“Our time is difficult for a pen...” V.V. Mayakovsky “Not a single world literature of the 20th century, except Russian, knew such an extensive list of untimely, early deceased masters of culture ...” V.A. Chalmaev “The 20th century broke us all...” M.I. Tsvetaeva Literature of the XX century

The historical situation in Russia at the beginning of the 20th century The last years of the 19th century became a turning point for Russian and Western cultures. Since the 1890s and until the October Revolution of 1917, literally all aspects of Russian life changed, from the economy, politics and science, to technology, culture and art. The new stage of historical and cultural development was incredibly dynamic and, at the same time, extremely dramatic. It can be said that Russia, at a critical time for it, was ahead of other countries in terms of the pace and depth of changes, as well as the colossal nature of internal conflicts.

I. Early 1890s - 1905 1892 The code of laws of the Russian Empire: "the duty of complete obedience to the tsar", whose power was declared "autocratic and unlimited" Industrial production is developing rapidly. The social consciousness of the new class, the proletariat, is growing. The first political strike of the Orekhovo-Zuevskaya manufactory. The court recognized the workers' demands as fair. Emperor Nicholas II. The first political parties were formed: 1898 - Social Democrats, 1905 - Constitutional Democrats, 1901 - Social Revolutionaries

Revolutions Historical upheavals of the early 20th century February bourgeois-democratic revolution October socialist revolution First Russian revolution

Nikolai Berdyaev “This was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult.” “This was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult."

Nineteenth century.... Fragments of superstitions fell into dust, Science turned dreams into truth: Into steam, into a telegraph, into a phonograph, into a telephone, Knowing the compositions of stars and the life of bacteria. The ancient world led to the eternal secrets of the thread; The new world has given the mind power over nature; Ages of struggle crowned everyone with freedom. What remains is to combine knowledge with mystery. We are nearing the end, and a new era Do not stifle the aspirations for a higher realm. (V. Bryusov)

Russian literature of the turn of the century is called the Silver Age - 1920.

The beginning of the "Silver Age" of Russian poetry is D. Merezhkovsky's article "Symbols". The father of the "term" is the Russian philosopher Nikolai Berdyaev, who called the "Silver Age" a reflection, the revival of the "Golden Age". One of the most likely reasons is the crisis of the era, the tense historical situation.

The beginning of the era 1890 Nikolai Minsky "With the light of conscience" (1890) Dmitry Merezhkovsky "On the causes of the decline of modern Russian literature" (1893) Valery Bryusov "Russian Symbolists" (1894) The end of the era 1921 the death of Alexander Blok and the death of Nikolai Gumilyov in 1921

From the French decadence; from medieval Latin. decadentia decline. The mood of passivity, hopelessness, rejection of public life, the desire to withdraw into the world of their emotional experiences. Opposition to the generally accepted "petty-bourgeois" morality. The cult of beauty as a self-sufficient value. Nihilistic hostility to society, unbelief and cynicism, a special "sense of the abyss". Decadence (late 19th early 20th centuries)

Decadan lyrics A desert ball in an empty desert, Like the Devil's contemplation... It hung forever, it's still here... Madness! B madness! A single moment froze - and continues, Like eternal repentance... It is impossible not to cry, not to pray... Despair! O despair! It frightens someone with torment and yes, Then from the snails with grazing ... No lie, no truth, no hell ... Oblivion! For oblivion! Close the empty eyes of the flesh And lei with bark, dead man. There are no mornings, no days, only nights. End. Z. Gippius

So life is frightening with nothingness, And even not with a struggle, not with pain, But only with endless boredom And with quiet horror is full, That it seems I am not alive, And my heart has stopped to fight, And this is only in reality I still dream of the same thing. And if there, where I will be, the Lord will punish me, as here, It will be death, as my life, And death will not tell me anything new. D. S. M erezhkovsky

Critical realism (XIX century - early XX century) Truthful, objective reflection of reality in its historical development. Continuation of the traditions of Russian literature of the XIX century, a critical understanding of what is happening. Human character is revealed in organic connection with social circumstances. Close attention to the inner world of man. A.P. ChekhovL.N. Tolstoy A.I. Kuprin I.A. Bunin

Genre - novel and short story. Weakened storyline. Interested in the subconscious, and not the "dialetics of the soul", the dark, instinctive sides of the personality, elemental feelings that are not understood by the person himself. The image of the author comes to the fore, the task is to show his own, subjective perception of life. There is no direct author's position - everything goes into the subtext (philosophical, ideological) The role of the detail increases. Poetic devices pass into prose. Realism (neorealism)

All modernist trends are very different, have different ideals, pursue different goals, but they converge on one thing: to work on rhythm, in a word, to bring the play of sounds to perfection. At this time, the realistic era of Russian culture is replaced by a modernist one. Modernism is the general name for various trends in art of the late 19th and early 20th centuries, which proclaimed a break with realism, the rejection of old forms and the search for new aesthetic principles.

Symbolism D. MerezhkovskyD. Merezhkovsky, Z. GippiusZ. Gippius, F. Sologub, F. Sologub, V. BryusovV. Bryusov, K. Balmont, K. Balmont A. BlokA. Blok, A. Bely, A. White e's From gr. symbolon - sign, symbol.

Symbolism originated in France in the years. XIX century.

The origins of Russian symbolism France th years. Arthur Rimbaud Paul Verlaine Charles Baudelaire Stéphane Mallarmé Founder of symbolism - Charles Baudelaire

Literary Manifestos 1893. Article by D. S. Merezhkovsky "On the Causes of the Decline and New Trends in Modern Russian Literature". Modernism receives a theoretical justification. Three main elements of the "new art": - mystical content, - symbolization - "extension of artistic impressionability" 1903. Article V Bryusov "Keys of the Secret". Literature in terms of influence should be close to music. Poetry is an expression of the poet's soul, the secrets of the human spirit.

Symbolic landscape Sound painting. The music of the word is important. "Priestly language": complicated, metaphorical. The revival of the sonnet, rondo, tercina ... Feature of poetics Antithesis of 2 worlds (two worlds): imperishable and real Color symbolism blue - disappointment, separation, surrounding, material world ... white - ideal, femininity, love, dream ... yellow - morbidity, madness, deviation ... black - mystery, duality ... red - blood, catastrophe ...

A symbol is an image that has an unlimited number of meanings - "A symbol is only true when it is inexhaustible in its meaning" (Vyach. Ivanov) - "A symbol is a window to infinity" (F. Sologub) conveys not the objective essence of the phenomenon, but the poet's individual idea of the world; an image that requires co-creation from the reader. “Symbols do not speak, but silently nod” (Vyach. Ivanov) M. Vrubel. Rose

Feature of world perception The world is unknowable. Rationally, it is possible to comprehend only the lower forms of life, and not the “higher reality” (the area of ​​“absolute ideas”, “world soul”) V. Solovyov. Art is not an image of reality, but “comprehension of the world in other, non-rational ways” (V.Ya. Bryusov) - through the spiritual experience of a person and the creative intuition of the artist. K. Somov "The Blue Bird"

Senior Symbolists 1903 Bryusov "Keys of Secrets": The purpose of art is the expression of the "movement of the soul" of the poet, the secrets of the human spirit The essence of the world is unknowable by reason, but cognizable by intuition Art is the comprehension of the world in other, non-rational ways. The task of art is to capture the moments of insight, inspiration The creation of art is ajar doors to Eternity V. BryusovK. BalmontD. MerezhkovskyZ. GippiusF. Sologub

The Young Symbolists of 1900 - the turn of the century The philosophy of Vladimir Solovyov ... We approached - and the waters are blue Like two spilled walls. And in the distance the tabernacle turns white, And the muddy distances are visible ... the divine unity of the Universe The soul of the world is Eternal Femininity The society is built on the spiritual principles of V. Ivanov. WhiteA. Block

II.1905 - 1911 1905 - one of the key years in the history of Russia This year a revolution took place, which began with "Bloody Sunday" on January 9, the first tsarist manifesto was published, limiting the power of the monarchy in favor of subjects, proclaiming the Duma the legislative body, approving civil freedom, the creation of a council of ministers headed by Witte, an armed uprising took place in Moscow, which was the peak of the revolution, an uprising in Sevastopol, etc.

Years. Russo-Japanese War

Features of poetics Objectivity and clarity of images (“beautiful clarity”) Refinement of details that create a specific picture Not “shaky words”, but words “with a more stable content” Genre-madrigal The cult of “beautiful clarity”: poetry should be understandable, images should be clear. Rejection of mystery, nebula, ambiguity. Rejection of duality and acceptance of reality in all its manifestations.

World perception The world is material, objective; you need to look for values ​​in the world and capture them with the help of accurate and understandable images. Love is an earthly feeling, not an insight into other worlds K.M. Roerich “Overseas guests” “Among the Acmeists, the rose again became good in itself, with its petals, smells and color, and not with its conceivable similarities with mystical love or anything else” (S. Gorodetsky)

Representatives of the "Workshop of Poets" N. GumilyovA. AkhmatovaO. MandelstamS. Gorodetsky Acmeism stood out from symbolism. Criticizes the vagueness of the language of the Symbolists. The liberation of poetry from symbolist impulses to the "ideal", from the ambiguity of images. Return to the material world, the subject, the exact meaning of the word

Crisis of Symbolism. Article by A. Blok "On the current state of Russian symbolism" 1911. The most radical direction appears, denying all previous culture, the avant-garde - futurism. In Khlebnikov, V. Mayakovsky, I. Severyanin. III - 1920s In KhlebnikovV. Mayakovsky I. Severyanin

Futurism (from lat. futurum - future) V. Mayakovsky V. Khlebnikov I. Severyanin years

Futurism originated in Italy in the 1990s.

Origins of Russian Futurism Italy Year of F. Marinetti "Manifesto of Futurism": rejection of traditional aesthetic values ​​and experience of all previous literature slap and punch." “A racing car… more beautiful than Nike of Samothrace…” courage, audacity, rebellion “From now on, there is no beauty outside of struggle. There is no masterpiece if it does not have an aggressive spirit…” literary experiments

Literary manifestos Reject literary tradition We order to honor the rights of poets: To increase the vocabulary in its volume with arbitrary and derivative words (Word-innovation) year. “A slap in the face of public taste” “The past is cramped. The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. from the Steamboat of our time". Recreating art

A slap in the face of public taste Reading our New First Unexpected. Only we are the face of our Time. The horn of time blows us in verbal art. The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. from the steamer of modern times. Whoever does not forget his first love will not recognize his last. Who, gullible, will turn the last Love to the perfumery fornication of Balmont? Does it reflect the courageous soul of today? Who, cowardly, will be afraid to steal paper armor from the black tailcoat of Bryusov's warrior? Or are they the dawn of unknown beauties? Wash your hands that have touched the filthy slime of the books written by those innumerable Leonid Andreevs. To all these Maxim Gorky, Kuprin, Blok, Sollogub, Remizov, Averchenko, Cherny, Kuzmin, Bunin and so on. and so on. All you need is a cottage on the river. Such an award is given by fate to tailors. From the height of skyscrapers we look at their insignificance!...

We order to honor the rights of poets: 1. To increase the vocabulary in its volume by arbitrary and derivative words (Word-innovation). 2. An irresistible hatred for the language that existed before them. 3. With horror, remove from your proud forehead from bath brooms the Wreath of penny glory you made. 4. To stand on a block of the word "we" in the midst of a sea of ​​whistling and indignation. And if the dirty stigmas of your “common sense” and “good taste” still remain in our lines, then for the first time the Lightning Lightnings of the New Coming Beauty of the Self-valuable (self-sufficient) Word are already trembling on them. D. Burliuk, Alexander Kruchenykh, V. Mayakovsky, Viktor Khlebnikov Moscow December

Aesthetic principles of futurism 1. Attitude towards previous and other cultures, epochs and traditions: declarative “break” with the previous tradition; revolutionary innovation in poetry; destruction of old norms. 2. Attitude to reality: revolutionary transformation. 3. A look at the vocation of the poet: the poet is a rebel, a revolutionary, a co-creator of a new reality. 4. A look at the historical process: eternal progress, the denial of the past in the name of the present and the present in the name of the future. 5. Close type of art: painting. 6. The problem of the relationship between "name" and "thing": the clash of naming and showing things, metaphorization of reality.

Main features: Denial of the value of classical literature. The cult of technology, industrialization. Outrageous behavior, scandal as the main means of achieving popularity. The cult of word creation: “new” people need a “new”, “abstruse” language. Rejection of tradition. The destruction of the existing system of genres.

I. Severyanin Egofuturism Bunin IA: “What have we not done in recent years with our literature? And they reached the most flat hooliganism, called the ridiculous word "futurism". Severyanin was the only one of the ego-futurists who went down in the history of Russian poetry. His poems, for all their pretentiousness, and often vulgarity, were distinguished by unconditional melodiousness, sonority and lightness.

In a noisy moire dress, in a noisy moire dress Along the lunar alley you pass the sea ... Your dress is exquisite, your talma is azure. And the sandy path from the foliage is rumpled - Like spider paws, like jaguar fur. For a sophisticated woman, the night is always a newlywed ... The intoxication of love is destined for you by fate ... In a noisy moire dress, in a noisy moire dress -

Literary manifestos In many ways, the development of the current was influenced by the theoretical work and poetic work of S.A. Yesenin, who was part of the backbone of the association. In the theoretical essay “Keys of Mary” (1920), Yesenin builds his own poetics of the image: “The image from the flesh can be called a screen saver, the image from the spirit is ship, and the third image from the mind is angelic.” Like other Imagist declarations, "The Keys of Mary" are polemical: "Following Klyuev, stupid futurism also broke his neck." Folk mythology was one of the main sources of Esenin's imagery, and the mythological parallel "nature - man" became fundamental for his poetic worldview. The publishing house "Imaginists" published his collections "Treryaditsa", "Radunitsa", "Transfiguration" (all - 1921) and the dramatic poem "Pugachev" (1922).

Nikolai Alekseevich Klyuev Oreshin Pyotr Vasilievich Yesenin Sergey Alexandrovich We are early morning clouds, dawns of dewy springs N. Gumilyov Neo-Peasant Poets

In world literature, it is Russian literature as a whole that occupies a significant place. If we talk about Russian literature of the 20th century, then it is the beginning of the century that is marked as the silver age of the heyday of literature in Rus'. In this period, the most difficult for Russia of that era, significant contradictions took place. At that moment, interest in the study of religion gradually began to revive, which, in turn, had the main influence on such a rapid development of Russian literature. More and more talented people began to appear. Almost all writers of that era began to be disturbed by questions about the essence of good and evil, life and death, as well as the inner nature of man.

The scientific discoveries that were made during that period greatly shook modern ideas about life. NEW VIEWS ON THE WORLD BEGAN TO DETERMINE AND NEW UNDERSTANDING OF THE REALITY OF THE 20TH CENTURY. It was very sensitively different compared to the vision of life of their predecessors. All this was the first and main step towards the deepest crisis in consciousness. In almost every difficult moment of life, a person simply needs a strong surge of emotions, and even more so if a person is of a creative nature. During these years, not everyone could simply and freely express their feelings. Only writers could do this, and even then on paper, because it can endure everything. Literature has made a huge contribution to the ongoing reassessment of life values.

The influence of the literature of the 20th century in Rus' quickly spread beyond its borders. This was felt quite well immediately after the end of the October Revolution. She made it obvious that Russian literature of the 20th century has progressive influences on human consciousness. Thanks to the works written in this century, outside Rus', everyone considered the Russian man a real and brave fighter with strong spiritual qualities of self-knowledge. Works written by the classics of Russian literature of the 20th century began to appear in gigantic editions. Thus every day there were more and more new people who read them.

During this significant period of the heyday of Russian literature, most of the writers of that era were expelled from the country, and some voluntarily decided to emigrate, but the cultural society of Russia and its literary life have not stopped for a second since then. Very talented young writers began to appear who took part in the Civil War.

It is impossible to ignore the work of brilliant writers like Yesenin, Mayakovsky, Tolstoy, Platonov, as well as dozens of many other writers, whose works to this day remain world classics and an example for novice poets and writers to follow. During the Great Patriotic War, patriotism began to appear in literature more and more, which appealed to the people. They quite vividly described the scenes of the battle of the Russian people with the fascist invaders and occupiers.

Russian literature of the XX century ("Silver Age". Prose. Poetry).

Russian literature XX century- the heiress of the tradition of the golden age of Russian classical literature. Her artistic level is quite comparable with our classics.

Throughout the century, there has been a keen interest in society and literature in the artistic heritage and spiritual potential of Pushkin and Gogol, Goncharov and Ostrovsky, Tolstoy and Dostoevsky, whose work is perceived and evaluated depending on the philosophical and ideological currents of the time, on creative searches in literature itself. . Interaction with tradition is complex: it is not only development, but also repulsion, overcoming, rethinking of traditions. In the 20th century, new artistic systems were born in Russian literature - modernism, avant-garde, socialist realism. Realism and romanticism continue to live. Each of these systems has its own understanding of the tasks of art, its own attitude to tradition, the language of fiction, genre forms, and style. His understanding of the personality, its place and role in history and national life.

The literary process in Russia in the 20th century was largely determined by the impact on the artist, culture in general, of various philosophical systems and policies. On the one hand, there is no doubt that the ideas of Russian religious philosophy of the late 19th and early 20th centuries influenced literature (the works of N. Fedorov, V. Solovyov, N. Berdyaev, V. Rozanov, and others), and on the other hand, Marxist philosophy and Bolshevik practice. Marxist ideology, starting from the 1920s, establishes a rigid dictate in literature, banishing from it everything that does not coincide with its party guidelines and the strictly regulated ideological and aesthetic framework of socialist realism, which was approved by directive as the main method of Russian literature of the 20th century at the First Congress of Soviet Writers in 1934 year.

Beginning in the 1920s, our literature ceased to exist as a single national literature. It is forced to be divided into three streams: Soviet; Russian literature abroad (emigrant); and the so-called "detained" within the country, that is, not having access to the reader for censorship reasons. These streams were isolated from each other until the 1980s, and the reader did not have the opportunity to present a complete picture of the development of national literature. This tragic circumstance is one of the peculiarities of the literary process. It also largely determined the tragedy of fate, the originality of the work of such writers as Bunin, Nabokov, Platonov, Bulgakov and others. At present, the active publication of the works of émigré writers of all three waves, works that have lain in writers' archives for many years, allows you to see the richness and variety of national literature. The opportunity arose for a truly scientific study of it in its entirety, comprehending the internal laws of its development as a special, proper artistic area of ​​the general historical process.

In the study of Russian literature and its periodization, the principles of exclusive and direct conditioning of literary development by socio-political causes are overcome. Of course, literature reacted to the most important political events of the time, but mainly in terms of themes and problems. According to its artistic principles, it retained itself as an intrinsically valuable sphere of the spiritual life of society. Traditionally, the following periods:

1) the end of the 19th century - the first decades of the 20th century;

2) 1920-1930s;

3) 1940s - mid-1950s;

4) mid-1950s-1990s.

The end of the 19th century was a turning point in the development of the social and artistic life of Russia. This time is characterized by a sharp aggravation of social conflicts, the growth of mass demonstrations, the politicization of life and the extraordinary growth of personal consciousness. The human personality is perceived as a unity of many principles - social and natural, moral and biological. And in literature, characters are not determined exclusively and primarily by environment and social experience. Different, sometimes polar, ways of reflecting reality appear.

Subsequently, the poet N. Otsup called this period the "silver age" of Russian literature. The modern researcher M. Pyanykh defines this stage of Russian culture as follows: "The Silver Age" - in comparison with the "golden", Pushkin's, - is usually called the end of the 19th - beginning of the 20th century in the history of Russian poetry, literature and art. If we keep in mind that the “Silver Age” had a prologue (the 80s of the XIX century) and an epilogue (the years of the February and October revolutions and the civil war), then Dostoevsky’s famous speech about Pushkin (1880) can be considered its beginning. , and at the end - Blok's speech "On the Appointment of the Poet" (1921), also dedicated to the "son of harmony" - Pushkin. The names of Pushkin and Dostoevsky are associated with two main, actively interacting trends in Russian literature of both the Silver Age and the entire 20th century - harmonic and tragic.

The theme of the fate of Russia, its spiritual and moral essence and historical perspectives becomes central in the work of writers of various ideological and aesthetic trends. Interest in the problem of national character, the specifics of national life, and human nature is growing. In the work of writers of different artistic methods, they are solved in different ways: in the social, concrete historical terms, by realists, followers and continuers of the traditions of critical realism of the 19th century. The realistic direction was represented by A. Serafimovich, V. Veresaev, A. Kuprin, N. Garin-Mikhailovsky, I. Shmelev, I. Bunin and others. . Symbolists F. Sologub, A. Bely, expressionist L. Andreev and others. A new hero is also born, a “continuously growing” person, overcoming the shackles of an oppressive and overwhelming environment. This is the hero of M. Gorky, the hero of socialist realism.

Literature of the early 20th century - Literature of philosophical problems par excellence. Any social aspects of life acquire a global spiritual and philosophical meaning in it.

The defining features of the literature of this period are:

interest in eternal questions: the meaning of the life of an individual and humanity; the mystery of the national character and history of Russia; worldly and spiritual; human and nature;

intensive search for new artistic means of expression;

the emergence of unrealistic methods - modernism (symbolism, acmeism), avant-garde (futurism);

tendencies towards interpenetration of literary genres into each other, rethinking of traditional genre forms and filling them with new content.

The struggle between the two main artistic systems - realism and modernism - determined the development and originality of the prose of these years. Despite the discussions about the crisis and the “end” of realism, new opportunities for realistic art opened up in the work of the late L.N. Tolstoy, A.P. Chekhov, V.G. Korolenko, I.A. Bunin.

Young realist writers (A. Kuprin, V. Veresaev, N. Teleshov, N. Garin-Mikhailovsky, L. Andreev) united in the Moscow circle "Environment". In the publishing house of the “Knowledge” partnership, led by M. Gorky, they published their works, in which the traditions of democratic literature of the 60-70s developed and transformed in a peculiar way, with its special attention to the personality of a person from the people, his spiritual quest. The Chekhov tradition continued.

The problems of the historical development of society, the active creative activity of the individual were raised by M. Gorky, socialist tendencies are obvious in his work (the novel "Mother").

The necessity and regularity of the synthesis of the principles of realism and modernism were substantiated and implemented in their creative practice by young realist writers: E. Zamyatin, A. Remizov and others.

Symbolist prose occupies a special place in the literary process. Philosophical understanding of history is characteristic of D. Merezhkovsky's trilogy "Christ and Antichrist". We will see the history and stylization of history in the prose of V. Bryusov (the novel "The Fiery Angel"). In the novel "Without hope" "Small demon" by F. Sologub, the poetics of the modernist novel is formed, with its new understanding of classical traditions. A. Bely in "Silver Dove" and "Petersburg" makes extensive use of stylization, the rhythmic possibilities of language, literary and historical reminiscences to create a novel of a new type.

A particularly intensive search for new content and new forms took place in poetry. Philosophical and ideological-aesthetic tendencies of the era were embodied in three main currents.

In the mid-90s, articles by D. Merezhkovsky and V. Bryusov theoretically substantiated Russian symbolism. The symbolists were greatly influenced by the idealist philosophers A. Schopenhauer, F. Nietzsche, as well as the work of the French symbolist poets P. Verlaine, A. Rimbaud. Symbolists proclaimed the mystical content as the basis of their creativity and the symbol - the main means of its embodiment. Beauty is the only value and the main criterion for evaluation in the poetry of the older symbolists. The work of K. Balmont, N. Minsky, Z. Gippius, F. Sologub is distinguished by extraordinary musicality, it is focused on the transfer of fleeting insights of the poet.

In the early 1900s, symbolism was in crisis. From symbolism, a new trend stands out, the so-called "young symbolism", represented by Vyach. Ivanov, A. Bely, A. Blok, S. Solovyov, Y. Baltrushaitis. The Russian religious philosopher V. Solovyov had a great influence on the Young Symbolists. They developed the theory of "effective art". They were characterized by the interpretation of the events of modernity and the history of Russia as a clash of metaphysical forces. At the same time, the work of the Young Symbolists is characterized by an appeal to social issues.

The crisis of symbolism led to the emergence of a new trend that opposes it - acmeism. Acmeism was formed in the "Workshop of Poets" circle. It included N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, G. Ivanov and others. They tried to reform the aesthetic system of the Symbolists, asserting the inherent value of reality, made a setting for a “material” perception of the world, “proper” clarity image. Acmeist poetry is characterized by "beautiful clarity" of language, realism and accuracy of details, picturesque brightness of visual and expressive means.

In the 1910s, an avant-garde movement in poetry appeared - futurism. Futurism is heterogeneous: several groups stand out within it. The Cubo-Futurists (D. and N. Burliuk, V. Khlebnikov, V. Mayakovsky, V. Kamensky) left the greatest mark on our culture. Futurists denied the social content of art, cultural traditions. They are characterized by anarchist rebellion. In their collective programming collections (Slapping Public Taste, Dead Moon, etc.), they challenged "the so-called public taste and common sense." The Futurists destroyed the existing system of literary genres and styles, developed a tonic verse close to folklore on the basis of the spoken language, and experimented with the word.

Literary futurism was closely associated with avant-garde trends in painting. Almost all Futurist poets were professional artists.

New peasant poetry, based on folk culture, occupied a special place in the literary process of the beginning of the century (N. Klyuev, S. Yesenin, S. Klychkov, P. Oreshin, etc.)

1. What do you see as the features of the development of Russian literature of the 20th century?

Russian literature of the 20th century developed in the era of tragic cataclysms: wars, revolutions, mass repressions, the formation of “hot spots” on the territory of the country. These events were reflected in the created works of art of various trends and trends and received their own assessments in them depending on the worldview and aesthetic positions of the writers. At the beginning of the century, several trends and trends coexisted in Russian literature, the main of which were realism and modernism (symbolism, acmeism, futurism). After the October Revolution, Russian literature was divided into two main areas: Soviet literature, which sang of the new system in Russia and its achievements, and Russian literature abroad, in whose works the revolution and the regime established after its implementation were sharply criticized, universal human moral values ​​were affirmed. In general, both directions constituted a single Russian literature based on previous traditions.

The literature of the Russian diaspora, as well as works written in Russia, but not published for censorship reasons, came to the reader mainly after the start of perestroika and the events of 1991. At the end of the 20th century, various trends and trends re-emerged in Russian literature (for example, postmodernism, etc.).

2. What literary trend is the leading one in Russian literature of the 20th century? Justify the answer.

The leading trend in Russian literature of the 20th century is realism, in the presence of other trends and trends. At the heart of it is the search for the truth of life, the desire to most fully and correctly reflect life. Developing the traditions of realistic literature of the 19th century, for example, I. Bunin and A. Kuprin, V. Astafiev, V. Rasputin, F. Abramov, V. Shukshin and others created their works. In literary criticism, there are discussions about the method socialist realism, which in 1934 at the First Congress of Soviet Writers was proclaimed as the leading method of Soviet literature. The works of M. Gorky, V. Mayakovsky, M. Sholokhov, A. Fadeev, N. Ostrovsky were attributed to him. Whatever concepts of social realism are developed, we can definitely attribute the works of these outstanding Russian writers to the high achievements of realism and find in them adherence to the traditions of Russian classics of the 19th century.

3. Compare the works of the XIX and XX centuries known to you. Identify common and distinct themes. Compare the characters of the characters.

The 20th century brought new themes and problems to literature, such as: a person in a changing world, a person in the face of revolutionary events, the theme of the Civil War, the fate of people in the Great Patriotic War, the moral problems of a working person , the historical memory of the people and many others. For the literature of both eras, moral problems, of course, became common, especially the personal relationships of people. The theme of love never exhausts itself, reflections on the truth of friendship and the nature of betrayal. Reflections on the upbringing of future generations and the so-called problem of "fathers and children" are always relevant, which implies not only conflict relations between the elders and the Younger, but also the search for ways to strengthen the connection between parents and children based on love and respect. to traditions, based on the continuity of life experience, perception of the worldview and cultural wealth. And of course, the heroes of the works of the 19th and 20th centuries were worried about the problems of honor, justice, and duty. As you can see, there is a lot in common, because this is classical literature. material from the site

However, there are also differences due to time, peculiarities of social relations. The heroes of the literature of the first half of the 19th century, as a rule, were advanced nobles, either close to the ideas of the Decembrists, or brought up on them (Chatsky, Onegin, Beltov, etc.), disappointed in the "mistakes of the fathers", like Pechorin. Literature of the second half of the century is looking for a new hero, prompted by life. On the one hand, these are liberal nobles, brought up in universities in the 1930s and 1940s, or people of a new formation who came from a heterogeneous environment. We comprehend their collision not only from historical works, but also from the works of I. S. Turgenev. People from the merchant environment with their diverse characters are represented in Ostrovsky's plays. The bitter experiences of a Russian woman are reflected in the poems of N. A. Nekrasov. The literature of the Soviet period is characterized by a hero who cheerfully and optimistically looks ahead and believes in new ideals. The hero of Russian literature abroad often experiences a nostalgic feeling of longing for his homeland, people, familiar places (I. Bunin, V. Nabokov).

At the time when the beginning of the new, 20th century was solemnly celebrated in Russia, writers whose work reached its peak in the 19th century were still continuing their activities - L. Tolstoy, Chekhov, Korolenko. The voice of Tolstoy the publicist sounded to the whole world, instilling in people an aversion to violence, lies, injustice and calling for love, mercy, brotherhood. In 1903, at the age of 75, the writer creates one of his best stories - "After the Ball", and a year later he completes work on the story "Hadji Murad". Chekhov at the beginning of the 20th century wrote his famous plays, and today they are successfully going on the train - "Three Sisters" and "The Cherry Orchard". Korolenko is working on "The History of My Contemporary", on articles and memoirs.

But the poets and prose writers of new generations, who were destined to link their fate with the 20th century, are becoming more and more noticeable - M. Gorky, L. Andreev, I. Bunin, A. Kuprin. A. Blok, A. N. Tolstoy, later - V. Mayakovsky, S. Yesenin, M. Tsvetaeva. M. Sholokhov comes to literature. K. Paustovsky, M. Bulgakov, A. Platonov, N. Zabolotsky, A. Tvardovsky, and finally - A. Solzhenitsyn, V. Rasputin and others.

The 20th century is the time of the greatest tragedies and accomplishments in the history of Russia and mankind. Not without reason Blok in the poem "Retribution" prophetically predicted that "black, earthly blood" promises "unprecedented rebellions" and "unheard of changes."

And, indeed, less than four years after the writing of these lines, the First World War broke out, and three years later two revolutions broke out - February and October 1917, which dramatically changed the life of the country: the great and tragic seventieth anniversary of Soviet power came. 24 years after the revolution, an unprecedented world war with Nazi Germany began. How many dead literature has mourned, how many broken lives it has portrayed! The people achieved victory, but at what cost! You will read (or re-read) Sholokhov's story "The Fate of Man". His hero lost everything during the war years and found some semblance of happiness only in an adopted boy. Everything significant that has been created in the literature about the Great Patriotic War has reflections of a heroic and, let us repeat, a tragic era.

The fate of writers of the 20th century was not easy. Martyrology, which was once compiled by A. I. Herzen, continued in the twentieth century. At the age of forty, essentially broken by deprivation and suffering, Blok died. Not finding a place for himself in contemporary reality, at the age of thirty, Yesenin committed suicide. On the basis of personal troubles, 37-year-old Mayakovsky shot himself. Unable to endure the hardships of the war years and loneliness, at the age of 49, M. Tsvetaeva, who had been in exile for many years, hanged herself. Bunin, Kuprin and many other writers were forced to leave their native country during the Civil War. Kuprin returned to the Soviet Union in 1937, shortly before his death, and Bunin died in a foreign land. A. I. Solzhenitsyn spent several years as a prisoner in the Gulag, and after being released, he was soon expelled from the country.

But we would make an irreparable mistake if we presented all the literature of the 20th century in such gloomy tones. Even those writers who came into conflict with the authorities and Soviet reality did not give in to despair. From the literature of the 19th century, Russian literature of the 20th century took the baton of lofty ideals, morality, and humanism. This is easy to see when reading stories and the story "Childhood" by M. Gorky, the works of A. Kuprin, I. Bunin and other writers. “But still ... still ahead - lights! ..” exclaimed Korolenko. "The clouds will not hide the sun, no, they will not hide!" Gorky seemed to echo him. "Erase random features, / And you will see - the world is beautiful!" - these words belong to Blok, who created more than one sad, even pessimistic poem. Literature called on readers not to give up, to overcome the incredible trials that fell to their lot. Bunin, who was in exile, highly appreciated Tvardovsky's military poem "Vasily Terkin", the hero of which is a resilient Russian soldier. Writers such as Mayakovsky, Sholokhov, Paustovsky, Tvardovsky, each in his own way, participated in the transformations unfolding in the country, trying to instill faith in the future in readers with a literary word, to increase their vital activity.

And in the pre-war, and in the war years, and in our days, Russian literature did and is doing a lot to ensure that justice, purity of feelings and relations triumph in the country, so that everything that is denoted by the short and capacious word "evil" goes into the irretrievable past. - political tyranny, rudeness of the ball ones ("Dog's Heart" by Bulgakov), servility, reaching the loss of human appearance, to self-abasement (Mayakovsky's satire), selfishness, self-interest, money-grubbing (Thaddeus from Solzhenitsyn's story "Matryona Dvor"). The deep respect of the reader was won by such heroes of literature of the 20th century as Andrei Sokolov from Sholokhov's story "The Fate of a Man", a young teacher from V. Rasputin's story "French Lessons", Matryona from A. Solzhenitsyn's story "Matryona Dvor" and others.

Russian writers of the 20th century continue and develop the realistic traditions of their predecessors. At the same time, many of them write in a romantic manner: K. Paustovsky. M. Prishvin, K). Kazakov.

And what a variety of genres distinguishes Russian literature of the 20th century! Here are novels (Gorky, Sholokhov), and poems (Tvardovsky), stories and short stories - realistic (Bunin, Kuprin, Shukshin, Kazakov), satirical (Bulgakov), fantastic (Green); here are dramatic works (Marshak), and cycles of novels and short stories (V. Astafiev), and tales (Bazhov), and the richest lyrics.

Russian writers of the 20th century enriched the pictorial and expressive possibilities of literature with musicality, songfulness of verse (Blok, Yesenin), colloquial and oratorical verse (Mayakovsky), compressed, as if to the limit compressed speech (Tsvetaeva), folk speech melted down in the crucible of talent (Sholokhov, Astafiev, Tvardovsky, Solzhenitsyn).