Origins and nature of literary quests abstract. The theme of spiritual quest in Russian literature of the 20th century

For many years, the image of October 1917, which determined the nature of the coverage of the literary process in the 20s, was very one-dimensional and simplified. He was monumentally heroic, one-sidedly politicized. Now readers know that in addition to the “revolution - the holiday of the working people and the oppressed,” there was another image: “cursed days,” “deaf years,” “fatal burden.” The famous literary critic E. Knipovich recalled: “When people ask me now, how can I Briefly define the feeling of that time, I answer: “Cold, wet feet and delight.” Feet are wet from leaky soles, delighted at the fact that for the first time in my life I could see all around me across the entire width of the world. But this delight was not universal. One should also not think that those who were essentially part of the ongoing reality and believed each other did not argue with each other. Their dispute is a sign of the times, it is a sign of creative possibilities, of those forces raised by the revolution that wanted to realize themselves and establish their views. Your understanding of the Soviet culture under construction.” These memories are the key to understanding the literary situation of the 20s. And the writers themselves, who lived and worked during that difficult time, will become reliable assistants and guides for you. The painful question: “To accept or not to accept the revolution?” – stood for many people of that time. Everyone answered it differently. But pain for the fate of Russia can be heard in the works of many authors.

Poetry. The poems of Andrei Bely best characterize the situation that reigned in the country, in creativity. A modern look at the poetry of the 20s about the October Revolution, at the figures of poets who saw the 20th century completely differently than before the revolution, suggests a new approach to understanding many works . The forces of attraction to the revolution and at the same time shock at its severity, the depth of pain for a person and at the same time admiration for everyone who remained human in the revolution, faith in Russia and fears for its path created an amazing composition of colors and techniques at all levels of many works. New problems forced us to update our poetics. Poetry of the 20s: 1. Proletarian: traditional hero - hero “we” (mass hero), situation - defense of the revolution, building a new world, genres - anthem, march, symbolism - emblems in the meaning of a stamp, borrowings at the level of symbolism, rhythm, maximum abstraction. Representatives: V. Knyazev, I. Sadofiev, V. Gastaev, A. Mashirov, F. Shkulev, V. Kirillov. 2. romantic poetry. Representatives: Tikhonov, Bagritsky, Svetlov 3. Cultural poetry (formed before the age of 17) Representatives: Akhmatova, Gumilev, Khodasevich, Severyanin, Voloshin. 4.Poetry of philosophical orientation. Representatives: Khlebnikov, Zabolotsky.

Prose. The beginning of the 20s in literature was marked by increased attention to prose. She enjoyed an advantage on the pages of the first Soviet magazine “Krasnaya Nov”, published since the summer of 1921. Historical events The events that took place around us affected everyone and everyone and required not only the expression of emotions, but also their comprehension. Soviet prose of the 20s was not homogeneous either at the time of its appearance or later, in the process of reader perception. Official literature: a participant in the revolution is a typical hero, the path of his revolution is the creation of his own human personality through connection with the revolution. Changes in speech and thoughts. (Fadeev “Destruction”, Furmanov “Chapaev”) The heroes are focused on social and class values. Criteria: red - good, white - bad, poor - good, rich - bad. The people are portrayed as a mass, through the awareness of revolution. (Serafimovich “Iron Stream”) Unofficial literature: the hero has a different path, their evolution is a rethinking of the revolution. The fact of a revolution is not a necessary condition for accepting it as a value. Heroes are people who have different value orientations and value universal human categories (joy, sorrow, life, death). Emphasis on personality. (Platonov “Chevengur”) Development of the dystopian genre. Zamyatin "We". Development of humor and satire. Stories by Zoshchenko, novels by Ilf and Petrov.

Journalism. Today, when a decisive revision of many conflicts in the history of our country is taking place, we must take a close look at the perception and assessment of the events of 1917 by major figures in literature and art of the pre-October period. These people, who were to a great extent the human, civil and artistic conscience of their time, foresaw and foresaw the dangers and tragedies that could result from the violent destruction of all traditional foundations of life. Journalism is an integral part of literature. It is a genre literary works, standing at the junction fiction and scientific (socio-political) prose. The main purpose of journalism is to raise socially significant and current problems modern life, she adopts the oratorical word, her style is characterized by increased and open emotionality. All writers are looking for the origins of the disaster of 1917, the barbaric attitude towards cultural heritage, they talk about the fault of the intelligentsia, who forgot to remind the people that they also have responsibilities and responsibility for their country. And V. Korolenko, and I. Bunin, and M. Gorky sarcastically assess the imposition of a new system, the facts of violence, the ban on original thought. They call for careful treatment of the cultural heritage of the country and people. For Gorky, revolution is a “convulsion”, which must be followed by a slow movement towards the goal, set by an act of revolution. I. Bunin and V. Korolenko consider the revolution a crime against the people, a cruel experiment that cannot bring spiritual revival. People. M. Gorky saw in him a wild, unprepared mass that could not be trusted with power. For Bunin, the people were divided into those who are called “Robbery by Nikami” and those who carry centuries-old Russian traditions. V. Korolenko argues that the people are an organism without a backbone, soft-bodied and unstable, clearly mistaken and allowing themselves to be carried away onto the path of lies and dishonor. The historical events that followed October 1917 forced many writers to change their views: M. Gorky was forced to adapt to Bolshevik ideology. I. Bunin and V. Korolenko became even more confirmed in their convictions and did not recognize Soviet Russia until the end of their days.

Dramaturgy. The leading genre in the drama of the 20s was the heroic-romantic play. “Storm” by V. Bill-Belotserkovsky, “Yarovaya Love” by K. Trenev, “Fracture” by B. Lavrenev - these plays are united by their epic breadth, the desire to reflect the mood of the masses as a whole. These works are based on a deep socio-political conflict, the theme of the “break” of the old and the birth of a new world. Compositionally, these plays are characterized by a wide coverage of what is happening over time, the presence of many side lines not related to the main plot, and the free transfer of action from one place to another.

31. Lyrics by F. Tyutchev. - Extraordinary talent and early career. - Late fame. - An unusually long stay away from home (22 years).

Acquaintance and communication with outstanding representatives of Russian and European culture.- Tragic fates the poet’s loved ones.” one of the central themes in Tyutchev’s mature lyrics was the theme of love. Love lyrics reflected his personal life, full of passions, tragedies, disappointments. In the work of T. one of the sides of the romantic attitude, worldview, and sense of the tragedy of human life is revealed. The catastrophism of T.’s thinking is associated with the idea that true knowledge about the world is available to a person only at the moment of death, the destruction of this world. Political disasters and civil storms reveal the plans of the gods. Approaching a secret does not entail its revelation; the curtain that separates the known from the unknown only opens slightly. Not only is the world completely unknowable, but also our own soul. Communication with others and understanding is impossible in principle. Not only civilization, but also nature in its current forms is doomed to destruction. A person is left alone with chaos at night; at these moments he realizes himself on the edge of an abyss. T. Based on Schelling's philosophy. Man is the dreams of nature, insignificant dust, a thinking reed, he came from chaos and will go into chaos. Tyutchev's poetry is poetry of contrast. The contrast between chaos and space, day and night, south and north. The north is the kingdom of sleep, lack of movement, a symbol of extinction. The south is a blissful region, characterized by the intensity of life, there is an abundance of time. T. is characterized by the desire to limit space. Love concept. Love is a fatal duel between two hearts, in which the weak perish. The happiness of love is short-lived, it cannot withstand the blows of fate, love itself is perceived as a sentence of fate. Love does not elevate or humanize; it is associated with tears and pain. This is the relationship between the executioner and the victim. Landscape lyrics. In the philosophy of idealism, the world of beauty, harmony and beauty is closely connected with the world of nature. Tyutchev’s attitude towards living things is expressed in the words: “It’s not what you think, nature...”. T. draws a parallel between human life and the life of nature. Nature is a source of joy, harmony, greatness.

SPRING WATERS The snow is still white in the fields, And in the spring the waters are noisy - They run and wake up the sleepy shore, They run and shine and shout... They shout to all ends: “Spring is coming, spring is coming, We are messengers of the young spring, She sent us forward !Spring is coming, spring is coming, And on the quiet, warm days of May, a rosy, bright round dance crowds cheerfully behind it!..”

32. Methodology for studying review topics and connection with the monograph.

Review Topics Structurally, the course on a historical and literary basis includes not only monographic, but also review topics closely related to them: introductory and generalizing, characteristics of a certain period of the socio-literary process, short reviews. Review topics include brief analysis literary texts, information about the development of culture, criticism, about individual writers. Most often, the review topic is revealed during a lesson-lecture with elements of conversation, dialogue, expressive reading, and independent presentations. The teacher is faced with the task of combining all the material, including visual material, giving it thematic coherence and completeness.

The teacher's review lecture is combined with work on the textbook, organizing observation of the writers' style, and improving the skills of analyzing literary works. Complexity literary material and its relatively large volume will require an increase in the share of independent and individual tasks. Literary, artistic and literary critical magazines are used as preparation for the lesson. recent years. An essential element of such a lesson is the recording of the plan and theses of the lecture, the use of materials prepared individually by a number of students. It is important that 11th grade activities are characterized by: a combination of spontaneity and emotionality of initial perception with depth of generalization, with the ability to possess knowledge of the history and theory of literature. No less important is the appeal to the figurative concreteness of the literary text, the student’s ability to give a moral and aesthetic assessment of the work as a whole. This allows us to judge the impact of the learning process on the formation of the student’s personality, on his spiritual world. The development of reader's interests follows the line of combining emotional and aesthetic pleasure with the depth of generalization. At the center of the monographic theme- the writer and his works: one or more works are studied textually. Materials about the writer’s life and work are most often presented in the program in the form of an essay. If in middle grades students receive information about certain aspects of the writer’s life that are directly related to reading and analysis of the work being studied, then in high grades work on a biography is focused on understanding the historical and literary process, art world writer. Of particular importance is the selection and arrangement of material, the use of memoirs and portraits of the writer. Many language teachers focus on “meeting the writer,” on a lively emotional look, on the biographical material of the writer’s works. The form of biographical lessons is varied: lesson-lecture, independent reports by schoolchildren, work from the textbook, correspondence excursions, lessons-concerts, lessons-panoramas. Staging is important problematic issues, working on a plan, using literary texts. To remove the textbook gloss, the idea of ​​the infallibility of the writer’s personality is no less important than to find an aspect that is interesting for students, to understand not only the greatness of the writer, but also the complexity of the development of his personality and talent. The world of the writer’s ideas and his aesthetic principles are not immediately revealed to the student reader, but the lack of purposeful joint activity of the teacher and students in this direction gives rise to an incomplete, fragmented perception, when students do not combine the meaning of individual scenes and descriptions into a single picture, do not feel the meaningful function of the composition and genre, thinking means poetic expressiveness out of touch with the very essence of the work. Increasing interest in reading and studying the classics, increasing the moral potential of lessons, awareness of aesthetic and genre originality Russian literature of the 19th century and 20th centuries - these are the main questions that concern the literature teacher and which can only be resolved in the general system of school literary education.

33.Novels by I.A. Goncharova " An ordinary story", "Oblomov", "Cliff" as a trilogy. Goncharov could only write about what was already established. The concept of life is the struggle between old and new. The concept of personality distinguishes the generic and historical in a person. The ancestral is unchangeable. Historical is a specific manifestation of eternal images at a given time in a given country. Male characters are divided into romantic idealists and practical rationalists. Women's images go back to Pushkin's Olga and Tatyana. The ideal for G. is an integral personality, combining both heart and mind. The image is the initial element; the plot is built in accordance with the logic of the image’s development. G.'s debut - novel "An Ordinary Story" ( 1947), the film shows an ordinary romantic. This is the story of an adult youth, the elimination of maximalism, idealism, and romanticism. Moreover, this is a novel about the struggle between old and new. This clash is shown in the person of Aduev Sr. and Aduev Jr. Time is measured in the provinces by the change of season, the movement of life is imperceptible, life revolves in the circle of everyday phenomena, everyday life is the essence of life. The values ​​of this world are family, community. In St. Petersburg, time is linear, dynamic, values ​​​​are the cult of business, career, money. The clash between uncle and nephew is also due to the difference in nature. Alexander is a romantic idealist, P.I. - pragmatist-rationalist. Career for P.I. in first place, for Alexander - in last. "Oblomov". In Chapter 1, Gogol’s influence is felt in the description of the hero’s appearance; from Part 2, Gogol’s influence is replaced by Pushkin’s. The novel, from a social denunciation of Oblomovism, begins to turn into a novel about an ideally tuned personality in modern world, into a novel about a failed man. This is a test novel. Olga's image emphasizes originality, originality, and originality. In the image of Agafya Matveevna, the emphasis is on the earthly, everyday. Under the influence of Oblomov, the image of A.M. gets closer to the image of Olga. The concept of “Oblomovism” is multifaceted. It is also interpreted in social categories as a product of a certain social order; nationally as a manifestation of mentality; in universal human beings as a primordial sign of certain natures. Third novel in the trilogy "Precipice" (1869), multi-layered. The idea of ​​the novel is to depict an honest, kind nature of the highest degree of idealism. The deeper meaning is the precipice of the young generation, busy with an intense search for their place in life, in history, in society, but who did not find it and found themselves on the edge of the abyss. This is a warning to the younger generation. The novel has a frame composition. Paradise experiences life as a character in his creation. Goncharov identified him as the awakened Oblomov. Themes of creativity and art are associated with Raisky. Faith- the embodiment of the search for young Russia, Tatyana Markovna symbolizes old conservative Rus', wisdom. The theme of old and new life is connected with grandmother and Vera. One of the central themes of the novel is the theme of love and passion. D. Contrastes love and passion. Love has a beneficial effect on a person, enriches his personality, passion has a destructive effect, it hardens a person.

1. Literature as an academic subject in modern secondary school 2. Literature programs and educational and methodological complex - Principles of constructing literature programs, prospects for differentiated learning. The tasks of the student’s literary development in connection with the age-related evolution of the student. Educational and methodological complex. Textbooks, literature anthologies and manuals for teachers. Teacher and student. Discussions about teaching literature.3. Methods and techniques for teaching literature at school 4. The first stage of literary education of students. Objectives and content of the literature course in middle grades. Principles of constructing literature programs in grades 5-9. The main stages of studying literary works at school. Introductory classes in middle and high schools. Contents and methods of work.5. The second stage of literary education for schoolchildren. Methodology and course system on a historical and literary basis. The main features and difficulties of teaching literature in high school. Principles of building programs in grades 10-11.6. Literary development of the student reader. Age characteristics and stages of literary development of students. Formation of a socially active personality in the process of studying literature. 7. Literature lesson in a modern high school

Various classifications of a literature lesson: from its place in the system of study work work of art; on the type of work (V.V. Golubkov); from the content of the subject (N.I. Kudryashev). Analysis of the main lesson classifications, their strengths and weaknesses. Basic requirements for a modern literature lesson. Stages of a literature lesson.8. Planning as the basis of creative teaching Plan and improvisation in teaching. 9. Creative character teacher's work

35.Features artistic method F.M Dostoevsky. Dostoevsky is interested in the self-awareness of his heroes. Its goal is to provide an opportunity to confess, to speak out about what humiliates and insults. Working in the magazines “Time” (1861-1863) and “Epoch” (1864-1865), F. M. Dostoevsky pursues a program of “soilism”, which has become ideological the basis of the artistic and journalistic works of F. M. Dostoevsky. He identified three main points in folk morality: 1. A sense of organic connection between people; 2. Fraternal sympathy and compassion; 3. Willingness to voluntarily come to the rescue without violence against oneself and limiting one’s own freedom. For Dostoevsky, Christ is beauty incarnate. The main features of the artistic world of F. M. Dostoevsky were clearly revealed in the novels: 1. He expanded the boundaries of “social” realism 2. Forced literature to talk about philosophical problems tongue artistic images; 3. The fusion of artist and thinker led to the emergence of a new type of artistry; 4. Dostoevsky’s realism – philosophical, psychological; he became one of the first critics of the ideas of individualism and anarchism, contrasting these destructive ideas with his faith in God, in humanity, in people inspired by faith in goodness, striving for justice. Dostoevsky’s artistic world is a world of thought and intense moral and philosophical quest. Psychologism is the most important feature of all Dostoevsky’s works. He pays great attention to description inner world heroes. The realist Dostoevsky does not shift responsibility for people’s actions and their results onto the “environment” and circumstances. He created the genre of “polyphonic novel”, in which ideas, theories, and concepts are tested by the practice of life. The acquisition of moral truth, which is the property of everyone and is revealed to every person in the experience of his suffering and painful spiritual quest, in his movement towards moral perfection.

Literature of Altai. Characteristics of the creativity of one of its representatives.

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Russian writers

The desire for creative transformation of the world.

Origins and nature of literary quests.

LITERATURE OF THE EARLY XX CENTURY

Russian literature of the late XIX - early XX centuries. took shape in less than three decades (1890-1910s), but came to surprisingly bright achievements of independent significance. The younger generation of authors was closely connected with the Russian classical literature, however, for a number of objective reasons, it made its way in art.

As a result of the October events of 1917 ᴦ. life and culture of Russia have undergone a tragic cataclysm. The majority of the intelligentsia did not accept the revolution and, willingly or unwillingly, went abroad. The study of the works of emigrants was for a long time under the strictest ban.

The first attempt to fundamentally comprehend the artistic innovation of the turn of the century was made by figures from the Russian diaspora.

N. A. Otsup introduced it in 1933. many concepts and terms that are widely recognized in our time. He likened the era of Pushkin, Dostoevsky, Tolstoy (i.e. the 19th century) to the conquests of Dante, Petrarch, Boccaccio and called it domestic "golden age". He called the phenomena that followed him, as if squeezed into three decades, ≪silver age≫.

Otsup established the similarities and differences between the two layers of poetic culture. They were brought together by a “feeling of special, tragic responsibility for their common fate.” But the bold visions of the “golden age” were replaced during the period of “revolution that absorbed everything” with “conscious analysis”, which made creativity “more human-sized”, “closer to the author”.

There is a lot of insight in such a figurative comparison. First of all, the influence of revolutionary upheavals on literature. It, of course, was not at all direct, but very peculiar.

In the era of crisis, faith in possible harmony has weakened significantly. That is why eternal problems were again subjected to “conscious analysis” (N. Otsup): the meaning of life and spirituality of people, culture and the elements, art and creativity... Classical traditions developed in new conditions of destructive processes.

The artists of the Silver Age possessed intense attention to the everyday flow of days and the ability to grasp the bright beginning in its depths.

I. Annensky very accurately identified the origins of such a search. “The old masters,” he believed, were characterized by a sense of “harmony between elementary human soul and nature≫. And in his contemporaneity he highlighted the opposite: “Here, on the contrary, the “I” flashes, which would like to become the whole world, dissolve, spill into it, the “I” - tormented by the consciousness of its hopeless loneliness, the inevitable end and aimless existence...≫.

This is how it was in the literature of the turn of the century. Its creators painfully experienced the elements of crushing and waste of life.

The darkest pictures were, however, brightened by the “creative spirit.” The path to true existence lay through the artist’s self-deepening. In the innermost spheres of individual worldview, faith in the imperishable values ​​of life grew.

The creative transformation of reality appeared even more visibly in the poetry of the beginning of the century. I. Annensky came to the correct observation: “The boundaries between the real and the fantastic for the poet not only became thinner, but in some places became completely transparent.” Truth and desires often merge their colors for him.” In the thoughts of many talented artists of the era we find similar thoughts.

The desire for creative transformation of the world. - concept and types. Classification and features of the category "Striving for creative transformation of the world." 2017, 2018.

LITERATURE OF THE EARLY XX CENTURY
Origins and nature of literary quests. Is it Russian?
literature of the late XIX - early XX centuries. developed into incomplete
three decades (1890-1910s), but came to a surprising
absolutely bright, independent in significance achievements.
They decided very quickly, despite the simultaneous
ity with the work of a number of great classical artists.
During this period, L. N. Tolstoy completed the novel “Is Risen”
nie", created the drama "Living Corpse" and the story "Hadji-Mu
rat." At the turn of the century, almost the most
A. P. Chekhov’s most important works: prose “House
with mezzanine", "Ionych", "Man in a case", "Lady with
tank", "Bride", "Bishop" etc. and the plays "The Seagull",
"Uncle Vanya", "Three Sisters", " Cherry Orchard" V. G. Koro
Lenko wrote the story “Without Language” and worked on an autobio
graphic "The History of My Contemporary". At the moment
birth of modern poetry, many of its forerunners were alive:
A. A. Fet, Vl. S. Soloviev, Ya. P. Polonsky, K. K. Slu-
Chevsky, K. M. Fofanov. The younger generation of authors was
is closely connected with Russian classical literature, one
which, for a number of objective reasons, has made its way into art.
art.
As a result of the October events of 1917, life and culture
tour of Russia suffered a tragic cataclysm. Intelli
the majority of the gentry did not accept the revolution and freedom
but or unwittingly went abroad. Exploring creativity
emigrants were under the strictest ban for a long time.
The first attempt to fundamentally comprehend artistic
new innovations at the turn of the century were undertaken by Russian figures
th abroad.
N. A. Otsup, once a colleague of N. S. Gumilyov, introduced
in 1933 (Paris magazine "Numbers") many concepts
and terms widely recognized in modern times. The era of Push
Kin, Dostoevsky, Tolstoy (i.e. the 19th century) he
beat the conquests of Dante, Petrarch, Boccaccio and called it
honest "golden age". Those who followed him
8
phenomena squeezed into three decades that took, for example,
measures, in France the entire nineteenth and early twentieth
century", called "Silver Age"(now written without
quotation marks, capitalized).
Otsup established the similarities and differences between two layers of poetry
chesky culture. They were brought together by a "feeling of specialness"
new, tragic responsibility for a common destiny.” But
the bold visions of the “golden age” gave way to the period
“the revolution that swallowed up everything and everyone” “consciously
lyse”, which made creativity “more human
growth”, “closer to the author”.
There is a lot of insight in such a figurative comparison.
First of all, the impact of revolutionary upheavals on whether
literature It, of course, was not at all direct, but very
peculiar.
Russia at the beginning of the 20th century. survived, as we know, three revolutions
tions (1905-1907 years, February and October 1917 G.)
and the wars preceding them - the Russo-Japanese (1904-
1905), World War I (1914 -1918). IN stormy and menacing
At the time, three political positions were in conflict: one hundred
supporters of monarchism, defenders of bourgeois reforms,
ideologists of the proletarian revolution. Heterogeneity has arisen
new programs for radical restructuring of the country. One -
“from above”, by means of “the most exceptional laws”,
leading “to such a social revolution, to such
movement of all valuables... like nothing I have ever seen before
ria" (P. A. Stolypin). The other is “from below”, by “hard
long, seething class war, which is called revolution
lution" (V.I. Lenin). Russian art has always been
the ideas of any violence, as well as bourgeois practicalities, are alien
ma. They were not accepted even now. L. Tolstoy in 1905 G.
had a presentiment that the world “stands on the threshold of a huge
education". Changing "forms" public life" He
preconditioned, however, spiritual self-improvement
ness.
The desire for creative transformation of the world. Feeling
tion of universal catastrophism and the dream of the revival of
love became extremely acute among younger contemporaries
L. Tolstoy. Salvation was not seen “from above” and thus
especially not “from below”, but “from within” - in a moral transformation
NI. But in the crisis era, faith in the WHO has weakened significantly.
possible harmony. Here why “conscious analysis”
(N. Otsup) eternal problems were reexamined: meaning

The desire for creative transformation of the world.

Origins and nature of literary quests.

LITERATURE OF THE EARLY XX CENTURY

Russian literature of the late XIX - early XX centuries. took shape in less than three decades (1890-1910s), but came to amazingly bright achievements of independent significance. The younger generation of authors was closely connected with Russian classical literature, but for a number of objective reasons they paved their own path in art.

As a result of the October events of 1917, the life and culture of Russia underwent a tragic cataclysm. The majority of the intelligentsia did not accept the revolution and, willingly or unwillingly, went abroad. The study of the works of emigrants was for a long time under the strictest ban.

The first attempt to fundamentally comprehend the artistic innovation of the turn of the century was made by figures from the Russian diaspora.

N.A. Otsup introduced in 1933 many concepts and terms that are widely recognized in our time. He likened the era of Pushkin, Dostoevsky, Tolstoy (i.e. the 19th century) to the conquests of Dante, Petrarch, Boccaccio and called it domestic "golden age". He called the phenomena that followed him, as if squeezed into three decades, "Silver Age".

Otsup established the similarities and differences between the two layers of poetic culture. They were brought together by “a feeling of special, tragic responsibility for a common fate.” But the bold visions of the “golden age” were replaced during the period of “revolution that absorbed everything and everyone” with “conscious analysis”, which made creativity “more human-sized”, “closer to the author”.

There is a lot of insight in such a figurative comparison. First of all, the influence of revolutionary upheavals on literature. It, of course, was not at all direct, but very peculiar.

In the era of crisis, faith in possible harmony has weakened significantly. That is why eternal problems were again subjected to “conscious analysis” (N. Otsup): the meaning of life and spirituality of people, culture and the elements, art and creativity... Classical traditions developed in new conditions of destructive processes.

The artists of the Silver Age possessed intense attention to the everyday flow of days and the ability to grasp the bright beginning in its depths.

I. Annensky very accurately identified the origins of such a search. “The old masters,” he believed, were characterized by a sense of “harmony between the elementary human soul and nature.” And in his modernity he highlighted the opposite: “Here, on the contrary, flashes the “I”, which would like to become the whole world, dissolve, spill into it, the “I” - tormented by the consciousness of its hopeless loneliness, the inevitable end and aimless existence....”

This is how it was in the literature of the turn of the century. Its creators painfully experienced the elements of crushing and waste of life.

The darkest pictures were, however, brightened by the “creative spirit.” The path to true existence lay through the artist’s self-deepening. In the innermost spheres of individual worldview, faith in the imperishable values ​​of life grew.

The creative transformation of reality appeared even more visibly in the poetry of the beginning of the century. I. Annensky came to the correct observation: “The boundaries between the real and the fantastic for the poet not only became thinner, but in some places became completely transparent. Truth and desires often merge their colors for him.” In the thoughts of many talented artists of the era we find similar thoughts.

At the beginning of the 20th century. A completely different direction of literature arose. It was associated with specific tasks of social struggle. This position was defended by a group of “proletarian poets”. Among them were intellectuals, workers and yesterday's peasants. The attention of the authors of revolutionary songs and propaganda poems was drawn to the plight of the working masses, their spontaneous protest and organized movement.

Works of such an ideological orientation contained many real facts, correct observations, and expressively conveyed some social sentiments. However, there were no significant artistic achievements here. The attraction to political conflicts and the social essence of man prevailed, and the development of personality was replaced by ideological preparation for participation in class battles.

The path to art lay through the comprehension of multifaceted relationships between people and the spiritual atmosphere of the time. And where specific phenomena were somehow linked to these problems, a living word, a vivid image was born.

For artists of the beginning of the century, overcoming general disunity and disharmony went back to the spiritual rebirth of man and humanity.