Humanistic attention to a person expanded the scope of knowledge of the inner world of the person. The inner world of the heroes of Shakespeare is a multilateral world. Pushkin pointed to this, comparing the Tines of Shakespeare with the types created by the Moliere. In the image of a person, early realism in the person "of which the greatest representatives - Shakespeare and Servanites immediately introduces the principle of versatility, artistically recreating intellectual, moral and psychological, often controversial, but quite individualized human appearance. In the "Gamlet" and in "Don Quixote" with a brilliant force, a curtain over the region of the human spirit is opened. DON-Kihota tragedy - on above all, the tragedy of the human mind that has already realized the need to fight evil in life, but still powerless and naive in understanding the true sources and manifestations. It is noteworthy that the Writers of the Renaissance era no longer hope for a divine revelation, they themselves are trying to solve the great problem of creating an ideal human society.
The advantage of it originated, of course, as a reflection of time. The English revolution of the middle of the XV century. And the time of the fronds in France with sufficient clarity revealed the significance of the public environment and public contradictions.
The nature of a person, his earthly interests and thoughts are perceived by the advanced Writers of Renaissance as a source and the cause of his actions and aspirations. The inner world of man is attached to an objective, sovereign, independent of heaven. This was a genuine revolution in the literature. It was the birth of realism as an artistic method of lifestyle.
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The chronological boundaries of the realistic direction in the works of various researchers are determined in different ways. Some seize the primitives of realism still in antiquity, others refer to its emergence towards the Renaissance era, the third leads from the 18th century, the fourths believe that realism as a direction arose no earlier than the first third of the 19th century.
The direct predecessor of realism in European literature was romanticism. Having made an unusual image, creating an imaginary world of special circumstances and exceptional passions, he (romanticism) at the same time showed a personality richer in spiritual, emotional terms, more complex and controversial than it was available to classicism, sentimentalism and other areas of previous epochs. Therefore, realism has developed not as an antagonist of romanticism, but as its ally in the fight against the idealization of social relations, for the national historical originality of artistic images (flavor of the place and time). Between the romanticism and the realism of the first half of the 19th century, it is not always easy to spend clear boundaries, in the work of many writers, romantic and realistic features merged together - works of Balzak, Standal, Hugo, partly Dickens.
However, the formation of realism as an artistic system in European literature is customary to communicate with the Epoch of the Renaissance (Renaissance). A new understanding of the life of a man who rejects the church preaching of slave submissions, was reflected in the Francesco Petrorski lyrics, the Romans of Francois Rabl ("Gargantua and Pantagruel") and Miguel Cervantes de Sawardra, in the tragedies and comedies of William Shakespeare. After the medieval churchings of the centuries preached that a person is a "sin vessel", and called for humility, literature and the art of the revival glorified a man as a higher creation of nature, seeking to reveal the beauty of his physical appearance and the wealth of the soul and mind. For the realism of the revival, the scale of images (Don Quixote, Hamlet, King LIR), Poetage of the Human Personality, the ability of it to a great feeling (like in Romeo and Juliet) and at the same time high drilling of the tragic conflict, when the collision of the personality is depicted by the oblique forces .
The next stage in the development of realism - educational (enlightenment), when literature becomes (in the west) to the instrument of direct training of the bourgeois-democratic revolution. Among the enlighteners were supporters of classicism, other methods and styles affected their work. But in the 18th century, it consists (in Europe) and the so-called educational realism, the theorists of which were D. Didro (theoretical work "on dramatic literature") in France and the city of Lessing ("Hamburg Dramaturgia") in Germany. The world importance acquired an English realistic novel, the founder of which Daniel Defo appeared ("Robinson Cruzo", 1719). The democratic hero appeared in the literature (Figaro in the trilogy of P. Boualersche, Louise Miller in the tragedy "Deceit and love" I.F. Shaller, the images of peasants at A.N. Kradishchev in "Traveling from St. Petersburg to Moscow"), the people in the fables I.Krylova. Enlighteners All phenomena of public life and actions of people were assessed as reasonable or unreasonable (and unreasonable they saw primarily in all old feudal orders and customs). From this they proceeded in the image of human character: their positive heroes are primarily the incarnation of the mind, negative - the retreat from the norm, the production of nerazumia, the barbarism of the previous times. The realism of the enlightenment often allowed the conventionality of the circumstances, the behavior of the heroes.
A new type of realism develops in the 19th century. This is a critical realism. It differs significantly from the Renaissance, and from the educational. Its flourishing in the West is associated with the names of F. Standal and O. Balzak in France, Ch. Dickens, W. Tekkesey in England, in Russia - A.S. Pushkin ("Captain daughter"), N.V. Gogol ("Dead Souls "," Auditor "), I.S. Romegeneva (" Notes Okhotnka "), F.M.Dostoevsky (" Brothers Karamazov "," Crime and Punishment "), L.N. Tolstoy (" Sunday "," War and peace "), A.P.hekhov (stories, plays).
Critical realism in a new way depicts the attitude of a person and the environment. Human character is disclosed in organic communication with social circumstances. The subject of deep social analysis was the inner world of man, critical realism is therefore becoming psychological at the same time. In the preparation of this quality of realism, romanticism played a major role, striving to penetrate the mysters of the human "I".
Deepening the knowledge of life and the complication of the painting of the world in a critical implementation of 19 V. Do not mean, however, some absolute superiority over previous stages, for the development of art is noted not only by conquest, but also losses. Lost was the scale of the images of the Renaissance. The patos of the statement, which is peculiar to the enlighteners, their optimistic faith in the victory of good evil remained unique.
In Russia, the 19th century is a period of development of realism. The wealth and diversity of the Russian realism of the 19th century allow us to talk about different forms.
The formation of Russian realism of the 19th century is associated with the name A.S. Pushkin, who brought Russian literature on the wide path of the image "Fate of People's Fate, the Fate of Human." Thanks to L.N. Tolstoy and F.M.Dostoevsky Russian realistic novel acquired world importance. Their psychological skill, penetration into the "Dialectics of the Soul" opened the way for artistic quest for writers of the 20th century.
The creative scope of Russian social realism affects genre wealth, especially in the field of novel: philosophical and historical (L.N. Tolstoy), revolutionary-journalistic (N. Chernyshevsky), domestic (I.A. Balov). Satyric (M. Saltykov-Shchedrin), psychological (L.N. Tolstoy, F.M.Dostoevsky). By the end of the century, an innovator in the genre of realistic story and a kind of "lyrical drama" is A.P.chekhov.
F.M.Dostoevsky noted as one of the features of Russian literature "The ability to globalism, doubt, allocal". Here we are talking not so much about Western influences, how much about organic development in the direction of the European culture of its centuries-old traditions.
In creativity Griboedov , and especially Pushkin The method of critical realism is developing. But it turned out to be stable only in Pushkin, who went ahead and above. Griboedov, on the height achieved in "Mount," height could not resist. In the history of Russian literature, he is an example of the author of one classic work. And the poets of the so-called "Pushkin Pleiada" (Delvig, Languages, Bratannsky) were not able to pick up this discovery. Russian literature remained romantic.
Only in ten years, when Masquerade, Auditor, Arabesque and Mirgorod were created, and Pushkin was in the Zenith of Glory ("Peak Lady", "Captain's Daughter"), in this accordant coincidence of three different geniine realism The principles of the realistic method in its sharply individual forms revealed its internal potency. Covered the main birth and genres of creativity, especially significant was the emergence of realistic prose, which fixed as a time sign Belinsky In the article "On the Russian Tale and Hogol's Poves" (1835).
In different ways, realism looks like three of its founders.
In the artistic concept of the world, Pushkin-Realist is dominated by the idea of \u200b\u200bthe law, on the laws, which cause the state of civilization, public engines, the place and importance of a person, its independence and connection with the whole, the possibilities of copyright. Pushkin is looking for laws in educational theories, in moral universal values, in the historical role of the Russian nobility, in Russian folk riot. Finally, in Christianity and the Gospel. From here - the all-acceptability, the harmony of Pushkin with all the tragedy of personal destiny.
W. Lermontov - On the contrary: a sharp fellowship with God's world order, with the laws of society, a lie and hypocrisy, all of the defendance of personal rights.
W. Gogol "The world, far from any ideas about the law, shall everyday, in which all the concepts about honor and morality, conscience, - in a word, Russian reality, worthy of grotesque ridiculmonation:" On the mirror of the Wanch, bend, if Ryzh Kriva. "
However, in this case, realism turned out to be a lot of geniuses, the literature remained romantic ( Zagoskin, marriage, Kozlov, Weltman, V. Odoyevsky, Venediktov, Marlinskny, N. Polevik, Zhadovskaya, Pavlova, Krasov, Kupull, I. Panayev, Pogorelsky, Podolinsky, Polezhaev, etc. ).
In the theater walked around Mochalov in Karatygin , that is, between romantics and classicists.
And only in ten years, that is, around 1845, in the works of young writers of "Natural School" ( Nekrasov, Turgenev, Goncharov, Herzen, Dostoevsky and many others ) Realism wins finally, becomes massive creativity. "Natural School" is the true reality of Russian literature. If someone from the followers trying to renounce it now, diminishing the importance of organizational forms and its consolidation, influence Belinsky , then deeply mistaken. We are assured that "schools" was not, but was a "strip," through which various stylists passed. But what is the "strip"? We will again come to the concept of "school", which was not at all the same names of talent, in it there were various stylists (comparable, for example, Turgenev and Dostoevsky), two powerful internal flows: realistic and naturally naturalistic (V. Dal, Bumps , Grebelka, Grigorovich, I. Panayev, Kulchitsky, etc.).
With the death of Belinsky "School" did not die, although he lost his theorist and the inspiration. She turned into a powerful literary direction, its main figures - realist writers - in the second half of the XIX century were the glory of Russian literature. In this powerful direction, they didn't formally belonged to the "school" and did not survive the preliminary stage of romantic development Saltykov, Pisemsky, Ostrovsky, S. Aksakov, L. Tolstoy .
Throughout the second half of the XIX century, the realistic direction is prevalent in Russian literature. His domination seizure in part and the beginning of the 20th century, if they keep in mind Chekhov and L. Tolstoy . Realism as a whole can be qualified as a critical, socially accusatory. Honest, truthful Russian literature is different and could not be in the country of serfdom and autocracy.
Some theorists, disappointed in socialist realism, consider the sign of good tone to abandon the definition of the "critical" in relation to the old classical realism of the XIX century. But the critization of the realism of the last century is an unnecessary testimony that he did not have anything in common with the ultimate "what do I find it?", On which the Bolshevik Socialist Realism was built, destroying Soviet literature.
Another thing, if we raise the question of internal typological species of Russian critical realism. His genericants have - Pushkin, Lermontov and Gogol - Realism performed in different types, as he was also diverse and in realist writers of the second half of the XIX century.
It is easiest that he is amenable to thematic classification: works from noble, merchant, bureaucratic, peasant life - from Turgenev to Zlatovsky. More or less clear genre classification: family-household, chronicle genre - from S.T. Aksakova to Garina-Mikhailovsky; A manor novel with the same elements of family-household, love relations, only on a more mature age stage of the development of heroes, in more generalized typification, with a weak ideological element. In the "Ordinary History" of the clash between the two Adual - age, not ideological. There was another genre of the social and social novel, which are "obcomments" and "fathers and children". But the perspectives of consideration of problems in them are different. In the "Oblomov" - the favoris are stadially considered by the good shallows in the Ilya, when he is still a rapid child, and the burial of them as a result of Baria, Nontelnia. Turgenev in the famous Roman - the "ideological" clash of "fathers" and "children", "princepov" and "nihilism", the superiority of the discharge over nobles, new trends of time.
The most difficult task is to establish typology and species modifications of realism for the methodological basis. All writers of the second half of the XIX century are realists. But what kinds of realism is differentiated?
It is possible to allocate writers whose realism accurately reflects the forms of life itself. These are Turgenev and Goncharov and everyone who came out of the "Natural School". Many these forms of life and Nekrasov. But in the best poems - "Frost - a red nose", "who lives well in Russia" - he is very ingenious, resorts to folklore, fiction, parables, parabolamic and allegoryrs. Scene motivation, binding episodes in the last poem, is purely fabulous, characteristics of heroes - seven men's men - are built on stable folk repetitions. In the poem "Contemporaries" in Nekrasov - a ribbon composition, modeling of images purely grotesque.
Completely unique critical realism at Herzen: there are no forms of life, and the "siegeless humanistic thought". Belinsky celebrated the Volter warehouse of his talent: "Talent went to mind." This mind turns out to be a generator of images, a biography of personalities, whose aggregate on the principle of contrast and merger and discloses the "beauty of the universe." These properties appeared already in "Who is to blame?". But in full power, the visual humanistic thought of Herzen was expressed in "Was and Things". The most distracted concepts of Herzen lifting live images: for example, idealism is forever, but unsuccessfully littered materialism "with its ineptive legs." Tyugyaev and Nikolai I, Granovsky and Belinsky, Dubelt and Benkendorf appear as human types and types of thought, treason-state and creative. These properties of the talent relate to Herzen with Dostoevsky, the author of the "ideological" novels. But Herzen has portraits strictly painted on social characteristics, go to the "forms of life", Dostoevsky has an ideologicalness distracting, infernal and harnessed in the depths of the person.
Extremely brightly acts in Russian literature another variety of realism - satirical, grotesky, which we find from Gogol and Shchedrin. But not only with them. Satira and Grotesque are in separate images of Ostrovsky (Murzanetsky, Gredomoboev, Hlyov), Sukhovo-Koblin (Vavruvin, Tarelkin), Leskova (Levshche, Onopriy Perud) and others. Grotesque is not a simple hyperbole or fantasy. This is a connection in images, types, plots into a single whole of what does not happen in natural life, but what is possible in artistic imagination as a reception in order to identify certain socio-public laws. Gogol is most often - the fades of the inert mind, the nerazumsia of the established situation, the inertia of the habit, the routine of the generally accepted opinion, the illogical, which takes the type of logical: the lies of the hollykov about his Petersburg life, its characteristics of the city and officials of county outback in a letter to the rag. The possibility of commercial trial Chichikov with dead souls is based on the fact that in a serfdom of reality it was easily bought and selling live souls. Shchedrin draws his grotesque techniques from the world of the bureaucratic apparatus, whose fads he studied. It is impossible for ordinary people so that instead of brains in the heads turned out or mince, or an automatic organic. But in the heads of silly pompadurov - everything is possible. Highly, he "stresses" the phenomenon, the impossible is impossible as possible (the debate of the pig with the truth, the boy "in the pants" and the boy "without pants"). Shchedrin masterfully reproduces the casuity of official hooks, the incomplete logic of reasoning of self-confident despots, all these governors, chiefs of departments, columns, quarterly. Their empty philosophy has been firmly formed: "The law of forest in the closet is worth", "the man in the street is always to blame for something," the bribe finally died and the Kushnika nailed in her place "," Enlightenment is useful only when it is not indisputable "," Once-s-zory, I will not bearing! "," Ship him. " Psychologically penetrately reproduced by the verbality of ferry officials, hurrying the idleness of Jews Golovleva.
Approximately the 60-70s, another kind of critical realism was formed, which can be called as philosophical and religious, ethical and psychological. This is primarily about Dostoevsky and L. Tolstom. Of course, and one and the other many stunninghousehold paintings thoroughly designed in forms of life. In the "brothers of Karamazov" and "Anne Karenina" we will find "Family's thought". And yet, Dostoevsky and Tolstoy in the foreground, a certain "doctrine", will this "comprehend" or "caregotment". From this prism, realism is enhanced in its piercing power.
But it should not be thought that philosophical, psychological realism meets only in these two giants of Russian literature. At another artistic level, without the development of philosophical-ethical doctrines to the scale of holistic religious teachings, it is also found in the work of Garshin, in its works such as "four days", "red flower", clearly written on a certain thesis. Properties of this type of realism and poppierators in the "power of the earth" G.I. Uspensky, in the "stuff" of Zlatovratsky. This is the same in nature and the "difficult" talent of Leskov, of course, with a certain biased idea of \u200b\u200bthe "righteous", "fascinated wanderers", who loved to choose talented nature from the people, gifted by God's grace, tragically doomed to death in their natural existence.
An image of life in images corresponding to the essence of life phenomena by typing the facts of reality. . The art of realism is characterized by the spirit of artistic objectivity. The image of the world in a realistic work, as a rule, is not an abstract conditional character. A realist writer reproduces reality in life-like forms, creates the illusion of reality, makes believing in his characters, seeks to make them alive, inform them the artistic persuasiveness. Realistic art depicts the depths of the human soul, the motivation of the actions of the hero, the study of the circumstances of his life, the reasons that prompted the character act so, and not otherwise. Truthful reflection of the world, wide coverage of reality. Any genuine art to a certain extent reflects the reality, i.e. it corresponds to the vital truth. However, realism as a method with the greatest sequence embodied the principles of the vital reflection of reality. I. S. Turgenev, speaking of the connection of art with reality, argued: "I always need a meeting with a living person, direct acquaintance with any life fact before proceeding to the creation of a type or to draw up a fabul." Pointed to the real basis of the plot of the novel "Crime and Punishment" and F. M. Dostoevsky.
Historicism. Realism subordinated all artistic means of the task of an increasingly multifaceted and deep study of a person in his relationship with society, with a historical process. Under the historicism in the literature it is customary to understand the idea of \u200b\u200breality, developing naturally and progressively, about the connection of times in their qualitative differences.
Attitude towards literature as a means of knowledge of the man of himself and the surrounding world. The realist writers turn to the cognitive opportunities of art, trying deeply, fully and multilaterally to explore life, depicting reality with the contradictions inherent in it. Realism recognizes the artist's right to cover all parties to life without limitation. The basis of any realistic work is the vital facts that have creative refraction. In realistic works, every significant manifestation of individuality is depicted due to certain circumstances, the artist seeks to identify the characteristic, repeated in an individual, natural in what seems random.
Realist writers following the sentimentalists and romantics showed interest in the life of the human soul, deepened the idea of \u200b\u200bhuman psychology, reflected in artistic works the work of human consciousness and subconscious through the identification of the hero's intentions, the motives of his actions, experiences and shift of mental states.
Reflection of human communication and environment . Realism is a multifaceted and potentially comprehensive study and image of the world throughout the richness of his connections, organically recreated by the artist. Realist writers create different situation of disclosure: I. A. Goncharov in the novel "Oblomov" shows a degradation for the hero of an ordinary environment, a familiar medium; The heroes of Dostoevsky, on the contrary, are in the supervisory situations generated by the imperfection of the social defendant; L. N. Tolstoy includes its heroes into a circulation of significant historical events that detect the essence of one or another nature. The art of realism shows the interaction of a person with the medium, the impact of the era, social conditions for human destinies, the influence of social circumstances on the moral and spiritual world of people. At the same time, the realistic work justifies what is happening not only by socio-historical circumstances, but also the hero's psychology, its moral choice, i.e., the mental state of personality (in contrast to the works of naturalistic school, in which a person has portrayed as a derivative of heredity and environment). Thus, the realistic work explores the ability of the personality to rise above the circumstances, to resist them, showing freedom of will.
Typification of characters and circumstances. In literature, Formula F. Engels was entrenched, according to which "realism assumes, in addition to the veracity of the details, the truthful reproduction of typical characters in typical circumstances." For realistic work it is important to establish links between these two image objects. Literary hero realistic The works are created as a generalized image (type) of human individuality, most characteristic of a particular public environment, the characteristic signs of persons of a certain category are embodied. The creative process of creating typical images is made by typing. Literary forms: Epos: Roman, story, poem, story. Lyrics: Song, Elegy. Drama: tragedy, east. Of course, first of all it is F. M. Dostoevsky and L. N. Tolstoy. The work of the Late Pushkin was also the outstanding samples of the literature (by the right of the investigation of realism in Russian literature) - the historical drama "Boris Godunov", the story "Captain's daughter", "Dubrovsky", "Tale of Belkin", Roman Mikhail Yuryevich Lermontov "Hero of Our Hero time, as well as the poem Nikolai Vasilyevich Gogol "Dead Souls". In Russia, the first broadly introduced into journalism and criticism the term "realism" Dmitry Pisarev, until that time the term "realism" was used by Herzen in the philosophical sense, as a synonym for the concept of "materialism".
Realism has developed at the turn of 1830-1840. The word was told by P. Annenkov in relation to a series of essays about urban Nizak Yakov Butkova. That is, from the very beginning there was an intention to use the socio-lowered material - the human bottom with its ulcers, mud, abomination. But the origin of the direction can be attributed to the time of writing and producing the play of Gogol "Auditor" (1836). She had basically the plot proposed by Pushkin. It is distinguished by the lack of positive heroes. According to the literary critic V.G. Belinsky, Gingerbread Ternaya-Dmukhanovsky and Khlestakov are not carriers of abstract defects, but a living embodiment of the moral decomposition of Russian society as a whole. Followers of Gogol as the author of the "Auditor" and became representatives of the "Natural School". The opponents of them were called "Meschili". Soviet literary studies following M. Gorky - critical realism for focusing the accusatory orientation of this literature. General features of this direction were: social and significant topics; Plots from the lives of low layers of society, a description of the non-invalious life; The problem of "small person"; explicit and veiled accusatory tone; The impairment of "Gnus raise reality"; Realism of artistic expression, against the embellishment of reality. The largest representatives were I.S. Turgenev, F.M. Dostoevsky, V.D. Grigorovich, I.A. Goncharov, N.A. Nekrasov, M.E. Saltykov.
The authors' relationships to their heroes were "cruel." All their flour and vices generously poured on the books of books. It is no closer to N. Mikhailovsky called the cruel talent of Dostoevsky, who, without any literary need, tormented his heroes, persistently not showing them the road to the top. Young writer N. Leukin recalled that N.A. Nekrasov advised him "malice more" to let into the texts, they say, "time is". It was a fashion.
The flourishing of Russian realistic fiction in the second half of the XIX century. Performed against the background of socio-political fermentation, which began in the 1840s, in the reign of Nicholas I (1825 - 1855). Among the numerous novelists of this period there are three gigids, known all over the world: Ivan Sergeevich Turgenev (1818 – 1883), Fedor Mikhailovich Dostoevsky (1821 - 1881) and Lion Nikolaevich Tolstoy (1828 - 1910). In addition, you should mention Ivan Alexandrovich Goncharov (1812 - 1891), the author of the novels "Ordinary History" (1848), "Oblomov" (1859, "Open" (1869).
Both poetic descriptions of nature and deep penetration into the human psyche and realistic image of a rural landlord of life are inherent in the first work of Turgenev - "Hunter's note" (1847-1852). The writer's tendency to socio-political issues - Rudin novels (1856) and the "noble nest" (1859), in which the favorite Turgenev Scene Couple appears: a weak-like hero and heroine, which has a strong will; These types are clearly inspired by the images of Onegin and Tatiana.
Dostoevsky in the early period of creativity was under the strong influence of Gogol and the "Natural School" (Roman "Poor People", 1846). In the future, the writer did not follow the path of most writers - his contemporaries, Dostoevsky did not consider himself an expressive of the interests of any social layer. In his novels, the path of internal development of the human personality is described: Boring conscience with immoral theory ("Crime and Punishment", 1866); Attempts to construct a sinful life with Christian virtues ("Idiot", 1868); The search for God and faith in the obsessed practicalism of the world, where Malovery rules ("Brothers Karamazov", 1879-1880). In his novels there is a complete artistic merger of abstract ideology and unique specific characters and circumstances. In the psychological analysis of human passions, feelings, the characters of Dostoevsky there are no equal in world literature.
Unlike Dostoevsky, the creator is very life-like, but still shifted by subjective perception and ignorance of the world, Tolstoy was a reality expressive. His early works were prepared for writing the monumental novel "War and Peace" (1863-1869), Roman-epic. This is a historic canvas, where the most of the place is occupied by the relationship between five families between 1805 and 1820. Next Roman L.N. Tolstoy, "Anna Karenina" (1873-1877), one of the most significant stories of love in world culture. After 1880, Tolstoy abandoned the psychological and analytical style of his great novels for the sake of simplified narrative style available to the greater masses.
Dramaticria of this period is marked by leadership Alexey Nikolayevich Ostrovskoye (1823 - 1886), which wrote a lot of plays, the best of which, for example, "Poverty is not a vice" (1854), "Thunderstorm" (1859) and "Nonmennica" (1879), still do not go from the scene. The most original playwright of the end of the XIX century. Was Anton Pavlovich Chekhov (1860-1904). The main play of Chekhov is the "Seagull" (1896). It clearly does not fit fully into the realistic standard. It is distinguished by an impressionistic, emotional attitude that has infected the theater audience caused by an endless break between real life and its ideal way. Such impressionism was penetrated by the play "Uncle Vanya" (1900), "Three Sisters" (1901) and "Cherry Garden" (1904). Chekhov created a new dramatic structure consisting of alternating monologues, where all the characters are frank each other, but their recognition is not secession, because People do not hear and do not listen to each other.