What does the lyrics give to the poets of the 20th century. Poetic understanding of the reality of the XX century

you need to write an essay on the topic "Russian lyrics of the 20th century" (according to the work of any poet). I can't even imagine what to write. and got the best answer

Answer from Ama Hasla[expert]
The beginning of the 20th century in Russian literature was marked by the emergence of a whole galaxy of diverse trends, trends, and poetic schools. Symbolism (V. Bryusov, K. Balmont, A. Bely), acmeism (A. Akhmatova, N. Gumilyov, O. Mandelstam), futurism (I. Severyanin, V. Mayakovsky , D. Burliuk), imaginism (Kusikov, Shershenevich, Mariengof). The work of these poets is rightly called the lyrics of the Silver Age, that is, the second most important period of the heyday of Russian poetry. However, along with the authors listed above, other original and bright poets who did not belong to any particular school entered the history of art of that time, and in the first place - Sergei Yesenin, whose work stands apart in the colorful and diverse world of poetry at the beginning of the century.
The complex and interesting fate of the poet, many travels, changing places and lifestyles, combined with a creative approach to understanding reality, led to the richness and variety of themes and motives of Yesenin's lyrics. He spent his childhood and youth in the village of Konstantinovo, on the banks of the Oka, in a peasant family; The main theme of Yesenin's early lyrics "naturally becomes a description of nature, native paintings, landscapes imbued with warmth, close from childhood, acquaintances, loved ones. At the same time, the poet personifies many natural phenomena, sees in them a living, intelligent beginning, ascribes the qualities of animals to plants:
Where there are cabbage patches
Sunrise pours red water,
Maple tree small womb
Green udder sucks.

Answer from 2 answers[guru]

Hey! Here is a selection of topics with answers to your question: you need to write an essay on the topic "Russian lyrics of the 20th century" (according to the work of any poet). I can't even imagine what to write.

Answer from Nikolai Rodinov[newbie]
can you briefly?

Answer from Nikita borzenko[active]
not bad

Answer from Dima Morozov[newbie]
The Russian poetic “silver age” traditionally fits into the beginning of the 20th century, in fact, its source is the 19th century, and it has all its roots in the “golden age”, in the work of A. S. Pushkin, in the legacy of Pushkin’s galaxy, in Tyutchev’s philosophy, into the impressionistic lyrics of Fet, into Nekrasov's proseisms, into the lines of K. Sluchevsky, full of tragic psychologism and vague forebodings. In other words, the 1990s began leafing through draft copies of books that soon formed the library of the 20th century. Since the 90s, literary sowing began, which brought shoots.
The term “Silver Age” itself is very conditional and covers a phenomenon with controversial outlines and uneven relief. For the first time this name was proposed by the philosopher N. Berdyaev, but it finally entered the literary circulation in the 60s of this century.
The poetry of this century was characterized primarily by mysticism and a crisis of faith, spirituality, and conscience. The lines became the sublimation of mental illness, mental disharmony, internal chaos and confusion.
All the poetry of the "Silver Age", greedily absorbing the heritage of the Bible, ancient mythology, the experience of European and world literature, is closely connected with Russian folklore, with its songs, lamentations, legends and ditties.
However, it is sometimes said that the “Silver Age” is a Westernizing phenomenon. Indeed, he chose as his guidelines the aestheticism of Oscar Wilde, the individualistic spiritualism of Alfred de Vigny, the pessimism of Schopenhauer, Nietzsche's superman. The "Silver Age" found its ancestors and allies in various European countries and in different centuries: Villon, Mallarmé, Rimbaud, Novalis, Shelley, Calderon, Ibsen, Maeterlinck, d'Annuzio, Gauthier, Baudelaire, Verharne.
In other words, at the end of the 19th and beginning of the 20th centuries there was a reassessment of values from the standpoint of Europeanism. But in the light of the new era, which was the exact opposite of the one that it replaced, the national, literary and folklore treasures appeared in a different, brighter than ever light.
It was a creative space full of sunshine, bright and life-giving, longing for beauty and self-affirmation. And although we call this time the "silver" and not the "golden age", perhaps it was the most creative era in Russian history.

Consider the main features and trends in Russian poetry of the second half of the 20th century.

Poets of the older generation

In the 1950s, a creative revival marked the development of Russian poetry. The work of poets of the older generation was devoted to understanding the "moral experience of the era" (O. Bergholz). In his poems N. Aseev, A. Akhmatova. B. Pasternak, A. Tvardovsky, N. Zabolotsky, V. Lugovskoy, M. Svetlov and others reflected on the problems of both the recent past and the present in a philosophical manner. During these years, the genres of civil, philosophical, meditative and love lyrics, various lyrical epic forms actively developed.

The peaks of poetry in the 1950s and 1960s were the philosophical lyrics and lyrical epic works by A. Tvardovsky, "Northern Elegies" and "Requiem" by A. Akhmatova, poems from the novel "Doctor Zhivago" and the poetic cycle "When it clears up" by B. Pasternak.

In general, the work of poets of the older generation is distinguished by attention to the moral sphere of modern man in connection with history, with the past, present and probable future.

The poets of the front-line generation also turned to "eternal" themes in their work, expressing their own vision of the war and the man in the war. Of course, the main motive of their work was the theme of memory. For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, the Great Patriotic War forever remained the main, if not the only measure of morality. An integral part of the literary process were the poems of poets who died in the war - P. Kogan. M. Kulchitsky, N. Mayorov, N. Otrada, G. Suvorov and others.

entertainers

In the 1950s, a new generation of poets entered the literature, whose youth fell on the post-war period - E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky, R. Kazakova - their verse was focused on the oratorical tradition. The continuation of this tradition was determined by the journalistic orientation of the work of young poets, who raised issues relevant to their time. It was these poets that contemporaries called entertainers. The years of the "thaw" were marked by a real poetic boom: poems were read, written down, memorized. Poets collected sports, concert, theater halls in Moscow, Leningrad and other cities of the country. It was the “variety people” who were later called the “sixties”.

"Silent lyrics"

The "loud" poetry of the sixties in the second half of the 1960s was counterbalanced by the lyrics, which received the definition "quiet". The poets of this trend were united by a common moral and aesthetic values. If the poetry of the sixties was guided by the traditions of Mayakovsky, then the quiet lyrics inherited the traditions of the philosophical and landscape poetry of F. Tyutchev, A. Fet, S. Yesenin. The "quiet lyrics" include the work of poets N. Rubtsov, V. Sokolov, S. Kunyaev and others. Their poetry is united by the desire to comprehend the complex contradictions of the century and the search for a new harmony. In its pathos, the work of "quiet lyricists" is close to the realistic direction of "village prose". Yu. Kuznetsov, who entered literature in the 1960s, is also close to "village prose".

The civic pathos of the poets of the sixties and the subtle lyricism of the "quiet lyricists" were combined in the work of the Dagestan poet R. Gamzatov, many songs were written on whose poems. Gamzatov’s “quiet lyrics” are related by the timeless, philosophical orientation of his poetry and the appeal to national folklore imagery.

Modernist poetry

The poetry of A. Tarkovsky, I. Brodsky, the poets of the front-line generation D. Samoilov and S. Lipkin, the sixties B. Akhmadulina, A. Kushner, O. Chukhontsev, poets 1970-1980s V. Krivulin, O. Sedakova. Their poetry as a whole is characterized by a sense of historicism, expressed in explicit or implicit dialogic citation of classical works, in understanding memory as the basis of morality, saving man and culture from chaos.

I. Brodsky

Forced to leave the country in 1972, I. Brodsky was awarded the Nobel Prize in Literature in 1987, and in 1991 he received, like A. Akhmatova in his time, a mantle and a doctorate at Oxford. Brodsky's talent was clearly manifested in a variety of prose, lyrical and lyrical genres. The uniqueness of this poet lies in the fact that his poetry absorbed the rich artistic traditions of both domestic and foreign poetry from mythology to the 20th century.

Author's song

Since the 1950s, the genre of author's song has been developing, which has become extremely popular over time. Creativity B. Okudzhava. A. Galich, N. Matveeva. V. Vysotsky, Yu. Vizbor and others was one of the forms of overcoming the formal content dogmatism, officialdom of official patriotic poetry and shallow pop hits. The attention of these poets was focused on the life of an ordinary, "small", "private" person. The 1960s and 1970s are a classic period in the development of this genre, the key figures of which are rightfully recognized as B. Okudzhava, A. Galich and V. Vysotsky.

Vanguard

Since the 1960s, avant-garde experiments have resumed in Russian poetry. The modern avant-garde united various poetic groups: Lianozovsky, SMOG, and many other unofficial poetry clubs. As a rule, the poets of this trend were deprived of the opportunity to publish their works, it is with them that the emergence of the underground, which was significantly replenished in the 1970s, is associated. Confident in the absurdity and inhumanity of social reality, modern avant-garde artists are deprived of the anti-utopian pathos that was inherent in the avant-garde of the early 20th century. Artistic means are also conditioned by this attitude. Refusing artistic verisimilitude, poets create a deformed image of the world, of which man is a particle. A characteristic technique in the poetry of the modern avant-garde is the centon (a poem composed of lines of other poems), which allows ironically to beat quotes from classical literature, various stamps of official propaganda and mass culture. This, in turn, is due to the mixing of various stylistic layers of vocabulary, the discovery of high in low and vice versa.

Conceptualism

One of the first directions of the modern avant-garde was conceptualism, with which the work of G. Sapgir, Vs. Nekrasov, D. Prigov, I. Kholin, L. Rubinstein. In the 1980s, conceptual poetry was developed in the ironic verses of A. Eremenko, E. Bunimovich and in the work of T. Kibirov and M. Sukhotin. Conceptualism arose as an aesthetic reaction to the totalitarianism of the Soviet era, so the ideological and artistic possibilities of this trend (playing with the political and ideological clichés of officialdom of the Soviet era) have been exhausted today.

The development of visual poetry is connected with the experiments of the futurists at the beginning of the 20th century. In the second half of the 20th century, A. Voznesensky, G. Sapgir, N. Iskrenko and others inherited this poetic tradition. Modern video poetry is an international phenomenon associated with the general desire of culture to free itself from ideological pressure.

Poetic journalism

The middle of the 1980s, like the years of the "thaw", was marked by the rise of poetic journalism by E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky. The works of V. Sokolov, B. Akhmadulina, V. Kornilov, O. Chukhontsev, Yu. Kuznetsov, A. Kushner and many other poets were devoted to understanding the tragic events of the past and eternal universal problems.

spiritual poetry

A peculiar result of the tragic 20th century was spiritual poetry, which is based on a feeling of repentance and sincere faith in God. At the turn of the 1980s - 1990s, the poetry of the famous scientist S. Averintsev, poets Yu. Kublanovskiy received religious overtones. I. Ratushinskaya, N. Gorbanevskaya. Young poets also enter this trend: M. Rakhlina, A. Zorina, O. Nikolaeva, S. Kekova.

Used book materials: Literature: uch. for stud. avg. prof. textbook institutions / ed. G.A. Obernikhina. M.: "Academy", 2010

It is a difficult task to single out and reveal the specifics of the lyrical conflict in a work, despite the existing theoretical developments to which we refer, there are many unresolved issues in this problem. Lyrics as a special type of literature has its own characteristics that should be taken into account when studying the conflict. It is generally accepted that in a lyrical conflict, unlike an epic one, the world is not depicted, but expressed in the feelings, thoughts, experiences of the hero, this causes some features of the conflict.

The concept of lyrical conflict was first defined by Hegel. “Although lyric poetry,” he wrote, “transitions to certain situations within which the lyrical subject is allowed to absorb a huge variety of content into his feelings and reflections, nevertheless, the form of the inner world always constitutes the main type of this kind of poetry, and for this reason alone it excludes world visual picture of external reality.

A distinctive feature of the lyrical conflict, according to G. Pospelov, is the ratio of the subjective and the objective. "The lyric is the poet's verbal meditations, expressing his inner world. This is the main kind of lyric, in which it especially clearly reveals specific features and patterns."

In the lyrics, the poet's inner world and consciousness are most fully revealed, since this type of literature is distinguished by the utmost concentration of content and form.

It is always quite difficult to determine unambiguously the specifics of the lyric in a work. L. Timofeev highlights the essential features of lyrics - this is subjectivity and individuality in the depiction of character, these concepts bring additional clarity to the study of the problem of lyrical conflict. According to the scientist, the lyrics do not depict, but reflect life, conveying specific human experiences, different in content. Lyric poetry creates its own world, its own principles of cognition of life, it conveys the psychology of feelings and thoughts much more subtle and deeper, which is not always subject to psychological analysis.

According to L. Ginzburg, lyric poetry is not always a direct conversation of the poet about himself and his feelings, but it is always a point of view, an assessment. "The evaluative beginning is imbued with the aesthetic categories of high and low, poetic and prosaic, so tenacious in lyrics. In compressed lyrical forms, the evaluative beginning reaches extraordinary intensity."

The conflict in a lyrical work is a complex system of concentration and layering, the criteria for which are extremely difficult to determine. In our opinion, the theoretical provisions on the poetry of Yu. Lotman allow us to present the conflict as a manifestation of the universal principle of "identity - contradiction" at all levels of the text of the poetic structure. lyrics conflict poet realism

The structure of the lyrical conflict from the point of view of binary-antinomic oppositions is studied by A. Kovalenko in his work "Artistic Conflict in Russian Literature" (poetics and structure). This scientific approach made it possible to deeply explore the problem of lyrical conflict in the works of F. Tyutchev, V. Khodasevich, O. Mandelstam and others.

It should be said that the literary process of the 50s is associated with "conflictlessness", which significantly influenced the artistic level of many works and their significance. Poetry, like other genres, was for some time under the influence of "conflict-free theory". The prevailing situation at that time, both in literature in general and in poetry, was defined as "crisis". Evidence of this is a number of decrees on literature and art, as well as a discussion about poetry that unfolded on the pages of newspapers and magazines.

The discussion about poetry that unfolded in literary publications was supposed to answer the main question: what should be the poetry of future decades?

The critic E. Zelinsky, in his article "On Lyrics," insisted on the prospects for the development of the lyrical direction in poetry, defending "the general effort of the intimacy of our poetry." A. Leites, who objected to him, saw in this phenomenon signs of "harmful", in his opinion, "internal disinhibition". I. Grinberg admitted that "lyric poetry decisively excels in the collections and poetry departments of our journals of recent years." It was this fact that he perceived as a dangerous symptom of the fact that a lot of personal experience will appear in poetry, and this will negatively affect the development of poetry.

These critical articles on poetry are written in the spirit of the time, they do not touch on any complex problems of the literary life of that time, but only demonstrate a formal approach and participation in the current situation. This is not an accidental, but a completely natural phenomenon in the unified literary process of the 50s.

The general trend in the development of themes, ideas, moods is characteristic of both prose and poetry. In epic works, the theme of post-war transformations and social construction dominated, in the poetry of the end of the time we are interested in, we observe similar phenomena, with the exception of those authors whose work did not meet the requirements and, despite all sorts of contradictory moments in the development of the lyrics of those years (Decree "On Journals "Star" and "Leningrad", (1946), individual works by A. Akhmatova, B. Pasternak still appeared in print.

The main requirement for the poetry of that time was that it should reflect the concrete facts of achievements in the restoration of the country. And as a result of this, both in prose and in poetry of these years, rural and industrial themes began to actively develop. Poems by N. Gribachev "Collective farm "Bolshevik" (1947), M. Lukonin "Working Day" (1948), N. Aseev "The Poem of the Northern Rivers" (1951) and others written during these years can serve as confirmation noted with satisfaction in them "a new breath of life, labor pathos, daring and dreams of the young generation that came from the war, the desire to rebuild the country's economy in a new way" .

Due to the special attention to the "building of a new life," lyrical themes began to sound less in the work of poets. The lyrical beginning in the poems began to fade into the background, or even completely disappear from the works. This is what caused Z. Kedrina's concern in the article "The Search for the Main. (The Story of the Lost Literary Process)". "The very understanding of lyrics began to change, it was not the prestige of lyrics that changed, but its quality level," she wrote in the article and, as proof, referred to the fact that new lyrical cycles of various poets began to be composed of poems written on civil topics. Named such poems as "Water's Way" by V. Inber, "Raise your voice, honest people, tear off the masks from the murderers!" A. Surkova, "On the near approaches" M. Aliger.

O. Bergolts adhered to a different point of view, recognizing the "disadvantage" of lyric poetry, she believed that the material for poetry should still be taken "from life", noting on this occasion: "The point of view is erroneous that our life does not provide material. This thought capable of disorienting; it aims to reduce the responsibility of poets for their work.

As a rule, "vital material" was realized in industrial and rural themes, which significantly reduced the level of "lyrical" in poetry, it was precisely this approach that Z. Kedrina opposed and did not find support for her statements in criticism.

It can be noted that in the desire to create works in the spirit of the times, the work of individual poets showed a tendency to "embellish" reality, which resulted in declarative pathos, "idyll" and "radiance" of everyday work. As an example of this kind of poetry, you can use a selection of poems in the magazine "Znamya" (1951, No. 10). E. Dolmatovsky in the poetic cycle "By Future Seas" (1951) "in sky blue" depicts reality:

And the white dove flies in the blue

Above Mira street early in the morning.

And, like semaphores, the way is open! -

Tower cranes everywhere.

A. Prokofiev completely "easily" and "empty" conveys the state of the lyrical hero:

And worries are far away

And few worries

golden lights,

Long road .

In poetry, many works appeared, written "on the theme of the day", it was this feature that did not allow them to "exist" for a long time, although the "poetic flow" in literary publications was significant. There is a situation where "the quantity does not match the quality." S. Shchipachev expressed concern about this in the article "For High Poetry": "There are no interesting novelties in poetry, they write a lot, but it's all about the level of skill. In literature and art, many mediocre, and sometimes simply hacky works that distort reality have appeared. Life portrayed sluggishly and boringly. There are many unfinished and weak works in poetry. This is a signal of serious trouble. Poetry lacks the ability to create generalized images, reflect life conflicts. In many poems, neither inspiration, nor thought, nor the search for new forms of expression is felt. "

Further, the poet noted other "negative" phenomena in poetry, naming such as "non-independence and imitation", "hundred-chasing" of young poets, "weak" criticism and self-criticism. As confirmation of his words, S. Shchipachev cited the poem by V. Tushnova "The Road to Klukhor" ("Banner", 1952, No. 9) and M. Aliger "Towers in the Sea" ("New World", 1952, No. 2) , which are not without the disadvantages listed above.

O. Bergolts, in her critical article published in Literaturnaya Gazeta, tried to find the "origins" of negative manifestations in poetry, she wrote: to express our life through our own heart, as a part of ourselves, suffering from obvious self-fear, shying away from the very concepts - personality, individuality, self-expression, that is, from something without which poetry simply does not exist ".

Many writers recognized "lightness", "low level of culture of the verse" and artistic inexpressiveness. But in general, criticism was not worried about the content level, but the fact that "poetry began to lag behind prose." They saw the shortcomings of poetry in the fact that "it is far behind the times, from the living practice of our time."

A. Surkov expressed the idea of the need for a closer, organic convergence of poems with life reality and its labor problems: "The big tasks facing us must be solved based on the basic requirement - that people not just "come for material" to great construction sites, but that they enter these objects as co-authors together with concrete workers. Together with excavators, together with bulldozers ... ".

The thesis about the need for close contacts of poets with real life was, of course, fair. However, in addition to knowledge of the surrounding reality, it was necessary to master the skill of the artist in order to create works not “according to a scheme”, “order”, but according to creative inspiration.

It should be noted that it was necessary to set tasks not only for poetry, but also for criticism, because its main purpose was not fulfilled - instead of a deep analysis of the literary process, the work of individual poets and their works, a superficial analysis of poems was given in the spirit of "conflictlessness". It was necessary to have a qualitatively new criticism, accordingly, its task was formulated: "The main task of criticism is to show how the idea of poetry is embodied, to reveal the artistic, individual features of the embodiment of the poet's personality, to try to put the living awe, the breath of the idea in images, intonation, musicality.

The problems of poetry were discussed especially sharply and sharply on the eve of the Second All-Union Congress of Soviet Writers (1954), and then at the congress itself. The main questions around which the discussion unfolded in Literaturnaya Gazeta were questions about the lyrical hero and the "self-expression of the poet."

The conversation about poetry at the Second All-Union Congress of Writers took a fundamental direction. First of all, it was noted that the state of poetry is far from well-being, since its development was affected by the tendency to "embellish reality, to hush up the contradictions of development and the difficulties of growth" .

The idea of the need for a decisive rise in the general ideological and artistic level of poems, of deepening artistic knowledge of the world was the main one in Samed Vurgun's report "On Soviet Poetry". The speaker noted that poetry "needs works imbued with lofty ideas and philosophical reflections." In this regard, the speakers dwelled on the specific shortcomings of poetry. V. Lugovskoy said: "We often just bite the topics hastily, like an apple, not getting to the golden grains of a real topic." O. Bergolts subjected modern poetry to fundamental criticism. "Impersonality," she argued, "is another reason why our poetry lags behind."

The discussion at the congress contributed to the development of an objective assessment of poetic creativity and the development of poetry on a different ideological and artistic level.

Despite the emerging positive developments in the poetry of the 50s, the situation remained rather complicated, because "conflict-free" persisted in individual poetic works, including critical articles that supported the "superficial rhetoric" of poetry and "conflict-free reflection." It took years to "eradicate" "non-conflict", to completely "get rid" of this phenomenon. However, the development of poetic creativity did not stop. Self-critical, "dissatisfied with itself", poetry in discussions, in the search for truth, acquired indisputable values and began to "gain strength" significantly.

"The time for the advent of poetry", which I. Ehrenburg spoke about during the discussion, came very quickly and swiftly. A new stage has been outlined in the development of poetry, which has survived the difficult post-war decade of psychological and aesthetic restructuring. Evidence of this are the works of N. Zabolotsky, Y. Smelyakov, A. Tvardovsky and others, and the poems of young poets - A. Voznesensky, E. Yevtushenko and others were also popular.

In the early 50s, in lyrics, as in literature in general, much attention was paid to the work of authors, who in their works reflected the great successes in the construction of the post-war decade, conveying the special pathos of the time and creating in poetry an atmosphere of enthusiasm for the transformation in the country; such poets are N. Aseev, A. Prokofiev, Ya. Smelyakov and many others. They are united not only by time, but also by the approach to depicting reality. Perhaps that is why the popularity of their work is a thing of the past and remains only a characteristic of the literary process.

At one time, criticism did not ignore their creative searches, and researchers in their works studied the individual characteristics of each quite deeply, therefore, turning to the poetry of this time, we will only try to identify trends in the conflict content of works that are most significant in the literary process and capable of clarifying the essence of the set Problems.

The "muse of labor" was called the lyrics of Y. Smelyakov of the 50s. In the poems of the poet, the fate of the lyrical hero is identified with the fate of the people and the state, and in his image one can trace "internal exaltation", pride in what he has done:

I built trenches and pillboxes,

hewed iron and stone,

and myself from this work

became iron and stone….

Became not big, but great,

meditation lies on the forehead,

like the sky in the morning

on convex bare ground.

The lyrical hero speaks with the utmost restraint about the personal, the individual, because in his life the main thing is the public.

According to researchers of Ya. Smelyakov's work, a new aesthetic category was defined in the poet's poems of the 1950s - the "voice of truth", which contained the essence of time. Following this aesthetics, the poet sought to consolidate and comprehend in his works the most important defining trends in history, life, work, signs of the times. Earth, iron, coal, bread are the main pillars on which, according to the poet, the life of labor and the people rests, therefore labor is depicted by him epicly broadly, as the greatest event in life. The scale dictates to the poems a solemn intonation, monumentality of images. "Strict Love" (1953-1955) is a work that reflects this approach to depicting reality. In criticism, they wrote about him: "The poet wanted to resurrect the" collective pathos "of the young generation of the militia of the industry, comparing two eras - the youth of the country and its maturity, to comprehend the pattern of historical development, to emphasize the unity of generations" .

Time in Y. Smelyakov's poem is represented by specific characters, and the author acts both as a narrator, and as a narrator, and as an interlocutor, so the image of time is, as it were, presented from different points of view.

In the book by L. Lavlinsky about the work of Y. Smelyakov we read: "The sharpness of the conflict, the internal compaction of the action determine the peculiar composition of the poem" Strict Love ". The heroes undergo a responsible test of maturity in public terms (the case of Zinka) and in the personal (love of Liza and Yashka ). The main gravity fields are formed around the two storylines, the material is grouped. The entire artistic structure of the poem rests on a solid framework of contrasting comparisons ".

Y. Smelyakov reflects the time, the era, the Komsomol enthusiasm of the youth, who lived by the collective mass consciousness. He evaluates his Komsomol youth from the point of view of a new era, the end of the 50s, therefore, with kind irony and strict love, he writes about the "naive asceticism" of the country's teenagers - "iron girls", "children of steel", "brave boys", who "with the condensed slogans of labor and the firm clarity of the charter" did not pay attention to the individual, little appreciated the unique individuality of a person.

Undoubtedly, the plot basis determines the development of the action and the conflict, which is expressed by the opposite views and actions of the characters, it is difficult for them to understand the limitations of their positions, the short-sightedness of their views. Two storylines can be traced in the poem, one of them is correlated with the emergence of the first love between two Komsomol members - Liza and Yashka, the second - with Zinka's family life and the attitude of other heroes of the poem towards him. In this regard, the work ambiguously solves the problems of the collective and the individual, the public and the personal.

The actions and activities of the heroes are surrounded by an aura of loftiness and even some exaggeration. Next to the world of work and machine tools, slogans and meetings lives "first love", transforming the world, renewing life. It is the feeling of love, according to the poet, that is capable of replacing categoricalness and naive asceticism in relation to spiritual values in the heroes.

"Strict Love" by Y. Smelyakov is a work that best reflects the influence of time in defining the topic and expressing a kind of conflict that can be considered social, and not lyrical in this work.

N. Zabolotsky belongs to the poets of the "older generation" of the post-war decade. The early work of the poet was associated with the activities of the Oberiuts and largely determined the themes and ideas of the works. The beginning of the 50s is associated with a new stage of creativity, N. Zabolotsky created a whole "bush" of poems dedicated to labor. The central one is "Road Makers" (1947), complemented by "Air travel", "Khramges", "Saguramo", "City in the steppe", "Ural" and "On a high mountain near Tagil".

N. Zabolotsky's poem "Road Makers" was called in criticism "a symphony of labor", in which the poet managed to express the grandeur of the construction scale, brought "to amazingness, to fabulousness, ... combining the impeccable fidelity of the report and the grandeur of the solemn anthem" .

Of course, the picture of labor in the poem is somewhat sublime, "embellished", its description is declarative pathos:

Over the steepness of the old slope

Fickford cords are already crackling,

And suddenly - a blow, and the birch shuddered,

And the belly of the stone mountain howled….

Explosive works, machines, people are described, in essence, with the accuracy of reporting, in the real sequence of the labor process, but the poet, in order to "revive" the documentary story, in the second part of the poem introduces a description of nature:

The gloomy North frowned jealously,

But every day it's getting hotter and faster

Towards the Bering Strait

A stream of tropical seas rushed.

A bright landscape creates an amazing picture, completely "not fitting" into the production process, further emphasizing a certain "artificiality", pathos, "conflict-free".

There is no doubt that N. Zabolotsky in the poem "Road Makers" sought to reflect the unique labor enthusiasm of the first post-war years, showing the scope of grandiose work against the backdrop of magnificent nature, he could not avoid those mistakes and shortcomings that were typical in general for works of this type.

The poem "Passer-by" is considered one of the best in the lyrics of N. Zabolotsky; a lot of attention has been paid to him in studies of the poet's work. There is a deep analysis of this poetic text in the book by Y. Lotman "On Poets and Poetry", in the monograph by A. Makedonov "Nikolai Zabolotsky. Life. Creativity. Metamorphoses", so we turn to this work to analyze the lyrical conflict, built in this case on deep philosophical opposition of life and death, man and monument.

In the plot of the poem - the meeting of the Passer-by and the monument - one of the main themes of the late work of N. Zabolotsky is revealed - the theme of death and immortality, which includes a number of other "micro-themes" - the memory of war, the "disasters" of thousands of people, the continuation of the life of a person who has gone through difficult tests. All these themes are combined in a deep ideological content that defines the internal conflict of the Passer-by, who is talking with the monument.

The meeting of the Passer-by with the monument to the pilot is a meeting of life and memory, and in this meeting a special experience is born, "suddenly instant, piercing the soul of peace", because anxieties are silenced and overcome in it, life goes on, and the pilot, as if alive, talks with the Passer-by, and after his death his youth lives on. This special experience, according to Yu. Lotman, is not just a feeling of fear or humiliation before death and not a denial in the name of the higher spiritual hierarchy, but the discovery of higher spirituality in the Passerby, in the monument, in nature.

The inner movement of the poem, its inner plot is a hidden experience, a conflict of the Passer-by himself, full of spiritual anxiety. His short trip, road meeting, conversation with an invisible pilot develop into a symbol of a great and difficult human destiny.

N. Zabolotsky's poem "Ugly Girl" was a great success thanks to "the utmost simplicity, which may seem primitive to an inattentive eye, but which actually requires high and complex skill."

The problem of duality is pointed out in the work, which determines the conflict basis. Its first part is an everyday sketch - a scene taking place "in the yard", where "two boys are riding bicycles", forgetting about their ugly peer. Its unattractiveness is described in sufficient detail:

Among other children

She looks like a frog...

Facial features are sharp and ugly ...

Even the charm of childhood does not paint her, and when the time of youth comes, she will have "nothing to ... seduce the imagination." The lyrical hero foresees what "pain", what "horror" the "poor ugly girl" will experience then. The portrait of the "ugly girl" is not smoothed out in any way, and therefore the characteristic of her "heart", "soul" stands out with particular contrast. The heroine is open to all the impressions of life, there is no "neither a shadow of envy, nor a bad intention", for her "someone else's" and "her own" are inseparable ("Someone else's joy, just like her own, // Torments her and breaks out of her heart" ). In her heart "rejoices and laughs" life itself:

Everything in the world is so immeasurably new to her,

Everything that is dead for others is so alive!

The beauty of the soul, as opposed to external success ("... among her friends // She is just a poor ugly girl!"), becomes the seal of her chosenness, dooming her to loneliness and misunderstanding.

Observation of the reality of a particular existence leads to philosophical reflections on how beauty manifests itself in a person, why people "deify" external features, not noticing that "in any movement" the "grace of the soul" comes through. The question that ends the poem is rhetorical - it also contains the answer. The beautiful cannot be "emptiness" in a beautiful "vessel". The lyrical image is in line with the development of the author's main idea about the inner beauty of a person, creating a special conflict of "external" and "internal" inconsistencies.

The cycle "Last Love" (1957) by N. Zabolotsky is interesting as a manifestation of the lyrical conflict. "Last love" for the lyrical hero - on the one hand - is "hopelessness", on the other - an experience filled with charm and radiance of the "farewell light". The external, "heavy" worldly view is opposed by the consciousness of the observer, penetrating into the depths of the souls of the characters. Love illuminates the whole world around us brighter than "electric brilliance", in "its rays" the inextricable connection between blossoming and withering, "grief" and "joy", "life" and "death" becomes especially visible:

In the inevitable premonition of grief,

Waiting for the autumn minutes

Sea of momentary joy

Surrounded by lovers here ...

Love appears not only as a concrete experience, its philosophical meaning is also important. This is a special state given to people to show the true meaning of their life, freeing for a moment from earthly captivity the essence of man - his immortal, beautiful, "fiery" soul.

N. Zabolotsky's lyrical conflict is always based on "two worlds", "the world of man" and "the world of nature" form its basis, and this is a single whole that defines the "world of the human soul". In the poem "At sunset (1958), the poet writes":

Man has two worlds:

One who created us

Another that we are from the century

We create to the best of our ability.

Thus, it can be argued that the nature of the lyrical conflict in the work of N. Zabolotsky of the 50s has changed significantly and has undergone a kind of evolution: from the "production", expressed by the large-scale coverage of gigantic construction and the sublime pathos of the depicted, to a deeply personal, internal, based on complexity of life events.

The poetry of the 50s reflected not only the evolution of themes, ideas, images, but also the evolution of the lyrical conflict, which has changed significantly over the years. In the late 1940s and early 1950s, poetry was under the strong influence of the war that had just died down; during these years, a galaxy of "front-line" poets declared itself in a peculiar and powerful way. The theme of war has become one of the main themes in the work of S. Gudzenko, M. Isakovsky, K. Simonov, A. Tvardovsky, S. Orlov and others, who reflected the complex historical conflict of the time in their works.

The desire to comprehend the main trends of the times, to comprehend the scope of social transformations is characteristic of the poetry of this time. The theme of returning to peaceful life was an integral part in the work of many poets, including M. Lukonin, N. Gribachev, Ya. Smelyakov. It is impossible not to note the fact that, just as in prose, the "conflict-free" lyrical conflict was more often realized in the theme of social transformations and in the village theme. This, apparently, affected the general trend in the development of literature of that time and the desire to reflect the positive aspects of life. For example, the depiction of reality in N. Gribachev's poem "Kolkhoz Bolshevik" and M. Lukonin's poem "Working Day" is somewhat "lightweight", "conflict-free". Ya. Smelyakova.

"Conflict-free" lyrical conflict had a negative impact on the development of poetry in the 1950s. Firstly, it contributed to a huge flow of meaningless works, their "quantity exceeded the quality", and secondly, it largely determined thematic boundaries and the low level of artistry in poetry. Over time, from the second half of the 50s, the situation in poetry, as well as in literature in general, began to change. "Conflict-free", recognized as untenable and harmful, thanks to discussions and an objective assessment of this phenomenon developed, it became only an integral part in individual poems. With the overcoming of "non-conflict" in the poetry of the 50-60s, works began to assert themselves in which the lyrical conflict was not built on "artificiality", but on a deep contradiction between the lyrical hero and his historical memory (A. Tvardovsky), on a real awareness of the problems of village life (N. Rubtsov), on a deep philosophical understanding of the most complex problems of life and time (A. Akhmatova, B. Pasternak), on the approval of new opportunities for mankind in the era of global transformations (E. Evtushenko, A. Voznesensky).

Literature

1. Bergolts O. Against the elimination of lyrics // Literary newspaper. - 1954. - October 28.
2. Vinokurov E. The world of three dimensions / Poetry Day. - M., 1960.
3. Second All-Union Congress of Soviet Writers. Verbatim report. - M., 1956.
4. Hegel. Aesthetics. T.3. - M., 1971.
5. Ginzburg L. About lyrics. - M., 1964.
6. Grinberg I. Creativity of the young // Literary newspaper. - 1947. - February 16.
7. Dolmatovsky E. At the future seas // Znamya. - 1951. - No. 10.
8. Zabolotsky N. Sobr. op. in 3t. T.1. - M., 1983.
9. Zabolotsky N. Creators of roads // New world. - 1947. - No. 1.
10. Zelinsky K. About lyrics // Banner. - 1946. - No. 8-9.
11. Isakovsky M. How long? // Questions of Literature. - 1968. - No. 7. Selvinsky I. Epos. Lyrics. Drama. (Notes on the margins of poetry) // Literary newspaper. - 1967. - April 2.
12. Kedrina Z. The search for the main thing. (The Story of the Lost Literary Process) // New World. - 1948. - No. 5.
13. Lavlinsky L. Explosive power. M., 1972.
14. Leites A. About "double bookkeeping" in criticism // Literary newspaper. - 1946. - 5 October.
15. Makedonov A. Nikolay Zabolotsky. A life. Creation. Metamorphoses. - M., 1987.
16. Pikach A. Age of generation // Zvezda. - 1970. - No. 11.
17. Pospelov G. Theory of Literature. - M., 1978.
18. Prokofiev A. Together with the song // Banner. - 1951. - No. 7.
19. Rodnyanskaya I. Poetry N. Zabolotsky // Questions of Literature. - 1959. - No. 1.
20. Smelyakov Ya. Sobr. op. in 3 volumes. T.3. - M., 1977.
21. Surkov A. Soviet literature and the great construction of communism // Znamya. - 1951. - No. 1.
22. Tarasenkov A. Notes on poetry // New world. 1948. - No. 4.
23. Shchipachev S. For high poetry // Pravda. - 1952. - December 13.

Russian literature of the 20th century is distinguished by the most amazing transformation of the literary process itself as a whole.

Original and striking in its brightness and originality, the Silver Age of Russian literature was formed in three incomplete decades - from 1890 to the 1910s, and its memorable representatives came to truly unique and independent achievements.

The lyrics of the early literature of the 20th century are marked by revolutionary motives and a deep poetic understanding of reality.

Over the years, historical events in Russia become richer and more intense, and it is quite natural that poets dedicate their work to the impact of these changes and spiritual responses to what is happening in their native country and in the destinies of people.

Creative transformation of poetry at the beginning of the 20th century

A significant creative transformation of reality is most visible in the poetry of the beginning of the century. After all, the beginning of this critical century is full of so many important historical events for the life of Russians - the country has survived three revolutions, survived several wars, and was in constant confrontation between three political positions.

The romantic traditions of the "Golden Age" of Russian literature could no longer correspond to the harsh reality that the poets of that time, like all citizens of Russia, had to endure.

Overnight, the boundaries between the real and fantastic ideas of poets about life and the present are erased, mental suffering and torment acquire unprecedented power, which is transformed into creative power - and through their poetic manifestos, most poets try to transform the real world through the efforts of their own creativity.

I. Annensky noted that even in the tense and terrifying cold creative atmosphere that the lyrics of that time were filled with, there is an irresistible craving for the “creative spirit”, which desperately wants to most realistically reflect reality, but at the same time - charge it with the power of beauty and suffering of lyrics .

A. Blok, A. Akhmatova, M. Tsvetaeva, V. Mayakovsky, N. Gumilyov, B. Pasternak, who have already become recognized masters of the word, put so many burning and passionate motives into their lyrics that this creative flourishing of Russian poetry in a period of devastation and constant upheaval can only be called a phenomenon. (Akhmatova and Tsvetaeva: the great poets of Russia and their fate)

Over time, the picture of life becomes more tragic and complex, and it is natural that the dramas of human destinies and the common fate of mankind are reflected in the complex and multifaceted lyrics of that era.

Poetic trends in late 20th century literature

Later literature of the 20th century is characterized by social realism and ideological illustrativeness, and the symbolism and futurism of the lyrics in their pure form are gradually disappearing.

First of all, this is due to the political situation in the country, and to the negative influence that free creative thought was subjected to under the yoke of power. That lively and sweeping away everything in its path, the power of the lyrics of the beginning of the century is gradually dissolving in normativism and a subjective depiction of reality.

Poetry becomes openly politicized, only its political orientation differs from the poetry of the "Silver Age" by creative captivity and clearly defined boundaries of what can be written and what is forbidden.

Gradually, the pictorial and truly poetic tendency to describe reality is completely eroded from Russian literature.

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Several periods can be distinguished in Russian literature of the 20th century. The first two decades were called the "Silver Age": this is the era of the rapid development of literary trends, the emergence of a whole galaxy of brilliant Masters of the Word. The literature of this period exposed the deep contradictions that arose in the society of that time. Writers were no longer satisfied with the classical canons, the search for new forms, new ideas began. Universal, philosophical themes about the meaning of being, about morality, about spirituality come to the fore. More and more religious themes began to appear.

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In the 1930s, there was a "great turning point": thousands of intellectuals were subjected to repression, and the existence of the most severe censorship slowed down the development of literary processes. The second half of the 20th century is characterized by diversity and inconsistency. This is largely due to the fact that the development of literature was largely determined by the ruling structures. That is why such unevenness: either ideological dominance, or complete emancipation, or the command cry of censorship, or indulgence.

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The main directions of the poetry of the Silver Age. Symbolism Writers and poets who opposed realism announced the creation of a new, contemporary art - modernism. There are three main literary trends in the poetry of the Silver Age: symbolism, acmeism, futurism. Each of them had its own striking features. Symbolism originally arose in France as a protest against the everyday display of reality and dissatisfaction with bourgeois life. The founders of this trend, including J. Morsas, believed that only with the help of a special hint - a symbol, one can comprehend the secrets of the universe. Symbolism appeared in Russia in the early 1890s. The founder of this trend was D. S. Merezhkovsky, who proclaimed in his book three main postulates of the new art: symbolization, mystical content and "expansion of artistic impressionability."

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Acmeism In 1911, N. S. Gumilyov organized a literary group - the Workshop of Poets. It included the poets S. Gorodetsky, O. Mandelstam, G. Ivanov and G. Adamovich. This new direction did not reject the surrounding reality, but accepted reality as it is, asserting its value. The "Workshop of Poets" began to publish its own magazine "Hyperborea", as well as print works in "Apollo". Acmeism, originating as a literary school to find a way out of the crisis of symbolism, brought together poets very different in ideological and artistic settings.

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Futurism The Silver Age in Russian poetry gave rise to another interesting trend called "futurism" (from Latin futurum, meaning "future"). The search for new artistic forms in the works of the brothers N. and D. Burlyukov, N. S. Goncharova, N. Kulbina, M. V. Matyushin became a prerequisite for the emergence of this trend in Russia.

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Egofuturists In addition to cubofuturism, several other currents arose, including egofuturism, headed by I. Severyanin. He was joined by such poets as V. I. Gnezdov, I. V. Ignatiev, K. Olimpov and others. They created the publishing house "Petersburg Herald", published magazines and almanacs with original names: "Skycops", "Eagles over the abyss" , "Zasakhar Kry", etc. Their poems were distinguished by extravagance and were often composed of words created by themselves. In addition to the ego-futurists, there were two more groups: "Centrifuga" (B. L. Pasternak, N. N. Aseev, S. P. Bobrov) and "Mezzanine of Poetry" (R. Ivnev, S. M. Tretyakov, V. G. Sherenevich).

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The sensual lyricist, poet and brawler Sergei Yesenin was an imagist and did not create new terms, but revived dead words, enclosing them in vivid poetic images. From the school bench, he became famous as a mischievous person and carried this quality through his whole life, was a frequenter of taverns, and was famous for his love affairs. Nevertheless, he passionately loved his homeland: “I will sing with all the being of the poet the sixth part of the earth with the short name“ Rus ”- many poets of the 20th century shared his admiration for his native land. Yesenin’s philosophical lyrics reveal the problem of human existence. After 1917, the poet becomes disappointed in revolution, because instead of the long-awaited paradise, life became like hell.

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Night, street, street lamp, pharmacy... Alexander Blok is the brightest Russian poet of the 20th century, who wrote in the direction of "symbolism". It is interesting to observe how the female image evolves from collection to collection: from the Beautiful Lady to the ardent Carmen. If at first he deifies the object of his love, faithfully serves him and does not dare to discredit, later the girls seem to him more mundane creatures. Through the wonderful world of romanticism, he finds meaning, having gone through life's difficulties, he responds in his poems to events of social importance. In the poem "The Twelve" he conveys the idea that the revolution is not the end of the world, and its main goal is the destruction of the old and the creation of a new world. Readers remember Blok as the author of the poem "Night, street, lamp, pharmacy ...", in which he thinks about the meaning of life.