Essay in USE format according to the collection of I.P. Tsybulko - 2017.
Option 23
(1) Every art reveals secrets, and every art in its perfection is certainly captivating. (2) The artist's job is to express his vision of the world, and it has no other purpose. (3) But such is the mysterious law of art that vision in the outside is expressed the more harmoniously, the more peculiar and deeper it is in itself. (4) Here, in contrast to the material world, external beauty is an unmistakable sign of internal truth and strength. (5) The captivating art is that smooth, brilliant, iridescent iridescent ice crust, which, as it were, cools the fiery lava of the artist’s soul, in contact with the outside air, with reality.
(6) This external captivity of art is extremely important: it plays into spiritual world the same role that the bright color of a flower plays in the vegetable kingdom, attracting insects, which are destined to spread flower dust. (7) The melodiousness of the form attracts the attention of people, not yet knowing what value is hidden in artistic creation, people are unconsciously attracted to him and perceive him for the sake of his external charms. (8) But at the same time, the brilliant ice crust hides the depth from them, makes it inaccessible; this is the wise cunning of nature. (9) Beauty is a lure, but beauty is a barrier. (10) A beautiful form of art attracts everyone with a clear temptation. (11) Truly, beauty will not deceive anyone; but she absorbs weak attention entirely, for a weak look she is opaque: he is condemned to amuse herself with her alone. (12) Only a tense and sharp gaze penetrates into it and sees the depths, the deeper, the sharper it is. (13) Art gives everyone to taste according to his strength: one all his truth, because he is ripe, another part, and the third shows only its brilliance, the beauty of the form, so that the fiery truth, entering the fragile soul, does not burn it to death and did not destroy her young tissues.
(14) So Pushkin's poetry is fraught with deep revelations, but the crowd easily glides over it, rejoicing in its smoothness and brilliance, reveling without thought in the music of poetry, clarity and colorfulness of images. (15) Only now are we beginning to see these depths under the ice and are learning to know Pushkin's wisdom through the dazzling sparkle of his beauty.
(16) In science, the mind cognizes only separate series of phenomena, but a person also has other knowledge, holistic, because his very personality is holistic. (17) And this higher knowledge inherent in all without exception, complete in all and different in each. (18) It holistic vision the world is unconsciously real in every soul and powerfully determines its being in desires and evaluations. (19) It is also the fruit of experience. (20) There is not a single person among people who would not carry his own, unique vision of the Universe, as if secret writing of things. (21) And we don’t know that it is in us, we don’t know how to see how it appears in a wonderful pattern in our disparate judgments and actions. (22) Only occasionally and for a moment will a person's personal truth, burning in him secretly, illumine, and again disappear in the depths. (23) Only the elect are given to contemplate their vision for a long time, at least partially, in fragments of the whole; and this spectacle intoxicates them with such joy that, as if in delirium, they hasten to tell the whole world about it. (24) It is not depicted in concepts; it can only be told incoherently, in images. (25) And Pushkin conveyed his knowledge to us in images; in the images it is warmly covered and pleasing to the eye. (26) But I take it out of the images and I know that, taken out into the daylight, it will seem strange, and maybe even incredible.
(According to M. Gershenzon*)
Composition
K1 What attracts us in the first place in the creation of an artist, writer, poet? Will we want to comprehend the secret of design, if the form of the work is unattractive? The well-known literary critic M.O. Gershenzon.
K2 The problem of the interaction of the external form and the internal content is revealed with the help of reasoning about how from the external captivating form of any creation we come to a deep understanding of the creator's intention.
P 1 Very accurately noted M.O. Gershenzon that "... not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for the sake of its external charms." Each of us, as the author explains, has his own way of comprehending this secret: “Only a tense and sharp gaze penetrates into it and sees the depths, the deeper, the sharper it is itself.”P 2 That is why, at first glance, Pushkin's poetry pleases us only with the smoothness, brilliance and musicality of the verse. It is later that we understand what depth is hidden in this elegant poetry, what worried the great poet so much, what his spiritual torment is about.
K3 The wise philosopher very subtly brings us to the conclusion: the harmony between the external form of the work and its internal content is undeniable. Through images, symbols, details, any creator conveys his knowledge, the secret of knowing the world and its laws of being.
K4 This is undeniable. The unusualness of the outer shell always hints at some secret, which we will certainly comprehend if we follow the author.
Any great art, music, literature has repeatedly confirmed all these reflections.
A1 Anton Pavlovich Chekhov - consummate master a short story, which is very convenient, on the one hand, for reading. On the other hand, these short stories like the conclusions of a good diagnostician, recipes according to which it is necessary to treat the diseases of society. With the help of brevity, stinginess language tools the writer reliably and accurately creates psychological drawing. But in the first place - a detail that replaces verbose descriptions. In the story "Chameleon" we will explain a lot and new overcoat police officer Ochumelov, and a bundle in his hands, and speaking surnames heroes, and the name itself. A detail is one of the writer's techniques that helps to present the depicted picture, object, character in its unique individuality.
A2 The work of Yevgeny Ivanovich Zamyatin is surprising in its organization.The story "The Cave" is one of bright works talented master, containing the richest material for understanding the writer's attitude. From the very beginning, we are immersed in the atmosphere of the Stone Age, ice age when we read about "caves", "rocks", "animal skins", "grey-breasted mammoth". And only by delving into reading do we find the keys to the detailed metaphor of the story, we understand why in the cold and hungry Petrograd, immersed in darkness, fire is God, spring in the cave is only for one hour, and thenanimal skins, claws, fangs are thrown off and green stalks - thoughts - break through the icy cerebral crust. We also understand who this “grey-booted mammoth” is and why Martin Martinych is made of clay. Clay is a soft and pliable material, like the character of Martin Martinych, in whose soul every blow leaves a deep mark. So the meaning of the metaphor is constantly deepening: from external resemblance to the essence of character.
Is it possible, after all this, to doubt the inseparability of the external form of a work from its internal content? I think no.
Note.
You can refer to the work of V. Mayakovsky as arguments. In the literature textbook for grade 7, edited by V.Ya. Korovina, there is an explanation why Mayakovsky wrote with a ladder.
A good argument would be Sistine Madonna» Raphael Santi.
The text says that not every person can really understand the content, the meaning of a work of art, this is given only to a few. "Art gives everyone to taste according to his strength: one all his truth, because he is ripe, the other - a part, and the third shows only its brilliance, the beauty of the form ...". Only the “ripe” in terms of understanding art will discover the whole truth of the content, others only the form, outer beauty. The text also gives an example of Pushkin's poetry: many people admire only its beauty, not realizing that his poetry is fraught with the deepest meaning.
Often people pay attention only to the form, not thinking about the content at all.
MO Gershenzon clearly expresses his position: only a trained person can fully understand the whole essence of a work of art.
Let us recall the work of M. A. Bulgakov "The Master and Margarita". One of the main characters, the Master writes a novel about the procurator Pontius Pilate, who lived in the 1st century. The work of the Master is negatively criticized by many notable critics, but M. A. Bulgakov makes it clear to us that they criticized the novel not because there was something bad, but because they envied the creator.
They simply did not try to understand the meaning of the novel, so they should not throw big words and "glorify" the Master as the author of a "bad" novel.
Similar situations with misunderstanding of art occur in our Everyday life. Reading all kinds of literature, we often, without even finishing it, express our attitude to the whole work as a whole. It happens that our attitude is sharply negative, but, having answered the questions “Have we penetrated into the essence of what we have read? Did they understand the meaning of the work as the author intended?”, many can understand that their opinion is absolutely unfounded.
Thus, we have proved that people often express their opinion in relation to art without understanding the very essence of this art.
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Updated: 2017-07-20
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- Tsybulko 2017 version 23 according to the text by Gershenzon Every art reveals secrets, and every art in its perfection is certainly captivating
It would be an idle business to analyze and challenge the arguments on which this assessment is based. If we, the present generation, see something else in Pushkin's poetry, wouldn't it be better to express our new understanding directly? That assessment was, no doubt, quite conscientious; but our right and our duty is to read Pushkin with our own eyes and, in the light of our experience, determine the meaning and value of his poetry.
Our symbolists are wrong when they say that art is of two kinds: symbolic, that is, revealing secrets, and only captivating. No: every art reveals secrets, and every art in its perfection is certainly captivating.
The business of the artist is to express his vision of the world, and art has no other purpose; but such is the mysterious law of art that outward vision is expressed the more harmoniously, the more peculiar and deeper it is in itself. Here, in contrast to the material world, external beauty is an unmistakable sign of internal truth and strength. The captivating art is that smooth, brilliant, iridescent icy crust, which, as it were, cools down the fiery lava of the artistic soul, in contact with the outside air, with reality. Or in other words: the melodiousness of the form is a carnal manifestation of that very harmonic rhythm that forms vision in the spirit. But no matter how one describes this phenomenon, it will forever remain incomprehensible. Only one thing is clear: the stronger the boil, the more brilliant and iridescent the form.
This external fascination of art is extremely important: it plays the same role in the spiritual world as the bright color of a flower plays in the vegetable kingdom, attracting insects, which are destined to spread flower dust. The melodiousness of the form attracts the instinctive attention of people; not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for the sake of its external charms. But at the same time, the brilliant ice crust hides the depth from them, makes it inaccessible; this is the wise cunning of nature. Beauty is a lure, but beauty is also a barrier. A beautiful form of art beckons everyone with a clear temptation, so that all the people come running to look; and truly beauty will deceive no one; but she completely absorbs weak attention, for a weak gaze she is opaque: he is condemned to amuse herself with her alone - and is this a small reward? Only a tense and sharp gaze penetrates into it and sees the depths, the deeper, the sharper it itself is. Nature protects her little children, like puppies, with beneficent blindness. Art makes it possible for everyone to taste according to his ability - to one, all his truth, because he is ripe, to another a part, and to a third it shows only its brilliance, the charm of form, so that the fiery truth, entering into a fragile soul, does not burn it to death and not destroyed her young tissues.
Likewise, Pushkin's poetry is fraught with deep revelations, but the crowd easily slides over it, rejoicing in its smoothness and brilliance, reveling without thought in the music of verses, in the clarity and colorfulness of the images. Only now, after so many years, are we beginning to see these depths under the ice and are learning to cognize Pushkin's wisdom through the dazzling sparkle of his beauty.
In science, the mind cognizes only separate series of phenomena, how separate our external sense organs are; but a person also has another knowledge, integral, because his very personality is integral. And this higher knowledge is inherent in all without exception, complete in all and different in each; this holistic vision of the world is unconsciously real in every soul and powerfully determines its existence in desires and assessments. It is also the flesh of experience, and possesses all the certainty of experiential knowledge. Among people there is not a single one who would not carry within himself his own, unparalleled, inimitable vision of the universe, as if the secret writing of things, which, stating what is, legitimizes the obligation from it. And we don’t know that it exists in us, we don’t know how to see how it appears in a wonderful pattern in our disparate judgments and actions; only occasionally and for a moment will a person's personal truth, burning in him secretly, illumine, and again disappear into the depths. Only the elect are given to contemplate their vision for a long time, at least not completely, in fragments of the whole; and this spectacle intoxicates them with such joy that, as if in delirium, they rush to tell the whole world about it. It is not representable in concepts; one can only talk about it incoherently, in similitudes, in images. And Pushkin conveyed his knowledge to us in images; in the images it is warmly covered and pleasing to the eye; but I take it out of the images, and I know that, brought into the daylight, it will seem strange, and perhaps even incredible.
Pushkin was a European by upbringing and habits, educated and secular. man XIX century. And wherever he expressed his conscious opinions, we recognize in them an enlightened, rationally thinking mind. In ideas, Pushkin is our peer, flesh and blood modern culture. But it is strange: when he creates, he is definitely transformed; in his familiar, European face, the dusty wrinkles of Ahasuerus appear, the heavy wisdom of millennia looks out of his eyes, as if he had survived all the ages and brought out of them confident knowledge of secrets. In his poetry he is dead to modernity. What is the daily passions and sufferings of people, the unrest of nations to him? Everything that happens has always happened and will happen forever; rainbow forms change, but the essence remains the same; the world and man have not changed from time immemorial. In the innumerably diverse phenomena of life, a few regularities are realized again and again, seemingly so simple - the eternal ones are repeated; and man knows this, he has long guessed the monotony and hopelessness of his destinies, and from time immemorial, as if to himself, tirelessly repeats the truth of fatal definitions. This ancient truth carries Pushkin; these few repetitions were he sees in the events of the day. He is unparalleledly individual in his contemplation, and yet a stream of Old Testament experience flows through his thinking.
Our symbolists are wrong when they say that art is of two kinds: symbolic, that is, revealing secrets, and only captivating. No: every art reveals secrets, and every art in its perfection is certainly captivating.
The business of the artist is to express his vision of the world, and art has no other purpose; but such is the mysterious law of art that outward vision is expressed the more harmoniously, the more peculiar and deeper it is in itself. Here, in contrast to the material world, external beauty is an unmistakable sign of internal truth and strength. The captivating art is that smooth, brilliant, iridescent icy crust, which, as it were, cools down the fiery lava of the artistic soul, in contact with the outside air, with reality. Or in other words: the melodiousness of the form is a carnal manifestation of that very harmonic rhythm that forms vision in the spirit. But no matter how one describes this phenomenon, it will forever remain incomprehensible. Only one thing is clear: the stronger the boil, the more brilliant and iridescent the form.
This external fascination of art is extremely important: it plays the same role in the spiritual world as the bright color of a flower plays in the vegetable kingdom, attracting insects, which are destined to spread flower dust. The melodiousness of the form attracts the instinctive attention of people; not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for the sake of its external charms. But at the same time, the brilliant ice crust hides the depth from them, makes it inaccessible; this is the wise cunning of nature. Beauty is a lure, but beauty is also a barrier. A beautiful form of art beckons everyone with a clear temptation, so that all the people come running to look; and truly beauty will deceive no one; but she completely absorbs weak attention, for a weak gaze she is opaque: he is condemned to amuse herself with her alone - and is this a small reward? Only a tense and sharp gaze penetrates into it and sees the depths, the deeper, the sharper it itself is. Nature protects her little children, like puppies, with beneficent blindness. Art makes it possible for everyone to taste according to his ability - to one, all his truth, because he is ripe, to another a part, and to a third it shows only its brilliance, the charm of form, so that the fiery truth, entering into a fragile soul, does not burn it to death and not destroyed her young tissues.
Likewise, Pushkin's poetry is fraught with deep revelations, but the crowd easily slides over it, rejoicing in its smoothness and brilliance, reveling without thought in the music of verses, in the clarity and colorfulness of the images. Only now, after so many years, are we beginning to see these depths under the ice and are learning to cognize Pushkin's wisdom through the dazzling sparkle of his beauty.
In science, the mind cognizes only separate series of phenomena, how separate our external sense organs are; but a person also has another knowledge, integral, because his very personality is integral. And this higher knowledge is inherent in all without exception, complete in all and different in each; this holistic vision of the world is unconsciously real in every soul and powerfully determines its existence in desires and assessments. It is also the flesh of experience, and possesses all the certainty of experiential knowledge. Among people there is not a single one who would not carry within himself his own, unparalleled, inimitable vision of the universe, as if the secret writing of things, which, stating what is, legitimizes the obligation from it. And we don’t know that it exists in us, we don’t know how to see how it appears in a wonderful pattern in our disparate judgments and actions; only occasionally and for a moment will a person's personal truth, burning in him secretly, illumine, and again disappear into the depths. Only the elect are given to contemplate their vision for a long time, at least not completely, in fragments of the whole; and this spectacle intoxicates them with such joy that, as if in delirium, they rush to tell the whole world about it. It is not representable in concepts; one can only talk about it incoherently, in similitudes, in images. And Pushkin conveyed his knowledge to us in images; in the images it is warmly covered and pleasing to the eye; but I take it out of the images, and I know that, brought into the daylight, it will seem strange, and perhaps even incredible.
Text essay:
Mikhail Osipovich Gershenzon (1869 - 1925) - Russian literary critic, philosopher, publicist and translator. In his article he describes the problem of art.
The relevance of this problem is obvious, especially in our days, as many people began to pay special attention to art. For some, it has become a part of life, and for others, an exciting hobby.
Mikhail Osipovich writes: “Every art reveals secrets.” In his own words, the author speaks of mystery.
The literary critic narrates, "the external captivity of art is important." The author says that art plays big role on the ground, comparing it with flora.
The translator speaks. “Art is given to everyone to taste it according to their strength.” The philosopher says that not everyone can comprehend the full depth of art. It won't open to everyone!
The author believes that art is given for the self-development of a person. And everyone chooses for himself what he sees fit.
I agree with the author. Indeed, art captures a person headlong into its gentle and warm environment.
First, let's remember extraordinary picture I. I. Shishkina “Morning in pine forest". This lovely picture inspires many artists to create something extraordinary and beautiful.
Secondly, let's remember the wonderful and great artist of Russia - Nikas Safronov, inspired by nature home country, writes great pictures.
Thus, I want to conclude. Art is an important part of humanity, without which it would be difficult for us to imagine our life!
Text by Mikhail Osipovich Gershenzon:
(1) Every art reveals secrets, and every art in its perfection is certainly captivating. (2) The artist's job is to express his vision of the world, and it has no other purpose. (3) But such is the mysterious law of art that vision in the outside is expressed the more harmoniously, the more peculiar and deeper it is in itself. (4) Here, in contrast to the material world, external charm is an unmistakable sign of internal truth and strength. (5) The captivating art is that smooth, brilliant, iridescent iridescent ice crust, which, as it were, cools the fiery lava of the artist’s soul, in contact with the outside air, with reality.
(6) This external charm of art is extremely important: it plays the same role in the spiritual world as the bright color of a flower plays in the vegetable kingdom, attracting insects, which are destined to spread flower dust. (7) The melodiousness of the form attracts the attention of people, not yet knowing what value is hidden in the artistic creation, people are unconsciously attracted to it and perceive it for the sake of its external charms. (8) But at the same time, the brilliant ice crust hides the depth from them, makes it inaccessible; this is the wise cunning of nature. (9) Beauty is a lure, but beauty is a barrier. (10) A beautiful form of art attracts everyone with a clear temptation. (11) Truly, beauty will not deceive anyone; but she absorbs weak attention entirely, for a weak look she is opaque: he is condemned to amuse herself with her alone. (12) Only a tense and sharp gaze penetrates into it and sees the depths, the deeper, the sharper it is. (13) Art gives everyone to taste according to his strength: one all his truth, because he is ripe, another part, and the third shows only its brilliance, the beauty of the form, so that the fiery truth, entering the fragile soul, does not burn it to death and did not destroy her young tissues.
(14) So Pushkin's poetry is fraught with deep revelations, but the crowd easily glides over it, rejoicing in its smoothness and brilliance, reveling without thought in the music of poetry, clarity and colorfulness of images. (15) Only now are we beginning to see these depths under the ice and are learning to know Pushkin's wisdom through the dazzling sparkle of his beauty.
(16) In science, the mind cognizes only separate series of phenomena, but a person also has other knowledge, holistic, because his very personality is holistic. (17) And this higher knowledge is inherent in all without exception, complete in all and different in each. (18) This holistic vision of the world is subconsciously real in every soul and powerfully determines its being in desires and assessments. (19) It is also the fruit of experience. (20) There is not a single person among people who would not carry his own, unique vision of the Universe, as if secret writing of things. (21) And we don’t know that it is in us, we don’t know how to see how it appears in a wonderful pattern in our disparate judgments and actions. (22) Only occasionally and for a moment will a person's personal truth, burning in him secretly, illumine, and again disappear in the depths. (23) Only the elect are given to contemplate their vision for a long time, at least partially, in fragments of the whole; and this spectacle intoxicates them with such joy that, as if in delirium, they hasten to tell the whole world about it. (24) It is not depicted in concepts; it can only be told incoherently, in images. (25) And Pushkin conveyed his knowledge to us in images; in the images it is warmly covered and pleasing to the eye. (26) But I take it out of the images and I know that, taken out into the daylight, it will seem strange, and maybe even incredible.
(According to M. Gershenzon*)
* Mikhail Osipovich Gershenzon (1869-1925) - Russian literary critic, philosopher, publicist and translator.
