Foreign literature of the late XIX - early XX centuries. The cooking "Russian literature of the late XIX - early XX century (Review)

Russian literature of the late 19th - early 20th century (1890 - 1917).

The last decade of the 19th century reveals in Russian, and in world culture new stage. For about a quarter of a century - from the beginning of the 90s until October 1917 - the literally all aspects of Russia's lives are radically updated - economics, politics, science, technology, culture, art. Compared with the public and relative literary stake in the 1980s, the new stage of historical and cultural development was distinguished by rapid dynamics and acute drama. By pace and depth of change, as well as on catastrophicity internal conflicts Russia at this time is ahead of any other country.

Therefore, the transition from the era of classical Russian literature to a new literary time was distinguished by a far from the peaceful nature of the general cultural and intrasectural life, rapidly - by the standards of the 19th century - change of aesthetic landmarks, a fundamental update literary techniques. Especially dynamically, Russian poetry was updated at this time, again - after pushkin era - published on the forefront of the general living life of the country. Later, this poetry earned the name of the "Poetic Renaissance" or "Silver Century". After analogy with the concept of "golden age", traditionally denoted by the "Pushkin period" of Russian literature, this phrase at first was used to characterize the vertex manifestations of the poetic culture of the beginning of the 20th century - creativity A. Blok, A. White, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant wizard masters. However, gradually the term " silver Age"It began to determine the entire artistic culture of Russia of the late 19th - early 20th century. To date, such a word consuming in literary criticism.

New compared with the 19th century was at the turn of two centuries, above all, the world's globility. Fasted an understanding of the exhaustion of the previous era, conflicted with each other, the assessment of the socio-economic and general cultural perspectives of Russia began to appear. The general denominator of ideological disputes that flared in the country by the end of the last century was the definition new era like epochs Border: The previous former forms of life, labor, political organization of the Company was irrevocably looked into the past, the system of spiritual values \u200b\u200bwas resolutely revised. Crisis - keyword The epochs, nomadic for magazine journalism and literary and critical articles (often used by the meaning of the word "revival", "fracture", "crossroads", etc.)

The artistic literature has quickly included in the discussion of the actual issues, traditionally for Russia, which has not stood aside from public passions. Its social bias affected the titles of works characteristic of this era. "Without the road", "on the turn" - calls his story V. Veresayev; "Sunset of the Old Century" - ends him by the heading of the novel chronicle A. Amphitheators; "The last feature" - responds to his novel M. Arzybashev. The awareness of the crisisity of time, however, did not mean the recognition of his infertility.

On the contrary, most of the masters of the Word felt their epoch as the time of unprecedented accomplishments, when the value of the literature in the life of the country increases sharply. Because such a lot of attention began to be given not only to creativity, but also the ideological and public position writers, their relationships with political life countries. The writing environment arose a craving for consolidation with him in the worldview and aesthetics with writers, philosophers, figures of related arts. Literary associations and the circles played in this historic period A much more prominent role than in the preceding several decades. As a rule, new literary directions The bindings of the ages developed from the activities of small writing circles, each of which united young writers with similar views on art.

A quantitative writing environment increased markedly compared with the 19th century, and qualitatively - by the nature of education and life experience writers, and most importantly - on a variety of aesthetic positions and skill levels - seriously complicated. In the 19th century, literature possessed high degree ideological unity; It has a pretty clear hierarchy of writing values: it is not difficult to single out masters that served as guidelines for a whole writing generation (Pushkin, Gogol, Nekrasov, Tolstoy, etc.).

The heritage of the silver century is not limited to the work of one or two dozen significant artists of the word, and the logic literary development this pore is incorporated to a single center or the simplest scheme Signing each other directions. This legacy is a multi-tiered artistic reality, in which individual writer tartaries, as they would be outstanding themselves, are only part of the grand whole, which received such a wide and "non-stirring" name - the silver age.

Starting to study the literature of the Silver Century, do not do without summary Social background of the stroke of the ages and the general cultural context of this period ("context" - the environment, an external environment in which there is art).

Socio-political features of the era.

By the end of the 19th century, crisis phenomena in the Russian economy aggravated. The roots of this crisis - in too slow reform of economic life, started in 1861. A more democratic color order, according to the plans of the government, should have intensified the economic life of the peasantry, to make this largest group of the population moving and more active. So it gradually happened, but the flame processes were overseas: Since 1881, when the peasants were to finally pay debts to their former owners, the rapid impoverishment of the village began. Especially acute was the situation in the hungry 1891-1892. The inconsistency of transformations was cleared: freeing the peasant in relation to the landowner, the reform of 1861 did not release him in relation to the community. Up to stolypin reform 1906 the peasants could not separate from the community (from which they received land).

Meanwhile, the self-determination of the largest political parties arising at the turn of the centuries was largely dependent on a particular relation to the community. The leader of the Liberal Party of Cadets P. Milyukov considered the community by a type of Asian production method, with despotism generated by them and superchangealization in the political structure of the country. Hence the recognition of the need for Russia to go on the pan-European route of bourgeois reforms. Back in 1894, a large economist and politician P. Struve, later also became Liberal, completed one of his works famous phrase: "We recognize our non-ultimate and go for a learning to capitalism." It was the program of the evolutionary development of the country towards the civil society of the European type. However, liberalism did not become for the increasing quantitative Russian intelligentsia the main program of action.

More influential in public consciousness The position was tailored to the so-called "inheritance of the 60s" - the revolutionary-democratic and continuity towards it revolutionary and populic ideology. N. Chernyshevsky, and later P. Lavrov and N. Mikhailovsky considered the role of the Russian community positive. These supporters of special, "Russian socialism" believed that the community with its spirit of collectivism - real basis To transition to the socialist form of management. Important in the position of the "sixties" and their spiritual heirs were a sharp oppositionality of autocratic "arbitrariness and violence", political radicalism, a rapid change rate public institutions (A little attention was paid to real mechanisms of economic life, why their theory acquired utopian color). For most of the Russian intelligentsia, however, political radicalism was traditionally attractive than the thoughtfulness of the economic program. It was the maximalist political trends that ultimately prevailed in Russia.

By the end of the century, the "Railways" of the development of capitalism in the country were already laid: in the 90s, industrial production was tripled, there was a powerful Pleiad of Russian industrialists, and industrial centers were raised. The mass production of industrial goods was established, telephones and cars were included in the life of the secured layers. Huge commodity resources, a constant inflow from the village of cheap labor and free access to the produce markets of economically less developed countries in Asia - all this foreshadowed good prospects for Russian capitalism.

It was historically shorter in this situation on the community that Russian Marxists tried to prove. In their struggle for socialism, they made a bet on industrial development and working class. Marxism from the mid-90s. Quickly conquers moral support for different groups of intelligentsia. This affected such psychological traits Russian "educated layer", as the desire to join the "progressive" worldview, distrust and even intellectual contempt for political caution and economic pragmatism. In the country with extremely heterogeneous social StructureWhat Russia was then, the Knene of the Intelligentsia towards the most radical political flows was fraught with major shocks, which showed the development of events.

Russian Marxism was inappropriate in an inhomogeneous phenomenon: in its history, harsh disintegrations clearly prevailed over convergences and consolidation, and the fractional struggle almost always overveloped the framework of intellectual discussions. In the creation of the Marxism of an attractive appearance at first played a significant role so-called legal Marxists. In the 90s, they were eleged in open seal with populists (among talented profits - and mentioned above P. Struve). Marxism was confessed by them as above all the economic theory, without global claims for the planning of fate of all mankind. Believing in evolutionism, they considered an unacceptable conscious provocation of the revolutionary explosion. That is why after the revolution 1905 - 1907. Former legal Marxists were finally located with an orthodox flow wing, absorbed, despite the external anti-magnifying position, many deep installation of revolutionary population.

I. Start 1890s - 1905 year 1892. Code of Laws of the Russian Empire: "The duty of full obedience to the king", the power of which was declared "autocracy and unlimited" Rapid pace Industrial production is developing. The social consciousness of the new class - the proletariat year is growing. The first political strike of the Orekhovo-Zuyevskaya manufactory. The court recognized the requirements of the working people with fair year. Emperor Nikolai second. The first political parties were formed: 1898 - Socylidemocrats, 1905 - Constitutional Democrats, 1901 - Social Revolutionaries

Genre - Tale and Story. Weakened story line. Interested in the subconscious, and not the "dialoch of the soul", dark, instinctive aspects of the individual, natural feelings, not understood by the person themselves. The image of the author goes to the fore, the task is to show its own, subjective perception of life. No direct copyright - Everything goes into the subtext (philosophical, ideological) increases the role of the detail. Poetic techniques Transfer to prose. Realism (neorealism)

Modernism. Symbolism year. In the article D.S. Merezhkovsky "On the reasons for the decline and new currents of modern Russian literature", modernism receives theoretical justification. Older generation Symbols: Meriazhkovsky, Hippius, Bryusov, Balmont, Fedor Sologub. Youngwolicists: Block, A. White Magazine "World of Art" ed. Princess M. K. Tenisheva and S. I. Mammoths, Ed. S. P. Dyagilev, A. N. Benua (St. Petersburg) K. Balmont V. Bryusov Meriazhkovsky D

Symbolism is concentrated mainly by the symbol of intuitively comprehected entities and ideas, vague feelings and visions; The desire to penetrate the secrets of being and consciousness, to be used to see through the visible reality, the super-liming ideal essence of the world and its beauty. Eternal femininity The world soul "The mirror in the mirror, comparison two mirrors, and in between them put the candle. Two depths without a bottom, bloomed by a flame of candles, self-run, mutually deepening one another, enrich the flames of the candle and connect them to one. This is an image of a verse. " (K. Balmont) Cute Friend, Ile You do not see that everyone visible - only the defill, only the shadows from invisible eyes? Dear friend, Ile you do not hear that there is a bit life of a cracker - only the response of a distorted triumphant consonance (Solovyov) The young man is pale with the gaze burning, now give you three covenants: the first acceptance: do not live real, only the coming - the area of \u200b\u200bthe poet. Remember the second: no one sympathize with anyone, myself is boundlessly love. The third store: worship art, only him, undivided, aimlessly (Bryusov)

1905 - one of the key in the history of Russia in this year the revolution, which began with the "Bloody Sunday", published on January 9, published the first royal manifesto, which restricting the power of the monarchy in favor of subjects, proclaiming the Duma by the legislative authorities, approving civil liberties, the creation of the Council of Ministers in Chapter with Witte, an armed uprising in Moscow, which was the peak of the revolution, the uprising in Sevastopol, and others.

Years. Russian-Japanese war

III - 1920s

Crisis symbolism year. Article A. Blok "On modern condition Russian symbolism "1911. The radical direction appears, denying the entire preceding culture, avant-garde - futurism. In Khlebnikov, V. Mayakovsky, I. Northerner.

Futurism The desire to create the "art of the future", the denial of the heritage of the "past" - traditions of culture. Language experimentation "Zaomum" Manor at night, Genghis Khan! Jump, blue birch. Dawn night, caustic! And the sky is blue, fooling! And, dusk clouds, be Goya! You night, cloud, ROOS!.

Silence to public taste reading our new first unexpected. Only we are the face of our time. Time Horn Trubits We are in verbal art. Past closely. Academy and Pushkin are incomprehensible to hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy, and so on. With a steamer of modernity. Who will not forget their first love, will not recognize the last. Who is gullible, turn last love to perfume Bluda Balmont? Is there a reflection of a courageous soul today's day? Who, cowardly, will be afraid to pull paper lats from the Black Fraka of Brusov Warrior? Or on them dawns of unknown beauties? Wash your hands touched by the dirty mucus of books written by these countless Leonides Andreev. All these maxim are bitter, chip, blocks, sologues, Remizov, Averchenkov, Black, Kuzminy, Bunin, and so on. and so on. Need only a cottage on the river. This reward gives fate tailor. From the height of the skyscrapers, we look at their insignificance! ... We order the right of poets: 1. To increase the dictionary in its volume by arbitrary and derivative words (the word-innovation). 2. On the insurmountable hatred of the language existing before them. 3. With horror, remove your bunny brooms from the proud chela from the bath brooms. 4. Stand on the words "We" among the sea whistling and indignation. And if yet in our lines, dirty stamps of your "common sense" and " good taste"Nevertheless, for the first time, the names of the new coming beauty of self-reliable (selfless) word are already treated for them. D. Burluk, Alexander Klycheykh, V. Mayakovsky, Victor Khlebnikov Moscow December

Features of the "Silver Century" 1. Elertarity of literature, designed to narrow readers. Reminiscence and allusion. 2. Development of literature associated with other types of art: 1.Theater: its direction in the world theater - Stanislavsky, Meyerhold, Vakhtangov, M. Chekhov, Tairov 2. Futurism (Malevich), symbolism (Vrubel), realism (serov), Axism ("WORLD OF ART") 3. The immersion influence of philosophy, many new areas: N. Berdyaev, P. Florensky, S. Bulgakov, V. Soloviev; Nietzsche, Schopenhauer. 4. Recreation in psychology - Freud's theory of subconscious. 5. The present development of poetry. Opening in the verse. -Musical verse sound. "Genrow-Sonyet, Madrigal, Ballad, etc. 6.Name in prose: Roman-Symphony (A. White), a modernist novel (F. Sologub) 7.isotheric teachings (spiritualism, occult) - elements of mysticism in the literature.

Konstantin Sergeevich Stanislavsky Key concepts His famous system: the work stage of the artist over the role, the method of implementing the character, the game "ensemble" under the direction of the director, who fulfills the "role", similar to the conductor in the orchestra, the troupe as a living organism, passing different stages of development; And the main theory of causal relationships of the character of the actor, going to the scene, performs a certain task within the framework of the logic of his character. But at the same time, each character exists in the overall logic of the work laid by the author. The author created a work according to some kind of purpose, having some major thought. And the actor in addition to performing a specific task associated with the character, should strive to convey to the viewer the main thought, try to achieve main Goal. the main idea Works or main goal is a topsack. Actor play It is divided into three technologies: - Craft (based on the use of ready-made stamps, according to which the viewer can definitely understand which emotions are in mind the actor) - the presentation (in the process of long rehearsals, the act is experiencing genuine experiences that automatically create the form of manifestation of these experiences, but At the very performance of the actor, these feelings are not experiencing, but only reproduces the form, ready external drawing of the role). -Praining (actor in the game of the game is experiencing genuine experiences, and it gives rise to the life of the scene).

Alexander Yakovlevich Tairov The idea of \u200b\u200bthe free theater, who had to combine tragedy and operetta, drama and farce, Opera and Pantomime, the actor was supposed to be a genuine Creator, who did not compose in other people's thoughts or other words. The principle of "emotional gesture" instead of the gesture of visual or everyday reliable. The performance should not follow the play in everything, because the play and the "valuable work of art" himself. the main task Director - to give the Contractor the opportunity to liberate, free the actor from life. In the theater should reign eternal holiday, It doesn't matter, the holiday of the tragedy or comedy, just to not let the theater in the theater - "Theater theaterization"

Vsevolod Emilevich Meyerhold Tract for the line, pattern, for a kind of visualization of music, turning the game of actors into a phantasic symphony of lines and paints. "Biomechanics seeks experimentally by establishing the laws of the actor's movement on the stage platform, working on the basis of human behavior training exercises Games actor. (The psychological concept of U.Jems (on the primaryness of the physical reaction in relation to the reaction of emotional), on the reflexology V. M. Bekhtereva and experiments I. P. Pavlova.

Evgeny Bagrationovich Vakhtangov Search " modern methods Allow the performance in the form that would sound theatrically "the idea of \u200b\u200bthe inseparable unity of the ethical and aesthetic destination of the theater, the unity of the artist and the people, a sharp sense of modernity, which corresponds to the content dramatic work, his artistic features determining the unique stage form

Purpose: familiarize students with the general characteristics and originality of Russian literature XIX century. From the point of view of history and literature; give an idea of \u200b\u200bthe main trends in the literature of the end of the XIX - early XX centuries; show the importance of Russian literature of this period in the development of the Russian and global reference process; To bring up a sense of concerns and empathy of the history of Russia, love for her culture. Equipment: textbook, portraits of writers and poets of the stake of centuries.

Forecast

Results: Students know the overall characteristics and originality of Russian literature XIX century. From the point of view of history and literature; have an idea of \u200b\u200bthe main trends in the literature of the end of the XIX - early XX centuries; Determine the meaning of Russian literature of this period in the development of the Russian and global literary process. Type of lesson: lesson studying a new material.

DURING THE CLASSES

I. Organizational stage

II. Actualization supporting knowledge Check homework (Frontal)

III. Setting the purpose and tasks of the lesson.

Motivation of training activities

Teacher. The twentieth century came at zero hours on January 1, 1901 - this calendar principle, from which hesitates its history and world art XX century From this, however, it does not follow that at one moment in art there was a universal coup, which established a new style XX century. Part of the processes essential for the history of art takes its beginning in the last century.

Last thing decade XIX. in. Opens in Russian, and in world culture a new stage. For about a quarter of a century - from the beginning of the 1890s to October 1917 - the literally all aspects of Russia's life were radically changed: economics, politics, science, technology, culture, art. Compared with public and to some extent, the literary stagnation of the 1880s. The new stage of historical and cultural development was distinguished by rapid dynamics and acute drama. In terms of collapses and depth, as well as in the catastrophicity of internal conflicts, Russia at that time was ahead of any other country. Therefore, the transition from the era of classical Russian literature to a new literary time was accompanied by far from peaceful processes in general cultural and intrality life, unexpectedly fast - by the standards of the XIX century. - change of aesthetic landmarks, cardinal update of literary techniques.

The legacy of the XIX-XX century. It is not limited to the work of one or two dozen significant artists of the word, and the logic of the literary development of this pore cannot be reduced to a single center or the simplest scheme of replacing each other directions. This legacy is a multi-tiered artistic reality, in which individual writing testing, as they would be outstanding themselves, are only part of a grand whole. Starting to study the literature of the stroke of the ages, do not do without a brief overview of the social background and the general cultural context of this period ("context" - the environment, an external environment in which art exists).

IV. Work on theme lesson 1. Teacher's lecture

(Students make up theses.)

Literature of the end of the XIX - early XX century. There existed and developed under the powerful impact of the crisis that had embraced almost all parties to Russian life. His feeling of tragedy and the unpleasuries of the Russian being of this time with a huge artistic power We managed to transfer the great realist writers of the XIX century, who ended their creative and life Path: l. N. Tolstoy and a. P. Chekhov. Furniture of realistic traditions I. a. Bunin, a. I. Kuprin, l. N. Andreev, a. N. Tolstoy, in turn, created magnificent samples of realistic art. However, the plots of their works became the year from the year more and more disturbing and gloomy, the ideals they were inspired, more and more unclear. The life-affirming pathos, characteristic of the Russian classics of the XIX century, under the nest of sad events gradually disappeared from their creativity.

At the end of the XIX - early XX century. Russian literature, who previously possessing a high degree of ideological unity, became aesthetically multilayer.

Realism at the turn of the centuries continued to remain a large-scale and influential literary direction.

The most vivid dating among new realists had writers who united in the 1890s. In the Moscow circle "Wednesday", and at the beginning of the 1900s. The range of permanent authors of the publishing house "Knowledge" (one of its owners and the actual leader was m. Gorky). In addition to the leader of the union in it in for different years entered l. N. Andreev, I. A. Bunin, V. V. Veresov, N. Garin-Mikhailovsky, a. I. Kubrin, I. S. Shmelev and other writers. Except I. A. Bunin among realists was not large poets, they showed themselves primarily in prose and - less noticeable - in drama.

Generation of realist writers began the beginning of the XX century. He was inherited from a. P. Chekhov new principles of writing - with much greater than before, copyright, with a significantly wider arsenal artistic expressiveness, with a mandatory artist, a sense of measure that was provided with an increased internal self-criticality.

Modernist in literary studies are customary, first of all, three literary flows that declared themselves in the period 1890-1917. This is a symbolism, akmeism and futurism, which pretended to be the basis of modernism as a literary direction.

In general, the Russian culture of the late XIX - early XX centuries. I am striking with your brightness, wealth, abundance of talents in a variety of spheres. And at the same time, it was the culture of society who was doomed to death, whose premonition was traced in many of its works.

2. Acquaintance with the article by the textbook on the subject of the lesson (in pairs)

3. Heuristic conversation

Š What new styles and directions appeared in russian culture At the turn of the XIX-XX centuries.? How they were associated with a specific historical setting?

♦ What historical events of the late XIX - early XX centuries. influenced the fate of Russian writers, were reflected in the works of literature?

♦ What philosophical concepts had an impact on Russian literature of the 19th-XX centuries.? What explains the special interest of writers to philosophy a. Schopenhauer, F. Nietzsche?

♦ How did it manifested in the Russian literature of this time to the irrationalism, mysticism, religious searches?

♦ Is it possible to say that at the end of the XIX - early XX centuries. Realism loses the role of dominants of the literary process belonging to him in the XIX century?

♦ How to relate in the literature of the literature of the ages of tradition classical literature and innovative aesthetic concepts?

♦ What is the originality late creativity but. P. Chekhov? As far as judgment is justified. White about that a. P. Chekhov "Most symbolist"? What features of Chekhov realism allow modern researchers to call the writer by the founder of the literature of the absurd?

♦ What character takes a literary struggle at the end of the XIX - early XX centuries.? What Publishers, Magazines, Almanachi played especially important role In the development of Russian literature?

♦ How is the problem of human relations and environment solve in Russian literature? What traditions " genuine school»Found development in the prose of this time?

♦ What is the place in the literature of this period occupied journalism? What problems were particularly actively discussed on the pages of magazines and newspapers during these years?

V. Reflection. Summing up the lesson

1. "Press" (in groups)

The generalizing word of the teacher is thus the deep aspirations of conflict with each other of modernist currents turned out to be very similar, despite the sometimes striking stylistic nursing, the difference in tastes and literary tactics. That's why the best poets The epochs rarely closed within a certain literary school or flow. Almost rule of their creative evolution was the overcoming of the narrow for the Creator of the directional framework and declarations. Therefore, the real picture of the literary process at the end of the XIX - early XX centuries. It is significantly more determined by the creative individuals of writers and poets than the history of destinations and flows.

The last decade of the XIX century opens in Russian, and in world culture a new stage. Within a quarter of a century - from the beginning of the 1890s before October 1917 - the literally all aspects of Russia's life have changed radically - economics, politics, science, technology, culture, art. Compared with public and to some extent, the literary stagnation of the 1880s, a new stage of historical and cultural development was distinguished by rapid dynamics and acute drama. In terms of collapses and depth, as well as in the catastrophicity of internal conflicts, Russia at that time was ahead of any other country.

Therefore, the transition from the era of classical Russian literature to a new literary time was accompanied by a far from the peaceful nature of general cultural and intrality life, unexpectedly fast - by the standards of the XIX century - change of aesthetic landmarks, a fundamental update of literary techniques. Especially dynamic at this time, Russian poetry developed, again - after the Pushkin era - released on the invantzna of the general living life of the country. Later, the poetry of this pore was called the "Poetic Renaissance" or "Silver Century". After analogy with the concept of "Golden Age", traditionally denoted by the Pushkinsky period of Russian literature, this phrase initially was used to characterize the vertex manifestations of the poetic culture of the beginning of the 20th century - creativity A. Blok, A. White, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant wizard masters. However, gradually the term "silver age" began to determine the part of the whole artistic culture Russia of the late XIX - early XX century, which was associated with symbolism, acmeism, "neochestyanskaya" and partially futuristic literature. Today, many literary crituals made the definition of the "silver age" synonym the concept of "culture of the front of the ages", which, of course, inaccurately, as a number of significant phenomena of the binding of centuries (primarily related to revolutionary theories) can hardly be comparable to what was originally called The art of the silver century.

Newly compared to the XIX century was at the turn of the two centuries, above all, the globility of a person. Fasted an understanding of the exhaustion of the previous era, the opposite assessments of the socio-economic and general cultural perspectives of Russia began to appear. The general denominator of ideological disputes that flared in the country by the end of the XIX century was the definition of a new era as a border era: the previous former forms of life, labor, political organization of the Company was irrevocably retired, the system of spiritual values \u200b\u200bwas resolutely revised. The crisis is the keyword of the epoch, which nagging on the pages of journalistic and literary-critical articles (often used by the meaning of the word "revival", "Fracture", "Crossroads", etc.).

The artistic literature has quickly included in the discussion of the actual issues, traditionally for Russia, which has not stood aside from public passions. Its social bias manifested itself in the titles of works characteristic of that epoch. "Without the road", "on the turn" - calls his story V. Veresayev; "Sunset of the Old Century" - either by the headline of the novel chronicle A. Amphitheatres; "The last feature" - responds with his novel M. Arzybashev. The awareness of the crisisity of time, however, did not mean the recognition of his infertility.

On the contrary, most of the masters of the Word felt their epoch as the time of unprecedented accomplishments, when the value of the literature in the life of the country increases sharply. Therefore, such a lot of attention began to be given not only to the actual creativity, but also the ideological and public position of writers, their relations with the political life of the country.

With all the difference in positions and views, there was something in a world of positions in the worldview, which brilliantly caught the outstanding connoisseur of Literature, Professor Semen Afanasyevich Hungarian in the preface to the three-volume "history of Russian literature XX century" (1914). The scientist noted that the uniting community of M. Gorky and individualist K. Balmont, Realista I. Bunin, Symbolists V. Brysov, A. Bloka and A. White with expressionist L. Andreev and Naturalist M. Arzybashev, Dog Simist-decadent F. Sologuba and optimist A. Kaprina was a challenge of traditions of ordinary, "aspiration in return, in the distance, deep, but only away from the postal plane of gray stagnation."

Another thing is that ways of development new literature Writers represented themselves in different ways. In the XIX century, Russian literature had a high degree of ideological unity. It developed a rather clear hierarchy of writer's tanks: on one or another stage it is not difficult to allocate masters who served as guidelines for a whole writing generation (Pushkin, Gogol, Nekrasov, Tolstoy, etc.). But heritage turn XIX-XX The centuries are not limited to the work of one or two dozen significant artists of the word and the logic of the literary development of the pore can not be reduced to a single center or the simplest diagram of replacing each other directions. This legacy is a multi-tiered artistic reality, in which individual writing testing, as they would be outstanding themselves, are only part of a grand whole.

Getting started to study the literature of the stroke of ages, do not do without a brief overview of the social background and the general cultural context of this period (the context is the environment, the external environment in which there is art).

The period of the history of Russian literature, which began in the 90s. The last century ended in October 1917, received different names from literary crituals: "The newest Russian literature", "Russian literature XX century", "Russian literature of the late XIX - early XX century." But, no matter how much the literature of this period is clear that it was not just a continuation of the literature of the XIX century, but also meant a special period, even a whole era of literary development, requiring a special study.

How to evaluate this literature? What is its main features, its main driving forces? These issues received and continue to receive far from the same answers, causing some hot spores. Otherwise, it could not be: although the period under review covers only twenty-patient, it is unusually complicated and contradictory. The historical process itself, which determined the development of all forms of spiritual life, including literature was complex and controversial. On the one hand, Russia entered the beginning of the century in the era of imperialism, to the last stage of the capitalist society. Russian capitalism, hardly time to go through in the 90s. The rapid economic takeoff, almost immediately turned out to be in a state of posting, and the Russian bourgeoisie, manifesting the complete inability to play a revolutionary role, went on a conspiracy with tsarism and with all the reaction forces. On the other hand, in the 90s. The new, proletarian stage of the liberation struggle in Russia, where the center of the whole world has moved revolutionary movement, the era of three revolutions came, approached, according to the wonderful Russian poet A. A. Blok,

Unheardless changes, unprecedented meters ...

Literary criticians who came only from the fact of Russia's entry into the era of imperialism were believed that the processes of decay were determined in the literature, namely the decay of the most advanced direction of the XIX century literature - critical realism. It seemed to them that main role The literature began to play anti-remotemes that are alone defined as "decades" (which means "decline"), others - as "modernism" (which means "the newest, modern Art"). Literary criticians who had a wider and deeper idea of \u200b\u200breality emphasized the leading role of the proletarian literature and the new, socialist realism on her basis. But the victory of the new realism did not mean the death of old, critical realism. The new realism did not discard and did not "blew" the old one, but helped him, as his ally, to overcome the pressure of decades and maintain the meaning of the expressive of thoughts and feelings of wide democratic layers.

Reflecting on the fate of critical realism at the end of the XIX - early XX century, it must be remembered that his great representatives still lived and created, such as L. N. Tolstoy and A. P. Chekhov. Their creativity surreoked during this period significant changes, Relaxing New historical era. V. I. Lenin meant mainly latest works L. N. Tolstoy, especially the Roman "Resurrection", when called a thick "mirror of the Russian Revolution" - a mirror of the mood of the widespread peasant mass. As for A. P. Chekhov, it is in the 90s. He committed those artistic discoverywho put it along with Tolstoy at the head of Russian and world literature. Continued to create new artistic values And such writers-realists of the older generation, like V. G. Korolenko, D. N. Mamin-Sibiryak and others, and in the late 80s - early 90s. Realistic literature replenished with the new generation large artists Words - V. V. Veresayev, A. S. Serafimovich, M. Gorky, N. Garini-Mikhailovsky, A. I. Kuprina, I. A. Bunin, L. N. Andreev and others. All these writers played their truthful, full of sympathy for oppressed works. big role In spiritual training of the first Russian revolution 1905-1907. True, after the defeat of the revolution, in the deaf course of the reaction, some of them survived the oscillation band or even completely moved from the progressive literary camp. However, in the 10th year, during the period of a new revolutionary lift, some of them have created new talented works of art. In addition, the literature came outstanding writers-realists of the next generation - A. N. Tolstoy, S. N. Sergeev-Central, M. M. Svavin and others. No wonder, one of the articles about the literature, which appeared in 1914 on the pages of the Bolshevik "truth", had a significant name: "Revival of realism".

The most important feature of Russian literature began XX century. there was a birth of socialist realism, the hence of which was Maxim Gorky, who had a huge impact on the development of all world literature. Already in the work of the writer of the 90s, which reflected the growing protest of the young Russian proletariat, there was a lot of originality. In it, with all his deep realism, romantic notes sounded, expressed to the dream of the coming freedom and chasing the "madness of brave."

At the beginning of the XX century. Gorky in the plays of the "Moisan" and "Enemies", in the novel "Mother" and other works for the first time showed the proletarian revolutionaries as representatives of the class not only suffering, but also struggling, aware of their appointment - the liberation of the entire people from exploitation and oppression.

Socialist realism has created new features for the image of all parties of reality. Gorky in his ingenious works "at the bottom", the cycle "in Russia", autobiographical trilogy and others, as well as those who have entered following him on the path of socialist realism A. S. Serafimovich and Demyan Poor showed life with no less fearless truthfulness than their great predecessors in xIX literature Century, mercilessly exposing the oppressors of the people. But at the same time they reflected life in its revolutionary development, believed in the celebration of socialist ideals. They painted a person not only as a sacrifice of life, but also as a Creator of history. It received an expression in the famous Gorky sayings: "The person is true!", "The man-eyella! .. It sounds ... proud!", "Everything in man is everything for a person" ("at the bottom"), " Excellent position - To be on Earth by a person "(" Birth of a person "). If it was necessary to briefly answer the question "What was the most important thing in the work of M. Gorky?" And on the other question "What side of the Gorky heritage became particularly important today, in the light of the main tasks of our days?" The answer to both these questions would be one: the anthem to man.

Along with the realism, there were modernist trends as symbolism, akmeism, futurism. They defended "Absolute Freedom" artistic creativityBut in fact it meant the desire to escape from the political struggle. Among modernists there were a lot talented artistswho did not fit into the framework of their currents, and sometimes they completely broke with them.

The complexity of the historical process, sharpness social contradictions, Change of periods of revolutionary lifting of reaction periods - all this has affected the fate of writers in different ways. Some major realist writers deviated by Decadence, as it happened, for example, with L. N. Andreev. And the largest poets of symbolism in. J. Bryusov and A. A. Blok came to the revolution. The block created one of the first outstanding works Soviet era - the poem "Twelve". in. in. Mayakovsky, who was closely closely within the framework of the individualistic rebellion and formal experiments of futurists, has already created bright anti-capitalist and antimylitarian works in the foreflower.

The development of world literature retains today that the consideration of forces that first developed in Russian literature of the late XIX - early XX century: the ratio of socialist realism, critical realism and modernism. Already this one attaches great value to the experience of Russian pre-air literature.

This experience is also valuable by the fact that in the foreflower years, the advanced literature received the theoretical, aesthetic program in the performances of M. Gorky and Kritikov-Marxists G. V. Plekhanova, V. V. Vorovsky, A. V. Lunacharsky and others. Speeches V. I. Lenin had great importance: his articles about L. N. Tolstoy and A. I. Henzel, discontinued the incredit importance of the traditions of classical literature; These evaluation of creativity M. Gorky, freshen the birth of new, proletarian, socialist literature; The Article "Party Organization and Party Literature" (1905), which, in opposition, the principle of imaginary "absolute freedom" was put forward by the principle of party-party literature - an open connection of literature with an advanced class and advanced ideals as the only real condition of its genuine freedom.