composition, without emphasizing its associations and alliterations (see these words).

The poetics of symbolism with her hint and suggestion, with her musical campaign and setting up, brought together poetry with the music and introduced us to enjoy guessing. After symbols, rough, documentary, household naturalism does not satisfy us. Neanalists of prose and poetry learned a lot from symbols; They hovered the deepening and spirituality of the images, they follow in the footsteps of A. P. Chekhov, V. G. Korolenko, Sergeeva-Portha ...

In the above article "The Philosophy of Creativity", written about the symbolic poem "Raven", Edgar explains why his story about the ravene, who fell at night in a room of a lonely man that tastes along the dead beloved, went beyond

his explicit phases beyond real and got hidden Symbolic meaning when we see something emblematic, image-symbol of gloomy, never stopping memories:

Remove your hard beak from the heart
My, where the sorrow is always!
Curved raven: - Never!

"When developing a plot, at least skillful, and at least an event was decorated very brightly - he writes Ed. Poe - There is always known stiffness, nude, repelled artistic eyes. There are certainly two things: firstly the well-known degree of complexity, more precisely, matching; Secondly, the well-known degree of suggestibility is some, at least indefinite underwater. It is this last special way gives the work of art so much wealth (I take a forced term from everyday life), which we too willingly mix with feeling ideal"(T. II p. 182. Translation of Balmont). The value of the symbolism is that he has enriched poetry new techniques, the expilation influenced images, the suggestibility, told the style of singer and musicality. The complicated life, complex experiences of complex, not simple, differentiated personalities were found in symbolism their vivid expression. Symbolism imposed its own seal and Russian literature.

SYMBOLISM(from Fr. Symbolisme, from Greek. Symbolon - a sign, identification 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 centuries . Huge importance symbolism had in the Russian art of the same period, which acquired in art historian science determination "Silver Age".

Symbol and artistic image.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. Moreas, R.Gil, Henri de Reno, S. Mehril and others. In the 1990s, the poets of the Mallarm group joined P.Valery, A.Zhid, P.Klodel. The design of a symbolism in the literary direction was a lot of contributed to P. Motlen, who published in the newspapers "Pariot of Modern" and "La Nuvel Riv Gosh" his symbolistic poems and a series of essays Cursed poets, as well as J.K.Guysmansromance On the contrary. In 1886, J. Moreas placed in Figaro Manifesto symbolismwhich formulated the basic principles of the direction, relying on judgments Sh. Bodler, S. Mallarm, P. Carllen., S.Anry. Two years after the publishing of Manifesta J. Moreas A.Brgson released his first book On direct data consciousnessIn which the philosophy of intuivism was announced, in the basic principles, the symbolists echoing with the worldview and the additional rationale gives it.

IN Manifesto symbolists J. Moreas 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. In Russian soil, this feature of the symbol was successfully determined. F.Sologubom: "Symbol - window in infinity." Movement and the game of semantic shades create non-core, 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 (for example, "miracle and monster" in the image of Peter in the novel Merezhkovsky Peter and Aleksey). Poet and theoretical symbolism Vyach.Ivanov expressed the idea that the symbol marks not one, but different essences, A. Boya Detected a symbol as "compound of heterogeneous together." 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". It is the symbol, and not exact sciences will allow a person to break through to the ideal essence of the world, pass, by definition of Vyach.Ivanov, "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.

The formation of symbolism in France - the country in which the symbolist movement originated and bloomed, is due to the names of the largest French poets: Sh. Bodler, S. Mallarm, P. Carllen, A. Grazo. Forerunner symbolism in France - S. Bodler, who released a book in 1857 The flowers of 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 became Sonnet Bodler Compliance With the famous phrase: Sound, smell, shape, color. Bodler's theory was later illustrated by Sotethoma A.Mbo Vowels:

« BUT» black White« E.» , « AND» red,« W.» green,

« ABOUT» Blue - Color bizarre riddles ...

Search for compliantations - at the heart of the symbolistic principle of synthesis, unification of the arts. The motives of the interpenetration of love and death, genius and illness, the tragic gap between the appearance and the essence contained in the Baudelair book became dominant in the poetry of symbolists.

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. " Poem Mallarm Luck will never abolish the case It consisted of a single phrase scored by various fonts without punctuation marks. This text, according to the author's plan, allowed to reproduce the trajectory of thought and accurately recreate the "state of the soul".

P. Motlen in a famous poem Poetic art Identified 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. So in the 1870s, Vellen created the cycle of poems called Songs without words. Like a musician, the poet symbolist rushes towards the echrial flow of the exhaust, the energy of the sound. If the poetry sh. Bodler inspired the symbolists in a deep longguing in harmony in a tragically fused world, the poetry of Verlene hit his 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.Orine, O. Roton, M. Deni., Puwa de Chavann, L. Lawy-Durmer), music ( Debussy, Retow), Theater (Theater Poet, Mix theater, PC Theater Du Marionette), but Lyrics always remained the main element of symbolistic thinking. 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 forerunners of the French symbolism were aware of all the largest lyrics from Dante and F. Viyona, before E.P. and T.G..

Belgian symbolism is represented by the figure of the largest playwright, poet, esseist M.TerlinkaFamous play Blue bird, Blind, Miracle of St. Anthony, There, inside. Already the first poetic collection of metrylinka Greenhouses It was saturated with unclear hints, symbols, the heroes existed in a semi-infantastic setting of a glass greenhouse. According to N. Berdyaev, 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 treatise Treasure smirny (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 Treasure smirny Meterllink put forward the principle of the "second plan" dialogues: for the outwardly random dialogue, the meaning of words originally apparent is 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 European symbolism was the Norwegian writer and playwright Gibsen. His plays Per Gunt, Gedda Gabler., Dollhouse, 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 English literature, symbolism is represented by the figure O.Wailde. 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.Hald to writers of symbolist orientation.

The powerful branch of the symbolism gave in Ireland: one of the greatest poets of the 20th century., Irishtz U. B.yates counted himself to the 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 is also associated with symbolism R.M. Rilek, S.GORGE, E. TERNA, GDanundzio, A. Prinberg. and etc.

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.

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.

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

1. White A. Symbolism as a worldview. M., 1994.

2. White A. The meaning of art // White A. Criticism. Aesthetics. Theory of symbolism. In 2 tt. - T. 1. - M., 1994.

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

4. Mikhailovsky B.V. Russian literature of the twentieth century: from the 90s. XIX century until 1917 - L. 1989.

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

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

7. Payman A. The history of Russian symbolism. M., 1998.

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

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

10. Sarabianov D.V. The history of Russian art of the late XIX - early twentieth centuries. M., 1993.

11. Encyclopedia of symbolism / ed. J. Kass. M., 1998.

Symbol and artistic image. 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 included: J. Moreas, R.Gil, Henri de Reno, S. Merte, and others. In the 1890s, P. Valery, A. Hid, P. Kloodel joined poets. The decoration of the symbolism in the literary direction was a lot of facilitated by P. Maulle, who published his symbolistic poems in the newspapers "Parius" and La Nuell River Gosh "and a series of essays damned poets, as well as J.K. Gyuismans, who spoke with the novel" on the contrary. " In 1886, J. Moreas placed the symbolism symbolism in Figaro, in which the basic principles of the direction formulated, relying on the judgments of W. Bodler, S. Mallarm, P. Carllen, S. Yarry. Two years after the publication of Manifesta, J. Moreas A. Bergson released his first book about the direct data of consciousness, in which the philosophy of intuivism was stated, in the basic principles echoing with the worldview of symbolists and gives him an additional rationale.

In the manifest of symbolists, J. Moreas determined the nature of the symbol, which displaced the traditional artistic image and became the main material of symbolistic 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. In Russian soil, this feature of the symbol was successfully determined by F. Sologub: "Symbol - window in infinity." Movement and the game of semantic shades create non-core, 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 poet and theoretics of symbolism V.Ivanov expressed the idea that the symbol marks not one, but different essences, A.Bold defined the symbol as "compound of heterogeneous together." The playback of the symbol dates back to the romantic idea of \u200b\u200bthe dvoemiria, the interpenetration of the two plans of being.

Formation of symbolism in France - The country in which the symbolist movement originated and bloomed, is due to the names of the largest French poets: S. Bodler, S. Mallarm, P. Motlen, A. Grazbo. The forerunner of the symbolism in France - S. Bodler, who released the evil flowers in 1857. In search of ways to the "unspecified" symbolists, thought was picked up

P. Maullen In a 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. So in the 1870s, Verlene created the cycle of poems called the song without words. Like a musician, the poet symbolist rushes towards the echrial flow of the exhaust, the energy of the sound. If the poetry sh. Bodler inspired the symbolists in a deep longguing in harmony in a tragically fused world, the poetry of Verlene hit his musicality, difficult-to-worn experiences. Following the faithful, the idea of \u200b\u200bmusic was used by many symbols to designate creative secrets.

Symbolism in France also manifested itself in painting (Moro, O. Eden, O. Rod, M. Deni, Puwa de Chavann, L. Levi-Durmer), music (Debussy, Ravel), 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.

Belgian symbolism She 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. Already the first poetic collection of metterish greenhouse was saturated with unclear hints, symbols, the heroes existed in a semi-infantastic setting of a glass greenhouse. 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 its creativity M.Terlink identified in the articles collected in the treatise of the treasure of humbled (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 the humble metrylink, the principle of the "Second Plan" dialogues was put forward: the value of words initially seemingly incognizes is manifested for an externally casual dialogue. 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, a 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 English literature symbolism Recessed the figure O.OUild. 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.Hald to writers of symbolist orientation.

The creativity of R.M. Rilek, S. George, E. Teremn, Gd.anunzio, A.Stinberg, and others are also associated with symbolism.

"Symbolism" - direction in European and Russian art, which emerged at the turn of the XX century, focused mainly on artistic terms through Symbol "Things in yourself" and ideas outside sensual perception. In an effort to break through the visible reality to "hidden realities", over the temporary ideal essence of the world, its "non-rented" beauty, the symbolists expressed long-term fatigue, the tragic premonition of world socio-historical shifts, confidence in the age-old cultural values \u200b\u200bas a unification of the beginning.

The culture of Russian symbolism, as well as the style of thinking of poets and writers who have formed this direction, arose and developed at the intersection and mutual addition, externally opposing, and in fact firmly related and explaining one other lines of philosophical and aesthetic attitude to reality. It was a feeling of an unprecedented novelty of everything that brought with him the borders of the centuries, accompanied by a feeling of disadvantage and instability.

At first, symbolic poetry was formed as a poetry of a romantic and individualistic, separated from the multi-bearing "Streets", who closed his personal experiences and impressions in the world.

Those truths and criteria that were discovered and formulated in the XIX century, now have no longer satisfied. A new concept was required that would correspond to a new time. We must pay tribute to the symbols - they did not joined any of the stereotypes created in the XIX century. Nekrasov was dear to them, like Pushkin, Fet - like Nekrasov. And the point here is not in illegibility and omnivorous symbolists. The case is in the latitude of views, and most importantly, in understanding that any major person in art has the right to look at the world and on art. No matter what sights of their creator, the importance of the works of art does not lose anything from that. The main thing that artists of the symbolic direction could not be adopted are complacency and peacekeeping, lack of trepidation and burning.

A similar attitude towards the artist and his creations was also associated with the understanding of what now, at the moment, on the outcome of the 90s of the XIX century, there is an entry into a new - alarming and unfavorable world. The artist must penetrate this novelty, and this not landscaping, to get their creativity with them, ultimately - to sacrifice himself, sacrificing events that are not yet visible, but which are the same inevitability as the movement, time.

"Actually, symbolism has never been a school of art, - wrote A. Belya, - and he was a tendency to a new world-minding, refracting in his own way and art ... And new forms of art considered we did not change one forms alone, but as a distinct sign Changes in the internal perception of the world "" Epic ". Book 3. Berlin, 1922, p. 254 ..

In 1900, K. Balmont acts in Paris with a lecture, which gives a demonstrative title: "Elementary words about symbolic poetry." Balmont believes that the empty place has already filled out - a new direction emerged: symbolic poetrywhich is a sign of time. No about the "spirit of desolation" is not yet necessary to speak. In the report, Balmont tried to outline the state of modern poetry. He talks about the realism and about symbolism as quite equal manirome manners. Equal, but different in their own essence. This, he says, two "different builds of art perception." "Realists are captured, as a suit, concrete life, behind which they do not see anything, are symbolists, detached from real reality, see only their dream in it, they look at life - from the window." So the path of the artist-symbolist is planned: "From the immediate images, beautiful in its own existence, the spiritual ideality to them, which gives them a double power" Balmont K.D. Mountain peaks. Kn. 1. M. 1904, p. 75, 76, 94 ..

Such a look at art required a decisive restructuring of all artistic thinking. It was now not the real conformity of phenomena, but the compliance of associative, and the objective significance of associations was not considered obligatory. A. Boyy wrote: "A characteristic feature of symbolism in art is the desire to use reality as a means of transmitting a consciousness of consciousness experienced. The dependence of the form of visibility on the conditions of the perceive consciousness transfers the center of gravity in art from the image to the method of its perception ... The image, as a model of the consciousness of consciousness, is a symbol. The method of symbolization of experiences with images and there is a symbolism "White A. Arabesque. Book of articles. M., 1911, p. 258 ..

Thus, the first plan put forward poetic allegory as the main method of creativity, when the word, without losing its usual meaning, becomes additionally potential, the most distinct, revealing its genuine "essence" of the value.

The transformation of the artistic image in the "model of the consciousness of consciousness", that is, the symbol, demanded the transfer of reader's attention from what was expressed, on what was meant. The artistic image was at the same time allegory.

The appeal to the implied meanings and the imaginary world, which gave the point of support in search of ideal means of expression, possessed by a well-known attractive force. She served and served in the future the basis for the rapprochement of the poets of symbolism from Vl.Solovyev, which was represented by some of them a seeker of new ways of spiritual transformation of life. The compensation of the events of historical significance, feeling the beating of the settling forces of history and not know how to give them interpretation, the poets of symbolism turned out to be in power of mystico-eschatological ** ESKATOLOGY - Religious doctrine on the end destinies of peace and man. Theories. Then there was a meeting with Vl. Solovyov.

Of course, symbolism relied on the experience of decadent art of the 80s, but it was a qualitatively different phenomenon. And he did not coincide in everything with decadence.

Arriving in the 90s under the sign of searches for new means of poetic image, symbolism at the beginning of the new century and gained the soil in the vague expectations of the nursing historical changes. The acquisition of this soil served as the basis for its further existence and development, but in another direction. Poetry symbolism remained in principle and emphasized individualistic, but it received a problem that was already based on the perception of a particular era. At the soil of anxious expectation, there is now an exacerbation of the perception of reality, which included the consciousness and creativity of poets in the form of certain mysterious and disturbing "time signs". Such a "sign" could be any phenomenon, any historical or purely household fact ("signs" of nature - dawns and sunsets; various kinds of meetings, which were attached to mystical meaning; "signs" of spiritual state - twins; "signs" of history - Scythians, Gunns , Mongols, universal destruction; "signs" of the Bible, who played a particularly important role - Christ, new revival, white color as a symbol of the cleansing nature of future changes, etc.). The cultural heritage of the past was also mastered. From it, the facts were selected that could have a "prophetic" character. With these facts, written and oral performances were widely equipped.

By the nature of its internal relations, the poetry of symbolism developed at the time in the direction of an increasingly deep transformation of direct life impressions, their mysterious understanding, the purpose of which was not the establishment of real connections and dependencies, and the comprehension of the "sweat" meaning of things. This feature was at the heart of the creative method of poets symbolism, their poetics, if we take these categories in conditional and common traits for all the flow.

Nine-day years - the time of flourishing, updates and deepening symbolist lyrics. No other direction in poetry could have competed in these years with symbolism or by the number of collections issued, nor for the influence of the reading public.

The symbolism was an inhomogeneous phenomenon that united in its ranks of poets, which adhere to the most dispensable views. Some of them very soon realized the futility of poetic subjectivism, the other time it took. Some of them were energized to the secret "esoteric" ** esoteric - secret, hidden, intended exclusively for dedicated. Language, others avoided it. The school of Russian symbolists was, in essence, a fairly motley association, especially since they were included in it, as a rule, people are highly expensive, endowed with bright individuality.

Briefly about those people who stood at the sources of symbolism, and about those poets, this area is most pronounced in whose work.

Some of the symbols, such as, Nikolai Minsk, Dmitry Merezhkovsky, began their creative path as representatives of civil poetry, and then began to focus on the ideas of "governments" and "religious community". N. Minsky after 1884 was disappointed in the populist ideology and became a theorist and practice of decadent poetry, preacher ideas of Nietzsche and individualism. In the period of the revolution of 1905, civil motives have emerged in verses of Minsk. In 1905, N. Minsky published a newspaper "New Life", which became the legal body of the Bolsheviks. The work of D.Mergekovsky "On the reasons for the decline and new currents of modern Russian literature" (1893) was an aesthetic declaration of the Russian decadence. In his novels and plays written in historical material and developing the concept of uncoolency, Merezhkovsky tried to comprehend the world history as the eternal struggle of the "Religions of the Spirit" and "Religions of the flesh." Merezhkovsky is the author of the study "L. Tolstoy and Dostoevsky" (1901-02), which caused great interest in contemporaries.

Others - for example, Valery Bryusov, Konstantin Balmont (they were sometimes called "senior symbols") - considered symbolism as a new stage in the progressive development of art, which came to replace realism, and largely proceeded from the concept of "art for art". Poetry V. Brryusov is inherent in historical and cultural issues, rationalism, the completion of the images, the declaration system. In verses K. Balmont - I, the game of mumbling, the opposition to the "Iron Venus" of the primeevally holistic "sunny" beginning; musicality.

And finally, the third is the so-called "younger" symbolists (Alexander Blok, Andrey White, Vyacheslav Ivanov) - were adherents of the philosophical and religious understanding of the world in the spirit of the teachings of the philosopher Vl.Solovyev. If in the first poetic collection of A.Block "poems about the beautiful lady" (1903) there are often ecstatic ** ecstatic - enthusiastic, an inflated, which is in the state of ecstasy. The songs that the poet turned to his excellent lady, then in the collection "Inadequate joy" (1907), the block clearly goes to the realism, stating in the preface to the collection: "Inadequate joy" is my form of the coming world. " For early poetry, A. Belogo is characterized by mystical motives, the grotesque perception of reality ("Symphony"), a formal experimentalism. Vyacheslav Ivanov's poetry is focused on the cultural and philosophical issues of antiquity and the Middle Ages; The concept of creativity is religious and aesthetic.

The symbolists constantly argued with each other, trying to prove the wrongness of their judgments about this literary direction. So, V. Bruzov considered him as a means of creating fundamentally new art; K. Balmont saw in him the way of comprehension of intractile, unsolved depths of the human soul; Vyacheslav Ivanov believed that symbolism would help overcome the gap between the artist and the people, and A. Boya was convinced that this is the basis on which new art will be created, capable of transforming the human person.

Let us consider in more detail the creativity of A. Bel, as one of the leading theoretics of symbolism.

Andrey White - the poet is distinctive and original. Pafos and irony, domestic sketches and intimate experiences, paintings of nature and philosophical reflections contrastingly coexisted. In 1904 he published the book of the poems "Gold to Lazuri", which declared itself as a talented poet symbolist.

Andrey White, as a theoretical symbolism, so reveals the meaning of its platform: "Symbolism, accepting slogans of historical schools, reveals them in ... their" pluses "and" minuses "; He is a self-consciousness of creativity, like criticism; before it is blindly: he opposes himself to "schools" where these schools violate the main slogan of unity of form and content; It is violated in the direction of the content experiencing subjectively; Sentenationism - in the direction of the content, understood abstract; Modern classicism (Passeism) is disturbing him aside.

The unity of form and content cannot be taken ... neither by adding content from the form (sin of formalists), nor the exceptional dependence of the admission of the structure from the abstract understanding content (constructivism). "Realism, romanticism ... manifestation of a single principle of creativity" - in symbolism "White A. between two revolutions. M., 1990, p.193 ..

A significant place in the work of A. Belogo was prose. His Peru belongs to the novels "Silver Pigeon" (1909), "Petersburg" (1913-1914), "Cat" Moscow "(1922), the trilogy" Moscow "(1926-1932), for whom temporary displacements, torn and pitchness of the plot are characterized, Free composition, deliberate use of different rhythms of narration.

White symbolism is a special symbolism that has little common with verbal dogmatics of Brysov, or a variety of "poems about the beautiful lady" of the block, or impressionism of Annensky. It is all aimed in the future, it has much more in common with the versa tenderness of Tsvetaeva, with the speech of "accurate and naked" Mayakovsky. His poems are devoid of cipher, the cipher here replaced the Association, which became the main poetic means of not only a white-poet, but also a white-prose, and even white-criticism and publicist. Mathematically accurately designed to eat the words and verbal image is constantly interacting in the White with the elements of his lyrical "I", in which not only visiting, but also the musical principle.

All my life, from early adolescence, A. Bel owned one grand feeling - a sense of global disadvantage, almost an impending "end of the world". This feeling of the White carried through his whole life, they were pleased with their works, they also drink both the main, the search for the idea of \u200b\u200ball his life and his creativity - the idea of \u200b\u200bthe fraternity of all people in the world, the idea of \u200b\u200bspiritual kinship, which would have blocked all barriers, would have passed on top of social Differences and social antagonism, as a result, the possibility of people - to each person individually and all mankind in general - to preserve itself, the individual features of his nature in these formidable and fraught years.

With its eternal dissatisfaction and intensity of quest, deep humanism, moral cleanliness and immediacy, ethical maximalism, artistic and poetic discoveries, depth of ideas and prophecies, the desire to find a way out of the crisis state in which humanity turned out to finally, the nature of their personality - nervous, nervous, Despair, disrupting, disrupting in the abyss of despair, but also in sparing at the height of great insights, - all this white firmly entered his name in the history of the twentieth century.

One of the leading places in Russian literature on the right is Alexander Block. Block - world-scale lig. The contribution of it to Russian poetry is unusually rich. The lyrical image of Russia, passionate confession about the bright and tragic love, the magnificent rhythms of Italian poems, piercingly outlined by the face of St. Petersburg, the "cracker" villages - all this with a latitude and penetration of the genius contained a block in his work.

The first book of the block "poems about the beautiful lady" came out in 1904. The block lyrics of the pore is painted into prayer-mystical tones: the real world is opposed to the real world, which is oppressed only in secret signs and revelations, the ghostly, "otherworld" world. The poet was under the strong influence of the teachings of the VL. Solovyov about the "end of the world" and "world soul". In Russian poetry, the block ranked his place as a bright representative of symbolism, although his further creativity overthrew all the symbolic frameworks and canons.

In the second collection of poems "Inadequate joy" (1906), the poet opened up new ways, which only outlined in his first book.

Andrei White sought to penetrate the cause of a sharp fracture in the poet's muse, it seemed that he had just been "in the elusive and gentle lines" of the "approach of the ever-feminine start of life." He saw her in the proximity of the bloc to nature, to the ground: "Inadequate joy" expresses deeper by the essence of A. Block ... The second collection of poems of the block is more interesting, lush first. As surprisingly combined, the finest demonism here with the simple sadness of the poor Nature of Russian, always the same, always sobbing shoes, always through the tears of frightening us ruffles of ravines ... It is terrible, the Nature is rustic. And the block understands it like no one ... "

The third collection "Earth in the snow" (1908) was taken by criticism in the bayonets. Critics did not want or failed to understand the logic of the new Block's book.

The fourth night clock collection came out in 1911, very modest circulation. By the time of his release by the unit, the feeling of alienation from literature was increasingly mastered, and until 1916 he did not release a single book of poems.

Difficult and tangled relationships, launched for almost two decades, developed between A. Block and A. Bel.

The first poems of the block made a huge impression on the White: "To understand the impressions of these poems, we must clearly present the time: for us, who have lost the signs of dawn, we are luminous, the whole air sounded, exactly strings A.A.; And it seemed that the block wrote only that the air was coronted; The pink-gold and tense atmosphere of the epoch really precipitated by words. " White helped release the first book of the block (bypassing the Moscow censorship). In turn, the block supported white. So he played a decisive role in the appearance of the main novel of the White Peterburg, he publicly gave a high assessment and "Petersburg" and "Silver Blue".

Along with this, their relationships and correspondence reached hostility; Permanent reproaches and charges, dislike, stinging injections, imposing discussions poisoned the life of both.

However, despite the complexity and confusion of the relationships of creative and personal, both poet continued to respect, love and appreciate the work and identity of each other, which once again confirmed the speech by White to death.

After the revolutionary events of 1905 in the ranks of the symbolists, the contradictions, which, in the end, led to this direction to the crisis were even more increased.

It is impossible, however, not to note that Russian symbolists have made a significant contribution to the development of domestic culture. The most talented of them in their own way reflected the tragedy of the position of a person who did not manage to find their place in the world, shaking the grand social conflicts, tried to find new ways for artistic understanding of the world. They belong to serious discoveries in the field of poetics, rhythmic reorganization of verse, strengthening the musical start in it.

"Song-solsed poetry dropped the" superweight "meanings of symbolism, but there remained an increased ability of the word to cause unnamed representations, associations to replace missing. In a symptotic inheritance, the intense associativity was viable "Ginzburg Lydia. About old and new. Articles and essays. L., 1982, p. 349 ..

At the beginning of the second decade of the 20th century, two new poetic flows appeared - acmeism and futurism.

Aqmeyists (from the Greek word "acme" - the blooming time, the highest degree of something) called on to clear the poetry from philosophy and all kinds of "methodological" hobbies, from the use of foggy hints and symbols, proclaiming the return to the material world and accepting it as he There is: With his joys, vices, evil and injustice, demonstratively refusing to solve social problems and claiming the principle of "art for art". However, the work of such talented poets-aquesists, as N.Gumilev, S. Kurdetsky, A.Akhmatova, M. Kuzmin, O. Madelshtam, went beyond the framework of the theoretical principles proclaimed. Each of them contributed to the poetry, only his characteristic motives and moods, its poetic images.

With other views on art in general, futurists were in particular for poetry. They declared themselves opponents of a modern bourgeois society, a crushing person, and the defenders of the "natural" person, his right to free, individual development. But these statements were often reduced to the abstract declaration of individualism, freedom from moral and cultural traditions.

Unlike the ameists who, although they opposed the symbolism, but, nevertheless, they considered themselves to be a certain extent of its successors, futurists proclaimed a full refusal from any literary traditions and first of all from the classical heritage, arguing that it is hopeless outdated. In his shrinkable and boldly written manifestes, they glorified a new life developing under the influence of science and technical progress, rejecting everything that was "before," declared their desire to remake the world, which, from their point of view, poetry should be promoted. Futurists sought to evict the word, tie his sound directly with the subject it indicates. This, in their opinion, was to lead to the reconstruction of the natural and creation of a new, widely available language capable of destroying verbal obstacles, separating people.

Futurism united different groups, among which were the most famous: Cubefuturists (V.Makovsky, V.Kamensky, D.Burlyuk, V.Hlebnikov), EgoFuchurists (I.Severian), Centrifuge Group (N.Aseev, B. Pasternak and Dr.).

In the conditions of the revolutionary lift and the crisis, the autocracy of the aquesisis and futurism turned out to be non-visual and by the end of the 1910s ceased to exist.

Among the new trends arising in Russian poetry during this period, the group of the so-called "peasant" poets - N. Klov, A. Shiryaevets, S. Klychkov, P. Oshin became a prominent place. Some time was close to S. Jenin, subsequently released on an independent and wide creative way. Contemporaries saw nuggets in them, reflecting the concerns and troubles of the Russian peasantry. The generality of some poetic techniques, widespread use of religious symbols and folk motives also united them.

Among the poets of the late XIX - the beginning of the 20th century were also such, whose work did not fit into existing flows and groups. Such, for example, I. Bunin, striving to continue the traditions of Russian classical poetry; I. Annensky, in something close to the symbolists and at the same time distant from them, who sought their way in a huge poetic sea; Sasha Black, who called himself a "chronic" satyrik, brilliantly owned by the "anti-systhetic" means of indemnity of the meshness and sortiers; M.TSvetaev with her "poetic responsiveness to the new sound of air."

For Russian literary flows of the beginning of the 20th century, Renaissance turn to religion and Christianity is characteristic. Russian poets could not resist the aesthetism, in different ways they tried to overcome individualism. The first in this direction was Merezhkovsky, then the leading representatives of the Russian symbolism began to contralate the cattom of individualism, the mysticism of aesthetism. Vyach.Ivanov and A. Bely were theorists of mystically painted symbolism. It happened rapprochement with the course, released from Marxism and idealism.

Vyacheslav Ivanov was one of the most remarkable people of that era: the best Russian Hellenist, the poet, a scientist philologist, a specialist in the Greek religion, a thinker, theologian and philosopher, publicist. Its "environments" on the "tower" (so called Ivanov's apartment) attended the most gifted and remarkable people of that era: poets, philosophers, scientists, artists, actors, and even politicians. There were the most sophisticated conversations on the themes of literary, philosophical, mystical, occult, religious, as well as public in the prospect of the struggle of mineososisants. The "tower" was carried out the sophisticated conversations of the most gifted cultural elite, and the revolution was raised at the bottom. It was two broken world.

Along with the currents in the literature, new flows appeared in philosophy. The search for traditions for the Russian philosophical thought of Slavophiles began, at Vl.Soloviev, Dostoevsky. In the Salon of Merezhkovsky in St. Petersburg, religious and philosophical meetings were organized, in which both representatives of literature, sick of religious concerns and representatives of the traditionally-Orthodox church hierarchy, participated. This is how these meetings N. Berdyaev described: "V. Orosanova's problems prevailed. V.Ternavtsev, Hiliast, who wrote the book about the apocalypse also, was also of great importance. They spoke about the attitude of Christianity to culture. In the center there was a topic about the flesh, about the field ... In the atmosphere of the Merialekovsky salon there was something superficial, spilled in the air, some unhealthy magic, which probably happens in a sectarian circle, in sects is not rationalistic and non-gospel type. .. Meriazhkovsky always claimed to speak from some "we" and wanted to involve people in this "we" who came into contact with them. To this, "we" belonged to D. Filosofov, one time almost entered it A. Boyy. This is "we" they called the mystery of three. So the new Church of the Holy Spirit was to be found, in which the mystery of the flesh will be revealed. "

In the philosophy of Vasily Rozanova "flesh" and "Paul" meant a refund to the pre-Christianity, to Yudaism and paganism. His religious mindset was combined with the criticism of Christian asceticism, the apotheosis of the family and gender, in the elements of which Rozanov saw the basis of life. His life is triumphantly not through the resurrection to eternal life, but through childbirth, that is, the personality campaign for many new innovations in which the life of the genus continues. Rozanov preached the religion of eternal birthday. Christianity for him religion of death.

In the teachings of Vladimir Solovyov, Christian Platonism is intertwined with the ideas of new European idealism, especially F.V. Swelling, naturally scientific evolutionism and inertodoxal mysticism (the doctrine of the "world soul", etc.). The collapse of the utopian ideal of worldwide theocracy led to strengthening eschatological (about the limbs of peace and man) sentiment. Vl.Soloviev had a great influence on Russian religious philosophy and symbolism.

Pavel Florensky was developing the doctrine of Sofia (wisdom of God) as the basis of meaningfulness and integrity of the universe. He was the initiator of a new type of Orthodox aicult, the aicularity is not scholastic, and experienced. Florensky was Platonically interpreted by Plato in his own way, later became a priest.

Sergey Bulgakov is one of the main figures of the religious and philosophical society "Memory of Vladimir Solovyov". From legal Marxism, which he tried to connect with neocantianism, moved to religious philosophy, then to Orthodox theology, became a priest.

And, of course, the magnist of magistrate is Nikolai Berdyaev. A man who strived for criticism and overcoming any forms of dogmatism, wherever they appear, a Christian humanist, who called himself a "believer freestyle". The man of tragic fate, expelled from his homeland, and all his life suffered from her soul. A person whose heritage, until recently, has been studied around the world, but not only in Russia. The great philosopher, which is waiting for his homeland.

Let us dwell in more detail on two currents associated with mystical and religious searches.

"The same course was represented by Orthodox religious philosophy, a little, however, acceptable to official church. This is, first of all, S. Bulgakov, P.Florensky and grouping around them. Another course was represented by religious mysticism and occult. This is A. Boy, Vyach.Ivanov ... And even A.Blok, despite the fact that he is not inclined, there was no ideology, young people who were grouping around the publishing house "Musaget", Anthroposophos ** Anthroposophy - Super susceptible knowledge of the world through Self-knowledge of man as a cosmic creature .. The same course introduced a refinery into the system of Orthodox dogmatics. Another course was captured by the philantal of alogical. The cosmic indifference characteristic of the whole era was there and here. With the exception of S. Bulgakov, for these currents did not stand in the center of Christ and the Gospel. P.Florensky, despite all his desire to be ultraaritus, was all in cosmic grace. The religious revival was Christian, Christian themes were discussed, and Christian terminology was used. But there was a strong element of the pagan rebirth, the spirit of Ellinsky was stronger than the Biblical Messianic Spirit. At a certain moment, there was a mixture of different spiritual flows. The epoch was syncretic, she reminded the search for the Mystery and Neoplatonism of the Ellinistic and German romanticism of the beginning of the XIX century. There was no real religious revival, but there was spiritual tension, religious excitement and a quest. There was a new problem of religious consciousness, connected with the currents of the XIX century (Khomyakov, Dostoevsky, Vl.Solovyev). But the official church remains outside of this problem. The religious reform in the church did not happen "Berdyaev N. Self-knowledge. M., 1990, p. 152 ..

Much of the creative lift of that time included in the further development of Russian culture and now there is a heritage of all Russian cultural people. But then was intoxicating creativity, novelty, tension, struggle, challenge.

In conclusion, N. Berdyaeva, I want to describe all the horror, the entire tragedy of the situation in which the creators of spiritual culture were, the color of the nation, the best minds not only in Russia, but also the world.

"The misfortune of the cultural renaissance of the beginning of the 20th century was that in it the cultural elite was isolated in a small circle and torn off from the wide social flows of that time. It had the fatal consequences in the character, which took the Russian revolution ... The Russian people of that time lived in different floors and even in different centuries. Cultural Renaissance has not had any wide social radiation ... Many supporters and expressants of the cultural renaissance remained left, sympathized with the revolution, but there was cooling to social issues, there was an absorption of new problems of philosophical, aesthetic, religious, mystical nature, which remained alien to people, Actively participating in social movement ... The intelligentsia committed an act of suicide. In Russia, before the revolution, there were two races. And the wines were on both sides, that is, on Renaissance figures, on their social and moral indifference ...

The split, characteristic of Russian history, split, growing the entire XIX century, the abyss, which unfolded between the upper sophisticated cultural layer and wide circles, folk and intelligent, led to the fact that the Russian Cultural Renaissance fell into this discontinued abyss. The revolution began to destroy this cultural renaissance and pursue cultural creators ... The figures of Russian spiritual culture in a significant part were forced to move abroad. In part, it was a payback for the social indifference of the creators of spiritual culture "Berdyaev N. Self-knowledge. M., 1990, p. 138, 154 ..

Silver Age. Symbolism

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

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

For poetics, symbolism is characteristic: