Writers of the Russian Silver Age. Poets of the Silver Age of Russian Literature

The definition "Silver Age" was first used to characterize the peak manifestations of culture at the beginning of the twentieth century (Bely, Blok, Annensky, Akhmatova and others). Gradually, the whole culture of the turn of the century began to be called this term. The Silver Age and the culture of the turn of the century are intersecting phenomena, but they do not coincide either in the composition of the representatives of culture (Gorky, Mayakovsky), or in the time frame (the traditions of the Silver Age were not interrupted by 1917, they were continued by Akhmatova, B.L. Pasternak, M. Voloshin, M. Tsvetaeva).

Not all writers, artists and thinkers who lived and worked at the end of the 19th and the beginning of the 20th centuries are representatives of the culture of the Silver Age. Among the poets of the late 19th - early 20th centuries, there were also those whose work did not fit into the currents and groups that existed at that time. Such are, for example, I. Annensky, somewhat close to the Symbolists and at the same time far from them, looking for his way in the vast poetic sea; Sasha Cherny, Marina Tsvetaeva.

The contribution of V.S. Solovyov to the philosophy, aesthetics and poetry of the Silver Age, to the formation of Russian Symbolism and its artistic system is generally recognized, while the philosopher himself sharply criticized the activities of the first Russian Symbolists and "World of Artists", dissociated himself from modernist philosophy and poetry. The predecessors, and sometimes representatives of the poetry of the Silver Age, felt such symbolic figures of Russian "art for art" as A. Maikov, A. Fet, A. K. Tolstoy, despite their pronounced in many cases artistic and aesthetic traditionalism, archaism of philosophical and political views and poetic predilections.

Fyodor Tyutchev and Konstantin Leontiev, tendentious to the limit, often appeared to be their own in the Silver Age, who did not even live to see the period that received this name, but became famous for their conservatism, opposition to revolutionary democracy and socialist ideals.

In 1917, V.V. Rozanov accused Russian literature of ruining Russia, becoming perhaps its most important "decomposer". But it only recorded the disappearance of the unified frame of reference, within which the self-identification of Russian life had been taking place so far.

The powerful direction of critical realism continued to dominate in literature, but modernism was also widespread. Modernist currents acquired their significance to the extent of their ability to respond in one way or another to calls for ruthless criticism of the outdated autocracy, started by the imperialists of the world war, to accept the February and then the October Revolution of 1917. The process of "decomposition" in the lyrics began with the loosening of the poetic word and the release of a multitude of equal meanings in it. But as for the modernist breakdown of Russian classical versification, the renewal of rhyme, experimentation in the field of stylistics and vocabulary, these formalistic hobbies characterize all currents of poetry at the beginning of the twentieth century and their value was measured by the ability to move away from deliberate cleverness in these searches, to come to that intelligibility that helped find a reader, meet on his part mutual attraction and support.

In the 1890s, new literary trends from Western Europe began to penetrate into Russia, and poetry began to claim the role of expressing the feelings, aspirations and moods of the younger generation, while squeezing prose.

Poets began to call themselves "new", emphasizing their new ideology to the traditions of Russian literature of the 19th century. During these years, the course of modernism has not yet been determined and has not yet taken shape to the end.

After a whole era of Russian realism of the 19th century, which exposed the burning problems of being and, further, with the cruelty of a positivist-naturalist who observed and analyzed social ulcers and diseases, unclouded aestheticism, poetic contemplation and moral integrity, the perception of life as a "difficult harmony" of the Pushkin era did not seem so too naive and simple. In any case, they appeared to be much deeper and more enduring cultural phenomena than social denunciations and descriptions of everyday life, the theory of "environment", democratic and radical ideas of restructuring society that shook the second half of the 19th century.

In the phenomenon of "pure art" from Pushkin to Fet, the figures of the Silver Age were especially attracted by their artistic polysemy and broad associativity, which made it possible to symbolically interpret images and plots, ideas and pictures of the world; their timeless sound, which made it possible to interpret them as the embodiment of eternity or periodic recurrence of history.

The Russian Silver Age turned to samples of the classical era of Russian literature, and at the same time other cultural eras, interpreting and evaluating the work of Pushkin and Tyutchev, Gogol and Lermontov, Nekrasov and Fet and other classics in their own way, not in order to repeat them in new historical context. The writers of the Silver Age strove to achieve the same universality, perfection, harmony in their system of values and meanings in order to revive the aesthetic, religious, philosophical and intellectual ideals and values that fell out of the cultural life of the Russian intelligentsia in the second half of the 19th century, especially the intelligentsia with a radical attitude.

The combination of creative orientation to the heights of the spiritual culture of the 19th century as unconditionally reference values and norms of national culture with the desire to radically revise, modernize the values of the past, push off from previous norms, develop a new, fundamentally neoclassical, approach to culture brought to life the beginning of sharp contradictions that created internal tension of the era of the Russian cultural renaissance. On the one hand, it was literature that claimed to be classic and ascended to the unshakable tradition of Russian classics, on the other, it was a “new classic” designed to replace the “old classics”. Before the literature of the Silver Age there were two ways - either, while continuing to develop the classics, along the way to rethink it and transform it in the spirit of modernity (as did the Symbolists and their immediate successors, the Acmeists), or defiantly topple it from the once unshakable pedestal, thereby to assert oneself, the deniers of the classics , as poets of the future (futurists).

However, both in the first case (Symbolists) and in the second (Acmeists) “neoclassicism” was so new, so rejected the classics that it could no longer be considered a classic (even if it was new) and treated the real classics rather as a non-classic. Indirectly, this duality (modern is both classic and non-classic) was reflected in the name of the culture of the turn of the 19th-20th centuries "The Silver Age": it is as classic as the age of "Golden", but classic in a different way, creatively demonstrative loss in price. However, for the Russian avant-garde, either declaring the overthrow of the classics in principle (V. Khlebnikov, D. Burliuk), or ironically stylizing it, and this was not enough, and the Silver Age did not exist for him - neither in relation to the Golden Age, nor in itself ...

As in the time of the "golden", Pushkin, century, literature claimed the role of the spiritual and moral shepherd of Russian society. At the beginning of the twentieth century, outstanding works were created by the classics of Russian literature: L.N. Tolstoy, A.P. Chekhov, V.G. Korolenko, A.I. Kuprin, A.M. Gorky, M.M. Prishvin. Dozens of stars of the first magnitude lit up in the firmament of poetry: KD Balmont, A.A. Blok, N.S. Gumilev, very young M.I. Tsvetaeva, S.A. Esenin, A.A. Akhmatova.

The writers and poets of the Silver Age, unlike their predecessors, paid close attention to the literature of the West. They chose new literary directions as their guideline: O. Wilde's aestheticism, A. Schopenhauer's pessimism, Baudelaire's symbolism. At the same time, the figures of the Silver Age took a fresh look at the artistic heritage of Russian culture. Another hobby of this time, reflected in literature, painting, and poetry, is a sincere and deep interest in Slavic mythology, in Russian folklore.

In the creative environment of the Silver Age, neo-romantic moods and concepts were widespread, emphasizing the uniqueness of events, actions and ideas; the rupture of the sublime poetic dream with the mundane and vulgar reality; contradictions between appearance and internal content. A striking example of neo-romanticism in the culture of the Silver Age is the work of M. Gorky, L. Andreev, N. Gumilyov, S. Gorodetsky, M. Tsvetaeva ... .Mandelstam, from Z. Gippius to B. Pasternak.

The tasks of the creative self-awareness of artists and thinkers of that time began to come to the forefront of culture, and at the same time - the creative rethinking and renewal of previously established cultural traditions.

Thus, the soil arose for a new cultural synthesis associated with the symbolic interpretation of everything - art, philosophy, religion, politics, behavior itself, activity, reality.

art culture literature architecture

The chronological framework of the Silver Age of Russian culture cannot be established with complete accuracy. The beginning of this period should be attributed to the 1890s. between the manifestos of Nikolai Minsky "In the light of conscience" (1890) and Dmitry Merezhkovsky "Oh ... ... Wikipedia

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Russian poets Acmeists are poets of the Silver Age who wrote in Russian, whose work in the 1910s or early 1920s. was associated with acmeism. Within the acmeistic direction, there are so-called. "Senior" acmeists associated with ... Wikipedia

Main article: Russian Futurism Photography, printed in Slap in the Face to Public Taste. Right to left ... Wikipedia

The Silver Age was the heyday of Russian poetry at the beginning of the 20th century, characterized by the emergence of a large number of poets, poetic currents preaching a new aesthetics different from the old ideals. The name "Silver Age" is given by analogy ... Wikipedia

The list of Russian Soviet poets includes authors who wrote in Russian on the territory of the Soviet Union from the 1920s to the 1980s. mainly those who had a period of the most active creativity during this period (for example, the list does not include ... ... Wikipedia

Birth name: Alexander Mikhailovich Glikberg Aliases ... Wikipedia

Velimir Khlebnikov Velimir Khlebnikov, 1913 Birth name: Viktor Vladimirovich Khlebnikov ... Wikipedia

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Bryusov's request is redirected here; see also other meanings. Valery Yakovlevich Bryusov Portrait of ra ... Wikipedia

Books

Literary estates of Russia, Bobrov Alexander Alexandrovich. The number of literary places, family nests and estates, where great Russian poets and writers lived and worked, is incalculable. Therefore, the famous poet and publicist Alexander Bobrov ...
Literary estates of Russia, Bobrov A. .. The number of literary places, family nests and estates, where great Russian poets and writers lived and worked, is incalculable. Therefore, the famous poet and publicist Alexander Bobrov ...
Russian poets of the "Silver Age". Collection of poems in two volumes. Volume 1,. The collection (v. 1) "Symbolists" includes the most typical examples of the poetry of the leading masters of the Russian Symbolist school of the early 20th century: D. Merezhkovsky, Z. Gippius, A. ...

The Silver Age is one of the most mysterious and unusual phenomena in Russian culture. Its boundaries are vague, the origin of the term is debatable, the very coexistence of so many bright literary trends is not clear - all this was absorbed by the Silver Age. But he found his most brilliant manifestation in poetry - tragic and romantic, encrypted and mercilessly naked.

Features of Russian poetry of the Silver Age

The boundaries of the Silver Age can be conventionally called 1880 and 1920. This era at the turn of the century was tense and painful in the history of Russia, which left an imprint on the entire poetry of this period, which can be briefly described as follows.

1. Modernism

In the era of the Silver Age, there were several poetry workshops that embodied the principles and ideas of a certain literary direction. However, they all developed in one general style of modernism, the purpose of which is to create a new poetic culture capable of spiritually reviving a person and transforming this world.

Russian poetry of the Silver Age was characterized by somewhat decadent moods, which were just a consequence of the turn of the century, associated with the death of the world, general world decline, doom and the end of the world. This type of consciousness was called decadence, which was clearly manifested in the poems of that time by the motives of despondency, pessimism and hopelessness.

The most influential and significant trends in Russian poetry of the Silver Age were symbolism, acmeism and futurism.

Symbolism

Symbolism is one of the brightest trends in Russian poetry of the Silver Age. Symbolists tried to comprehend the secrets of the universe through some symbols that could have several readings at once. The older Symbolists perceived Symbolism exclusively as a literary school, while the younger ones treated it as a whole system of religious and philosophical views of the world.

1. Senior Symbolists

Dmitry Merezhkovsky he devoted his poems to the culture of legendary eras, tried to give his own reevaluation of the world classics, was in an eternal search for the spiritual foundations of being, tried to put into practice the idea of neo-Christianity.

Gippius Zinaida Nikolaevna in her poems she gravitated towards religious and philosophical issues, seeking God.

Bryusov Valery Yakovlevich tried to create a comprehensive art system that would unite all directions. His poetry is distinguished by historicism and exceptional rationalism.

Sologub Fyodor Kuzmich created his own alphabet of symbols in his lyrics. Only in his poems one can find such symbols of world evil as Nedotykomka Gray, Sun-Dragon, Likho, etc.

Balmont Konstantin Dmitrievich created truly magical poems that I wanted to sing. His images-symbols were always new, and the feelings he glorified in poetry were the most subtle.

2. Younger Symbolists

Blok Alexander Alexandrovich in his poems he was busy looking for the Eternal Femininity, which at different stages of creativity took on a variety of images: the Beautiful Stranger, Princess, Bride, etc.

Not all poets of the Silver Age were satisfied with symbolism as a poetic direction - new trends and schools began to appear.

Acmeism

Acmeists appeared as opponents of symbolism, who rejected any ambiguity and freedom of interpretation of the word. Their poetry was extremely realistic, precise and precise. These poets were united by a literary circle \ "Workshop of poets \".

Gumilyov Nikolay Stepanovich contradicted his own program of acmeism, of which he was the founder. Instead of reality, his poems take readers to exotic countries, and his lyrical hero always strived for chivalry and romance.

Akhmatova Anna Andreevna is considered a recognized master of love lyrics, a connoisseur of the female soul and feelings.

The search for new poetic self-expression did not end with the creation of the school of acmeism - some poets found a new trend for themselves, which was called futurism.

Futurism

Futurism promoted itself as the art of the future; the poets of this trend tried to destroy cultural traditions and stereotypes. In return, they offered the technique of urbanism, for which they saw the future in poetry. Within the framework of futurism, several branches operated at once.

1. Cubo-futurism

Mayakovsky Vladimir Vladimirovich created poems expressive and rude in their sound writing and rhyme, which were supposed to awaken the people, convey the truth to them.

2. Ego-futurism

Severyanin Igor he boldly used neologisms in his poems, but his poems had an unprecedented musicality and melodiousness, which distinguished them from the work of other futurists.

Imagism

A lesser known literary movement that created lyrical imagery through a series of metaphors. Within the framework of this poetic style, he worked and Yesenin Sergei Alexandrovich.

It is impossible to remain indifferent while reading the poems of Russian poets of the Silver Age: their drama and inexpressible sadness make the heart cry and make you seriously think about the meaning of life and why we came to this mortal world.

Writers of the Silver Age. Literature of the Silver Age in Russia

The literature of the Silver Age in Russia, created at the turn of the 19th and 20th centuries, is an important part of the artistic heritage of our country. This time was characterized by the presence of many different directions and trends, ideological contradictions inherent not only to various authors, but also taking place even in the work of individual writers, composers, artists. During this period, there was a renewal, rethinking of many types and genres of creativity. As M.V. Nesterov, there was a "general reassessment of values."
Even among progressive thinkers and cultural figures, there was a double attitude towards the creative legacy left by the revolutionary democrats.

Decadence

Art culture in general and the literature of the Silver Age in Russia in particular at the turn of the 19th and 20th centuries were marked by widespread decadence ("decadence"), which proclaimed faith in reason, the loss of civic ideals, and withdrawal into personal, individual experiences. Thus, some part of the intelligentsia tried to "escape" from the difficulties of life into the world of unreality, dreams, and sometimes mysticism. This process took place, because at that time there was a crisis in public life, and artistic creativity only reflected it. Decadence captured even representatives of realistic trends in art. However, more often than not, such ideas were still characteristic of representatives of modernist movements.

Modernism and realism in art

The term "modernism" is applied to many forms of 20th century art. It appeared at the beginning of the century, and its predecessor was realism. However, by that time the latter was still not a thing of the past, thanks to the influence of modernism, new features arose in it: the "framework" of the vision of life expanded, the search for means of personal expression in artistic creation began.
The most important feature of art at the beginning of the 20th century is the synthesis, the unification of various forms. Literature at the turn of the century As early as the 90s of the 19th century, trends were outlined in Russian literature that opposed the prevailing realism at that time. Chief among them was modernism. Many writers of the Silver Age (we will consider the list, directions and their main representatives later) in one way or another left realism. They continued to create, creating new trends and directions.

Modernism

The literature of the Silver Age in Russia opens with modernism. It brought together various poets and writers, sometimes very different in their ideological and artistic appearance. At that time, active modernist searches began, the inspiration of which was largely F. Nietzsche, as well as some Russian writers, for example A.A. Kamensky, M.P. Artsybashev and others. They proclaimed freedom of literary creation, called themselves its priests, and preached the cult of the "superman" who renounced social and moral ideals.

Symbolism

As a direction, symbolism in Russia took shape at the turn of the 19th and 20th centuries. Allocate the "senior" Symbolists, which include V. Bryusov, F. Sologub, K. Balmont, Z. Gippius and others, who were the first to create in this direction. The younger representatives include the writers of the Silver Age A. Bely, V. Ivanov, S. Soloviev, A. Blok and others. The theoretical, aesthetic and philosophical foundations of this movement were very diverse. For example, according to V. Bryusov, symbolism was a purely artistic direction, and Merezhkovsky took Christianity as a basis; Vyacheslav Ivanov relied on the aesthetics and philosophy of antiquity in the refraction of Nietzsche, and A. Bely was fond of the works of Schopenhauer, Nietzsche, Kant, V. Soloviev. The ideology of the "younger" Symbolists is based on the philosophy of V. Solovyov with the idea of the coming of the Eternal Femininity and the Third Testament.
The Symbolists left behind both poetry and prose and drama. But the most characteristic was poetry, in various genres of which many writers of the Silver Age worked in this direction.

V.Ya. Bryusov

V.Ya. Bryusov (1873-1924) was marked by many ideological quests. The revolutionary events of 1905 aroused his admiration and marked the beginning of the poet's departure from Symbolism. However, Bryusov did not immediately choose a new direction, as he formed his attitude to the revolution, which was very contradictory. The poet happily greeted the forces that, in his opinion, were supposed to cleanse Russia of old principles and beliefs and put an end to the old world. However, in his work, he also noted that this elemental force carries destruction. "Breaking - I'll be with you! Build - no!" - wrote V.Ya. Bryusov. His work is characterized by a striving for a scientific understanding of life, a revival of interest in history, which was shared by other writers of the Silver Age (the list of representatives of Symbolism was indicated above).

Realism

Ideological contradictions characteristic of the era as a whole influenced some realist writers. For example, in the works of L.N. Andreeva reflected a departure from realistic principles. But on the whole, realism has not disappeared. The literature of the Silver Age, whose poets emerged from realism, retained this trend. The fate of an ordinary person, various social problems, life in many of its manifestations were still reflected in the culture. One of the greatest representatives of realism at that time was the writer A. Bunin (1870-1953). In a difficult pre-revolutionary time he created the novellas "Village" (in 1910) and "Sukhodol" (in 1911).

Acmeism

In 1910, there was a controversy around symbolism, and its crisis was outlined. This trend is gradually being replaced by acmeism ("acme" in translation from Greek - the highest degree, blooming time). The founders of the new trend are considered to be N.S. Gumilyov and S.M. Gorodetsky. This group also included the writers of the Silver Age O.E. Mandelstam, M.A. Kuzmin, V. Khodasevich, A.A. Akhmatova, M.A. Zenkevich and others. In contrast to some ambiguity, the vagueness of symbolism, the Acmeists proclaimed earthly existence, "a clear view of life" as their support. In addition, the acmeistic literature of the Silver Age (whose poets and writers have just been listed) brought an aesthetic-hedonistic function to art, trying to get away from social problems into poetry. Decadent motives are clearly audible in Acmeism, and philosophical idealism became the theoretical support of this trend. Some Russian writers of the Silver Age went further in their work, which acquired new ideological and artistic qualities (for example, A.A. Akhmatova, M.A. Zenkevich, S.M. Gorodetsky). In 1912, the collection "Hyperboreus" was published, in which the new literary movement first declared itself. The Acmeists considered themselves the successors of Symbolism, about which Gumilev said that he had "completed his circle of development," and proclaimed the rejection of rebellion, the struggle to change the conditions of life, which were often expressed in the literature of the Silver Age. Writers - representatives of Acmeism tried to revive the concreteness, objectivity of the image, to cleanse it of mysticism. However, their images are very different from the realistic ones, as S. Gorodetsky put it, they seem to be "... born for the first time" and appear as something hitherto unseen.

A.A. Akhmatova

In the work of this direction, A.A. Akhmatova. The first collection of her poems "Evening" appeared in 1912. It is characterized by restrained intonation, psychologism, intimate themes, emotionality and deep lyricism. A.A. Akhmatova was clearly starting from the idea of "primordial Adam" proclaimed by the Acmeists. Her work is characterized by love for a person, faith in his capabilities and spiritual strength. The bulk of the work of this poetess falls on the Soviet years. Akhmatova's two first collections, the aforementioned Evening and Rosary (1914), brought her great fame. They reflect an intimate, narrow world, in which notes of sadness and sadness are guessed. The theme of love here, the most important and the only one, is closely related to the suffering caused by biographical facts from the life of the poetess.

NS. Gumilyov

The artistic heritage of N.S. Gumilyov. In the work of this poet, the main themes were historical and exotic, and he also praised the "strong personality". Gumilev developed the form of the verse, made it more precise and chased. The creativity of the Acmeists was not always opposed to the Symbolists, because in their works one can find "other worlds", a longing for them. Gumilev, who first welcomed the revolution, a year later already wrote poetry about the death of the world, the end of civilization. He suddenly realizes the destructive consequences of war, which can be destructive for humanity. In his poem "Worker", he seems to foresee his demise from a shot by a proletarian, a bullet, "that will separate me from the earth." Nikolai Stepanovich was shot for allegedly participating in a counter-revolutionary conspiracy. Some poets and writers of the Silver Age - representatives of Acmeism subsequently emigrated. Others never did it. For example, Anna Andreevna Akhmatova, wife of N.S. Gumilyov, did not accept the Great October Revolution, but refused to leave her native country. These events left a big mark on her soul, and the poetess was not immediately able to return to creativity. However, the outbreak of the Great Patriotic War again awakened in her a patriot, a poet confident in the victory of his country (works "Courage", "Oath" and others).

Futurism

At the same time as Acmeism (that is, in 1910-1912), Futurism appears. He, like other directions, was heterogeneous, distinguishing several currents. The largest of them, cubo-futurism, united the poets V.V. Mayakovsky, V.V. Khlebnikova, D.D. Burliuk, V.V. Kamensky, A. Kruchenykh and others. Another type of futurism was ego-futurism, represented by the work of I. Severyanin. The group "Centrifuga" included the beginning poets of that time N.N. Aseev and B.L. Pasternak, as well as other writers and writers of the Silver Age. Futurism revolutionized form, which now became independent of content, proclaimed freedom of speech, completely abandoning literary continuity and traditions. The Manifesto of the Futurists "A Slap in the Face to Public Taste", published in 1912, called for the overthrow of such great authorities as Tolstoy, Pushkin and Dostoevsky. The writers of the Silver Age of Russian literature V.V. Kamensky and V. Khlebnikov were able to conduct successful experiments with the word, which influenced the further development of Russian poetry.

V.V. Mayakovsky

Among the futurists, the great poet V.V. Mayakovsky (1893-1930). In 1912, his first poems were published. Mayakovsky was not only against "all sorts of old things", but also proclaimed the need to create something new in public life. Vladimir Vladimirovich had a presentiment of the October Revolution, denounced the kingdom of the "fat", which was reflected in his poems "War and Peace", "A Cloud in Pants", "Man", "Spine Flute", in which the entire capitalist system was denied and belief in person.

Other poets and writers of the Silver Age

In the years preceding the revolution, there were other outstanding poets and writers of the Silver Age of Russian literature, who are difficult to attribute to one direction or another, for example M.A. Voloshin and M.I. Tsvetaeva. The creativity of the latter is characterized by demonstrative independence, as well as rejection of generally accepted behavioral norms and ideas. Russian culture of this time was the result of a long and difficult path. Its integral features invariably remained high humanism, nationality and democracy, despite the high pressure of government reaction. More detailed information can be found in any textbook ("Literature", grade 11), the Silver Age is necessarily included in the school curriculum. -

The poets of the Silver Age founded a new trend in the literature of the late nineteenth century. At that moment, the coming changes were already felt in the atmosphere and it is not surprising that in this situation new stars appeared in the poetic firmament of Russia.

During this period, such great poets and poetesses as Blok, Gumilyov, Akhmatova, Tsvetaeva, Mayakovsky, Yesenin, Bely and many others became famous.

The main themes of their poems were the ideas of moral searches and spiritual perfection in a difficult time for the fatherland. This article will provide a brief overview of the literary trends of this period and their representatives.

The Silver Age of Russian Poetry

This is a period whose time boundaries begin at the end of the 19th century and end with the end of the October Revolution (early 20th century). This period lasted a total of twenty-seven years and coincided with the heyday of the Art Nouveau era.

The definition of "silver" came into use only in the second half of the twentieth century, and in European culture, the designated period is known as "fin de siècle" ("end of the century").

The concept of "silver" was formed under the influence of the Russian emigration, which is not at all surprising, since many great minds left Russia after the change of power in the seventeenth year.

You can trace an analogy with the "golden age" - the so-called Pushkin era (first third of the nineteenth century). In comparison with the golden age, the Silver Age symbolizes decline, degradation and decadence, as well as verses and poems about love abound in it, but they are characterized by strong eroticism.

Poets and Poetesses of the Silver Age - alphabetical listing

Famous figures of the poetic era are presented briefly in the list.

The most prominent representatives of the direction, loved by many, are:

Marina Tsvetaeva.
Akhmatova Anna.
Block Alexander.
Bunin Ivan.
Boris Pasternak.
Yesenin Sergey.
Mayakovsky Vladimir.
Bryusov Valery.

It was their writings that became the symbols of the Silver Age. Even in school textbooks for children, you can find their best works, and the older the student becomes, the more deeply the life and work of poets is studied.

Literary trends of the Silver Age

The Silver Age includes different trends and trends. Sometimes the authors, during their career, referred themselves to one style, then to another.

The main directions are as follows:

symbolism;
futurism;
acmeism;
imagism.

Symbolism and its main features

Symbolism emerged as a manifestation of depressive moods in the culture of the late nineteenth century. At this moment, peasant ideas come to an end in Russia and idealistic philosophy is becoming more and more popular.

Alexander Alexandrovich Blok (1880 - 1921) - Russian poet, writer, publicist, playwright, translator, literary critic.

Symbolism, in turn, is divided into two subspecies:

senior symbolists;
junior symbolists.

Symbolist poets in Russian literature

The younger Symbolists include Blok, Bely and Ivanov, who perceived Symbolism as philosophy. Among the elders are Bryusov, Balmont, Sologub and Minsky.

Valery Yakovlevich Bryusov (1873 - 1924) - Russian poet, prose writer, playwright, translator, literary critic, literary critic and historian.

These poets viewed symbolism as an aesthetic and depicted a depressive atmosphere in their poems.

Futurism and its signs

The main idea of futurism is an idea of the future, where the emphasis is on urbanization and technological progress. Representatives of futurism, through their creativity, also promoted the idea of breaking stereotypes in culture.

Russian futurist poets

Vladimir Vladimirovich Mayakovsky (1893 - 1930) - Russian Soviet poet. In addition to poetry, he brightly showed himself as a playwright, screenwriter, film director, film actor, artist, editor of the magazines "LEF" ("Left Front"), "New LEF".

Futurism is rather heterogeneous, it is divided into several subtypes:

Cubo-futurism- rejection of past stereotypes, shocking and the use of occasionalisms. The main representatives are:
- Gouraud;
- Mayakovsky;
- Livshits;
- Kamensky;
- Twisted.
Ego-futurism- he is characterized by selfishness, the use of neologisms, acuteness of sensations. Best figures:
- Northerner;
- Shershenevich;
- Ivnev.

Peasant poetry- this group stands out conditionally, since the poets did not classify themselves as such and did not create any associations. But you can notice the common features inherent in their work, for example, the connection with nature and people.

Sergei Alexandrovich Yesenin (1895 - 1925) - Russian poet, representative of the new peasant poetry and lyrics, and in a later period of creativity - imagism.

Main representatives:

Klyuev;
Yesenin;
Klychkov;
Oreshin.

Acmeism and its basic principles

This is the current of symbolism in poetry distinguishes the material over the spiritual, clearly outlines the images and uses the refinement of the word. It was established largely thanks to the poetic association "Poets' Workshop".

Acmeists of the Silver Age

It is believed that it was the representatives of Acmeism who created the most beautiful and piercing poems.

Nikolai Stepanovich Gumilyov (1886 - 1921) - Russian poet, founder of the school of acmeism, prose writer, translator and literary critic.

The founders of the movement are considered Gumilyov and Gorodetsky. Later they were joined by Akhmatova, Mandelstam, Zenkevich and Ivanov.

Imagism and its main features

Imagism is a literary movement that arose in the post-revolutionary period in Russia. The main feature of Imagism is creating images through metaphors and metaphorical chains, comparing the direct and the figurative.

Vadim Gabrielevich Shershenevich (1893 - 1942) - Russian poet, translator, one of the founders and main theorists of Imagism.

Although this trend emerged only two years after the revolution, in its content and direction it had nothing in common with the revolution. This was the last sensational school of Russian poetry of the 20th century.

Imagists of the Silver Age and their works

Often in the poems and love lyrics of the Imagists, one can see the ideas of anarchism and outrageousness.

VG Shershenevich, collection “Romantic powder. Poetry. Opus 8th ", 1913

Most popular personalities:

Shershenevich - started out as a futurist, later a subverter and critic of futurism, a fierce propagandist of imagism, an ideological leader of the entire trend;
Mariengorf;
Ivnev;
Erdman.

Conclusion

The poets of the Silver Age are united not only by brilliant creativity, permeated with decadent ideas, but also by a difficult fate. Through the analysis of their works, one can trace the turning points in the history of Russia and the world.

It is worth noting that it was in this century that women are recognized as full-fledged artists, and women's poetry is gaining popularity. For example, Anna Akhmatova first published her collection "Evening" in 1912.

The Silver Age of Russian poetry is closely connected with the philosophy and history of the era because the attention of the intelligentsia was switched from social and political issues to mysticism and issues of spirituality.