1928-1953 – establishment of the personality cult of Stalin

1931-1941 – time of mass repressions

1927-1933 – the country’s course towards industrialization

The 30s were a time of big construction projects

In the 1930s, there was an increase in negative phenomena in the literary process. The bullying begins outstanding writers(E. Zamyatin, M. Bulgakov, A. Platonov, O. Mandelstam). Many die in the camps. At the beginning of the 30s, a change in the forms of literary life took place: after the publication of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, RAPP and other literary associations announced their dissolution. A decree is issued on the abolition of all literary groups and the creation of a single union of writers. In 1934, the First Congress of Soviet Writers took place, which declared socialist realism to be the only possible creative method. In general, a policy of unification of cultural life has begun, and there is a sharp reduction in printed publications. IN thematically Novels about industrialization and the first five-year plans are becoming the leading ones, and large epic canvases are being created. And in general the theme of labor becomes the leading one. Fiction began to explore the problems associated with the invasion of science and technology into human everyday life. New spheres of human life, new conflicts, new characters, modifications of traditional literary material led to the emergence of new heroes, the emergence of new genres, new methods of versification, and searches in the field of composition and language. A distinctive feature of the poetry of the 30s is the rapid development of the song genre. During these years, the famous “Katyusha” (M. Isakovsky), “Wide is my native country...” (V. Lebedev-Kumach), “Kakhovka” (M. Svetlov) and many others were written. Of course, this was the need of the hour. The country was turning into a huge construction site, and the reader expected an immediate response from literature to the events taking place. The lyric-romantic beginning in the literature of the 30s, in comparison with the previous time, turns out to be relegated to the background. Even in poetry, always prone to lyrical-romantic perception and depiction of reality, epic genres triumphed in these years (A. Tvardovsky, D. Kedrin, I. Selvinsky).

The hero of this period is an ascetic, dedicated to his cause. He gives up the personal for the sake of the public, maintains faith in the truth of the ideals, the cat is guided. He prefers duty and reason to feelings.

Time is the past, that which is imperfect, that needs to be transformed. The present is a time of remodeling, breaking. The hero is an active participant. Often the present is sacrificed for the future. The future is a golden age, the realization of ideals, something for which one can suffer in the present.

In prose, the main theme is the construction of a new life, the construction of the country, everyday life in production. The heyday of industrial romance. Journalism, travel notes, reports, stories about the life of peasants on collective farms are becoming popular. A gradual transition to larger genres - epic novels appear (Tolstoy's Walk through the Torment, Sholokhov's Quiet Don, Gorky's Life of Klim Samgin). Created many works on historical topics.

The theme of production begins to penetrate into poetry (Nameless), and the mass song (Kulach) gains popularity.

There is no creative freedom in dramaturgy. The main method is the Stanislavsky system, i.e. orientation towards life-likeness (Pogodin, Schwartz, Vvedensky).

Orientation towards Marxist-Leninist ideology is an ideological criterion that prevails over an aesthetic one. Many opportunistic works appear (to suit the day).

If we say that the 20s were a relatively free period for literary creativity, then the 30s were a period of aesthetic monologism (one method is socialist realism).

20. Gorky’s epic novel “The Life of Klim Samgin”

The theme of historical regularity and the inevitability of the Great October Socialist Revolution was also developed by Gorky in the novel “The Life of Klim Samgin.” The novel was conceived after 1905, but G began to work on it later. He worked on the epic before last days own life. The fourth volume remained unfinished. In the novel “The Life of Klim Samgin,” which bears the subtitle “Forty Years,” two main lines should be highlighted: 1) artistic analysis historical background of the Great October Socialist Revolution 2) depiction of the collapse of bourgeois individualism. The action of the novel unfolds against the broad background of the social and spiritual life of Russia from the late 70s of the 19th century to 1917. The epic is unparalleled in its breadth of coverage historical reality. Before the reading, the main events in the life of Russia for 40 years take place. The collapse of populism and the birth of Marxism, heated battles between revolutionary Marxists and political opponents, the famous Nizhny Novgorod fair, the coronation of Nicholas II and the bloody Khodynka, where thousands of people died in a mad stampede, the events of the 1905 revolution, World War, the stormy days of 1917 are like this historical events, which are reflected in the novel.

Against this background, Gorky draws two main characters, personifying two social camps, two opposing ideologies - bourgeois and socialist. The first camp is represented by Klim Samgin. He is a bourgeois intellectual, he thinks only about himself, about his well-being, about his interests. This is the embodiment of unbridled egoism, moral and political double-dealing. Samghin is devoid of ideals and does not believe in them; he is alien to the people and hostile to them. Another camp is represented in the novel by Stepan Kutuzov, a Bolshevik revolutionary. This is a person with a great political outlook. He personifies energy, will, intelligence, perseverance, and confidence in the victory of the proletarian revolution. Petty-bourgeois pseudo-revolutionary posturing is alien to him. How gray and faceless Klim Samghin is, so bright and unique, spiritually rich and deep is Stepan Kutuzov. The ideological and artistic significance of Gorky's novel is enormous. In it, the writer with exceptional depth revealed the moral degeneration of the old world, condemned bourgeois individualism and showed the collapse of bourgeois consciousness, revealed the doom of capitalism and the inevitability of the victory of the socialist revolution.

The image of Klim Ivanovich Samgin is huge. There is not a single storyline in the novel that is not directly related to Samgin. Whatever the situation is depicted in the novel, the author is interested in Samghin’s behavior in this situation, his point of view, his experiences. Samgin is one of the people who “looked and searched for freedom of spirit and, now, as if they had found it, but freedom turned out to be aimlessness, some kind of arrogant emptiness...” The life of Klim Ivanovich Samgin is revealed as the life of a person constantly in the process of quite intense , painful searches, but unable to find anything, to fully determine himself. Whatever Samghin thought about, his consciousness was always at a crossroads, at the crossroads of people and currents. He was always wary of clearly posing questions and making firm decisions, trying to “put his opinion between yes and no.” This instability was instilled in Samghin by the entire environment in which he was raised. Samghin was powerless to get out of life's confusion. At the end of the novel, Samghin is in a state of complete confusion. Lonely and devastated, he poses the same fatal question that haunted him in his youth: “What should I do and what can I do?” The epic novel “The Life of Klim Samgin” is Gorky’s largest, final work, since it concentrates much of what worried, comprehended and portrayed the writer in his previous works.

It was very strong in the unstable 1920s. lyrical-romantic current in literature. This period marks the heyday of the work of A.S. Green (“Scarlet Sails”, “Running on the Waves”), at this time the “exotic” works of K. G. Paustovsky appeared, interest in science fiction was renewed (A.R. Belyaev, V. A. Obruchev, A. N. Tolstoy). In general, literature of the 1920s characterized by great genre diversity and thematic richness. But the problem of the struggle between old and new life dominates. This is especially evident in novels that gravitate towards epics: “The Life of Klim Samgin” by M. Gorky, “Walking through the Torment” by A.N. Tolstoy, “Quiet Don” by M.A. Sholokhov, “The White Guard” by M.A. Bulgakov.

In Soviet artistic culture, gradually starting from the 1920s. A style called socialist realism was formed. Works of culture were supposed to glorify the achievements of the new system, show its advantages over the bourgeois one, criticizing all the shortcomings of the latter. However, not all writers and artists embellished socialist reality, and in spite of everything, many works were created that added to the world treasury of culture.

In the 1930s, when the totalitarian system established itself in the USSR, changes occurred in literature. Groups of writers were dispersed, many writers were arrested and exiled. D.I. Kharms, O.E. Mandelstam and others died in prisons and camps. And with the All-Union Congress of Writers in 1934, the official introduction of the method of socialist realism began. Labor was declared "the main character of our books." F.I. Panferov (“Bruski”), F.V. Gladkov (“Energy”), V.P. Kataev (“Time, forward!”), M.S. responded to this slogan. Shaginyan (“Hydrocentral”), etc. The hero of our time has become a worker - a builder, organizer of the labor process, miner, steelmaker, etc. Works that did not reflect the heroism of working socialist everyday life, for example the works of M.A. Bulgakov, A.P. Platonov, E.I. Zamyatin, A.A. Akhmatova, D.I. Kharms, were not subject to publication.

In the 1930s many writers turned to the historical genre: S.N. Sergeev-Tsensky (“Sevastopol Strada”), A.S. Novikov-Priboy (“Tsushima”), A.N. Tolstoy (“Peter the Great”), Yu.N. Tynyanov (“The Death of Vazir-Mukhtar”).

During the Great Patriotic War, K.M. Simonov, A.A. Akhmatova, B.L. Pasternak created wonderful lyrical works, and A.T. Tvardovsky’s poem “Vasily Terkin” was written. Journalism, characteristic of the period of the beginning of the war, was replaced by stories and novels (M. A. Sholokhov “They Fought for the Motherland”, V. S. Grossman “The People are Immortal”, etc.). The theme of war remained a leading theme in the works of writers for a long time (A. A. Fadeev “The Young Guard”, B. N. Polevoy “The Tale of a Real Man”).

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“Zhdanovshchina” in the era of late Stalinism brought to the surface mediocre writers: V. Kochetov, N. Gribachev, A. Sofronov, who in their books, published in millions of copies, described the struggle of “the good with the very good.” The Soviet “industrial novel” was once again raised to the top. Far-fetched plots and opportunism most clearly characterized the work of these writers. But at the same time, during this period, such masterpieces were created as “Doctor Zhivago” by B. L. Pasternak, for which he was awarded Nobel Prize, memoirs by K. G. Paustovsky and M. M. Prishvin, A. T. Tvardovsky’s poem “House on the Road”, V. P. Nekrasov’s story “In the Trenches of Stalingrad”, etc.

The death of I.V. Stalin and the subsequent 20th Party Congress in 1956 led to a “thaw”. “The people of the sixties,” as the creative intelligentsia of the second half of the 1950s and 1960s were called, after a long break, started talking about the value of internal personal freedom. The years of the “thaw” became a kind of renaissance of Soviet poetry. Such names as A.A. Voznesensky, E.A. Evtushenko, B.A. Akhmadulina, R.I. Rozhdestvensky appeared. Another merit of the “thaw” was the fact that the long-banned works of M.M. Zoshchenko, M.I. Tsvetaeva, S.A. Yesenin and others began to be published again. A significant phenomenon of this time was the publication in the magazine “New World” of the story of A. I. Solzhenitsyn “One day in the life of Ivan Denisovich”, which talked about the Gulag system. But the military theme did not fade into the background. Writers who brought their personal experience and knowledge of war entered the literature: Yu.V. Bondarev, V.V. Bykov, G.Ya. Baklanov.

The year 1917 shook the foundations of political, ideological and cultural life and set new tasks for society, the main one of which was the call to destroy the old world “to the ground” and build a new one in a wasteland. There was a division between writers devoted to socialist ideals and their opponents. The singers of the revolution were A. Serafimovich (novel “Iron Stream”), D. Furmanov (novel “Chapaev”), V. Mayakovsky (poems “Left March” and poems “150000000”, “Vladimir Ilyich Lenin”, “Good!”) , A. Malyshkin (story “The Fall of Daira”). Some writers took the position of “internal emigrants” (A. Akhmatova, N. Gumilev, F. Sologub, E. Zamyatin, etc.). L. Andreev, I. Bunin, I. Shmelev, B. Zaitsev, 3. Gippius, D. Merezhkovsky, V. Khodasevich were expelled from the country or voluntarily emigrated. M. Gorky was abroad for a long time.

The new man, according to the conviction of many supporters of building a new life, must be collective, the reader too, and art must speak the language of the masses. A man from the masses was greeted by A. Blok, A. Bely, V. Mayakovsky, V. Bryusov, V. Khlebnikov and other writers. D. Merezhkovsky, A. Tolstoy, A. Kuprin, I. Bunin took the opposite position (“Cursed days” (1918-1919) by I. Bunin, letters from V. Korolenko to A. Lunacharsky). At the beginning of the “new era,” A. Blok died, N. Gumilyov was shot, M. Gorky emigrated, E. Zamyatin wrote the article “I’m Afraid” (1921) about the fact that the last thing is being taken away from writers - freedom of creativity.

In 1918, independent publications were liquidated, and in July 1922, Glavlit, an institute of censorship, was created. In the fall of 1922, two ships carrying Russian intelligentsia opposing the new government were deported from Russia to Germany. Among the passengers were philosophers - N. Berdyaev, S. Frank, P. Sorokin, F. Stepun, writers - V. Iretsky, N. Volkovyssky, I. Matusevich and others.
The main problem that faced the writers of the metropolis after the October Revolution was how and for whom to write. It was clear what to write about: about the revolution and the Civil War, socialist construction, Soviet patriotism of people, new relations between them, about a future fair society. How to write - the answer to this question had to be given by the writers themselves, united in several organizations and groups.

Organizations and groups

« Proletkult"(unification theorist - philosopher, politician, doctor A. Bogdanov) was a mass literary organization, represented supporters of socialist art in content, published the magazines "The Future", "Proletarian Culture", "Gorn" and others. Its representatives were poets "from the machine" "V. Aleksandrovsky, M. Gerasimov, V. Kazin, N. Poletaev and others - created impersonal, collectivist, machine-industrial poetry, presented themselves as representatives of the proletariat, the working masses, winners on a universal scale, “countless legions of labor”, in the chest of which the “fire of uprisings” is burning (V. Kirillov. “We”).

New Peasant Poetry was not merged into a separate organization. S. Klychkov, A. Shiryaevets, N. Klyuev, S. Yesenin considered the basis of the art of modern times to be folklore, traditional peasant culture, the sprouts of which were in the village, and not in the industrial city, they respected Russian history, were romantics, like the Proletkultists , but “with a peasant slant.”

Members of the literary organization proved themselves to be “fierce zealots” of proletarian art, according to the literary critic, author of a book of the same name, S. Sheshukov RAPP(“Russian Association of Proletarian Writers”), created in January 1925. G. Lelevich, S. Rodov, B. Volin, L. Averbakh, A. Fadeev defended ideologically pure, proletarian art and turned the literary struggle into a political one.

Group " Pass“formed in the mid-1920s (theorists D. Gorbov and A. Lezhnev) around the magazine “Krasnaya Nov”, headed by the Bolshevik A. Voronsky, defended the principles of intuitive art and its diversity.

Group " Serapion brothers"(V. Ivanov, V. Kaverin, K. Fedin, N. Tikhonov, M. Slonimsky, etc.) originated in 1921 in Leningrad. Its theorist and critic was L. Lunts, and its teacher was E. Zamyatin. Members of the group defended the independence of art from government and politics.

The activity was short-lived Left Front" The main figures of LEF (Left Front, since 1923) are former futurists who remained in Russia, and among them is V. Mayakovsky. The group members defended the principles of art that was revolutionary in content and innovative in form.

Poetry of the 1920s

In the 1920s, many poets continued to support the traditions of realistic art, but based on new, revolutionary themes and ideology. D. Bedny (present Efim Pridvorov) was the author of many propaganda poems, which, like “Pruvody,” became songs and ditties.

Revolutionary romantic poetry in the 1920s and early 1930s was represented by N. Tikhonov (collections “Horde” and “Braga” - both dating back to 1922) and E. Bagritsky, the author of sincere lyrics and the poem “The Death of a Pioneer” (1932 ). Both of these poets placed an active, courageous hero, simple, open, thinking not only about himself, but also about others, about all the oppressed, yearning for freedom in the world, at the center of the lyrical and lyrical-epic confession.

The baton from the hands of senior comrades - heroic singers - was taken up by Komsomol poets A. Bezymensky, A. Zharov, I. Utkin, M. Svetlov - romantics who looked at the world through the eyes of victors, striving to give it freedom, who created the “heroic-romantic myth of the Civil War "(V. Musatov).

The poem as a genre gave masters the opportunity to expand their figurative knowledge of reality and create complex dramatic characters. In the 1920s, the poems “Okay! "(1927) by V. Mayakovsky, "Anna Onegina" (1924) by S. Yesenin, "Nine Hundred and Fifth" (1925-1926) by B. Pasternak, "Semyon Proskakov" (1928) by N. Aseev, "Duma about Opanas" ( 1926) E. Bagritsky. In these works, life is shown in a more multifaceted way than in the lyrics; the heroes are psychologically complex natures, often faced with a choice: what to do in an extreme situation. In V. Mayakovsky’s poem “Good! “The hero gives everything to the “hungry country”, which he “nursed half-dead,” and rejoices at every, even insignificant, success of the Soviet government in socialist construction.

The work of the successors of the traditions of modernist art - A. Blok, N. Gumilyov, A. Akhmatova, S. Yesenin, B. Pasternak and others - was a synthesis of old and new, traditional and innovative, realistic and modernist, it reflected the complexity and drama of the transitional era .

Prose of the 1920s

The main task of Soviet prose of this time was to show historical changes, to put service to duty above the dictates of the heart, the collective principle over the personal. The personality, without dissolving in it, became the embodiment of an idea, a symbol of power, a leader of the masses, embodying the strength of the collective.

The novels by D. Furmanov “Chapaev” (1923) and A. Serafimovich “The Iron Stream” (1924) became very famous. The authors created images of heroes - commissars in leather jackets, decisive, stern, giving everything in the name of the revolution. These are Kozhukh and Klychkov. The legendary hero of the Civil War, Chapaev, is not quite like them, but he, too, is taught political literacy.

Events and characters in prose about the intelligentsia and revolution are revealed more deeply psychologically in the novels by V. Veresaev “At a Dead End” (1920-1923), K. Fedin “Cities and Years” (1924), A. Fadeev “Destruction” (1927) , the book by I. Babel “Cavalry” (1926) and others. In the novel “Destruction”, the commissar of the partisan detachment Levinson is endowed with the character traits of a person who is ready not only to sacrifice personal interests to the revolutionary idea, the interests of a Korean whose pig is taken away by the partisans and his family is doomed to starvation, but also capable of compassion for people. I. Babel’s book “Cavalry” is full of tragic scenes.

M. Bulgakov in the novel “The White Guard” (1924) deepens the tragic beginning, shows the rift in both social and personal life, in the finale proclaiming the possibility of human unity under the stars, calls on people to evaluate their actions using general philosophical categories: “Everything will pass. Suffering, torment, blood, famine and pestilence. The sword will disappear, but the stars will remain...”

The drama of the events of 1917-1920 was reflected by both socialist realist and realistic Russian literature, which adheres to the principle of truthfulness, including the verbal art of emigrant writers. Such literary artists as I. Shmelev, E. Chirikov, M. Bulgakov, M. Sholokhov, showed the revolution and war as a national tragedy, and its leaders, the Bolshevik commissars, were sometimes presented as “energetic functionaries” (B. Pilnyak). I. Shmelev, who survived the execution of his son by the security officers, already abroad in 1924 published an epic (the author’s definition included in the subtitle) “The Sun of the Dead”, translated into twelve languages ​​of the world, about the Crimean tragedy, about the innocent killed (more than one hundred thousand ) Bolsheviks. His work can be considered a kind of threshold to Solzhenitsyn’s “GULAG Archipelago”.

In the 1920s, a satirical trend in prose also developed with a corresponding style - laconic, catchy, playing up comedic situations, with ironic overtones, with elements of parody, as in “The Twelve Chairs” and “The Golden Calf” by I. Ilf and E. Petrov. He wrote satirical essays, stories, and sketches by M. Zoshchenko.

In a romantic vein, about love, about sublime feelings in the world of a soulless, rationalistically thinking society, the works of A. Green (A. S. Grinevsky) “Scarlet Sails” (1923), “The Shining World” (1923) and “Running on the Waves” were written. (1928).

In 1920, the dystopian novel “We” by E. Zamyatin appeared, perceived by contemporaries as an evil caricature of the socialist and communist society being built by the Bolsheviks. The writer created a surprisingly plausible model of the future world, in which a person knows neither hunger, nor cold, nor the contradictions of public and personal, and has finally found the desired happiness. However, this "ideal" social order, the writer notes, was achieved by the abolition of freedom: universal happiness here is created through the totalitarianization of all spheres of life, the suppression of the intellect of an individual, its leveling, and even physical destruction. Thus, universal equality, which the utopians of all times and peoples dreamed of, turns into universal averageness. With his novel, E. Zamyatin warns humanity about the threat of discrediting the personal principle in life.

Social situation in the 1930s.

In the 1930s, the social situation changed - a total dictatorship of the state began in all spheres of life: the NEP was eliminated, and the fight against dissidents intensified. Mass terror began against the people of a great country. Gulags were created, peasants were enslaved by creating collective farms. Many writers disagreed with this policy. Therefore, in 1929, V. Shalamov received three years in the camps, was again sentenced to a long term and exiled to Kolyma. In 1931, A. Platonov fell into disgrace for publishing the story “For Future Use.” In 1934, N. Klyuev was deported to Siberia as undesirable to the authorities. In the same year, O. Mandelstam was arrested. But at the same time, the authorities (and J.V. Stalin personally) tried to appease the writers using the “carrot and stick” method: they invited M. Gorky from abroad, showered him with honors and generosity, and supported A. Tolstoy, who returned to his homeland.

In 1932, a decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued “On the restructuring of literary and artistic organizations,” which marked the beginning of the complete subordination of literature to the state and the Bolshevik Party, eliminating all previous organizations and groups. A unified Union of Soviet Writers (USP) was created, which held its first congress in 1934. A. Zhdanov made an ideological report at the congress, and M. Gorky made a report on the activities of writers. The position of leader in the literary movement was taken by the art of socialist realism, imbued with communist ideals, placing the guidelines of the state and party above all else, glorifying heroes of labor and communist leaders.

Prose of the 1930s

The prose of this time depicted “being as an act”, showed the creative labor process and individual touches of a person in it (the novels “Hydrocentral” (1931) by M. Shaginyan and “Time, Forward!” (1932) by V. Kataev). The hero in these works is extremely generalized, symbolic, performing the function of the builder of a new life planned for him.

An achievement of literature of this period can be called the creation of the genre of historical novel based on the principles of socialist realism. V. Shishkov in the novel “Emelyan Pugachev” describes the uprising under the leadership of Emelyan Pugachev, Y. Tynyanov talks about the Decembrists and writers V. Kuchelbecker and A. Griboedov (“Kyukhlya”, “The Death of Vazir-Mukhtar”), O. Forsh recreates the images of outstanding revolutionary pioneers - M. Weideman (“Dressed in Stone”) and A. Radishchev (“Radishchev”). The development of the science fiction novel genre is associated with the work of A. Belyaev (“Amphibian Man,” “The Head of Professor Dowell,” “Lord of the World”), G. Adamov (“The Secret of Two Oceans”), A. Tolstoy (“Engineer Garin’s Hyperboloid ").

The novel by A.S. is devoted to the topic of raising a new person. Makarenko “Pedagogical poem” (1933-1934). The image of the iron and inflexible Pavka Korchagin, loyal to socialist ideals, coming from the very bottom of the people, was created by N. Ostrovsky in the novel “How the Steel Was Tempered.” This work has long been an example of Soviet literature, enjoyed success among readers, and its main character became the ideal of the builders of a new life, the idol of youth.

In the 1920s and 1930s, writers paid a lot of attention to the problem of the intelligentsia and the revolution. The heroines from the play of the same name by K. Trenev, Lyubov Yarovaya and Tatyana Berseneva from B. Lavrenev’s play “The Fault”, take part in the revolutionary events on the side of the Bolsheviks, in the name of the new they refuse personal happiness. Sisters Dasha and Katya Bulavin, Vadim Roshchin from A. Tolstoy’s trilogy “Walking through Torment”, by the end of the work they begin to see the light and accept socialist changes in life. Some intellectuals seek salvation in everyday life, in love, in relationships with loved ones, in detachment from the conflicts of the era, they put family happiness above all else, like the hero of the novel of the same name by B. Pasternak, Yuri Zhivago. The spiritual quests of the heroes of A. Tolstoy and B. Pasternak are sharper and more vividly indicated than in works with a simplified conflict - “ours - not ours.” The hero of V. Veresaev’s novel “At a Dead End” (1920-1923) never joined one of the opposing camps and committed suicide, finding himself in a difficult situation.

The drama of the struggle on the Don during the period of collectivization is shown in M. Sholokhov’s novel “Virgin Soil Upturned” (1st book - 1932). Fulfilling the social order, the writer sharply demarcated the opposing forces (supporters and opponents of collectivization), constructed a coherent plot, and included everyday sketches and love affairs into social pictures. The merit of one hundred, as in “Quiet Don”, is that he dramatized the plot to the extreme, showed how collective farm life was born “with sweat and blood.”

Concerning " Quiet Don", then this is until now an unsurpassed example of a tragic epic, a true human drama, shown against the backdrop of events that destroy the foundations of life that have developed over centuries. Grigory Melekhov - the brightest image in world literature. With his novel, M. Sholokhov worthily completed the search for Soviet pre-war prose, bringing it closer to reality as best he could, abandoning the myths and schemes proposed by Stalin’s strategists of socialist construction.

Poetry of the 1930s

Poetry developed in several directions in the 1930s. The first direction is reporting, newspaper, essay, journalistic. V. Lugovskoy visited Central Asia and wrote the book “To the Bolsheviks of the Desert and Spring,” A. Bezymensky wrote poems about the Stalingrad Tractor Plant. Y. Smelyakov published the book “Work and Love” (1932), in which the hero hears a note of love even “in the rocking of worn-out machines.”

In the 1930s, M. Isakovsky wrote his poems about the collective farm village - folklore, melodious, so many of them became songs (“And who knows...”, “Katyusha”, “Sing to me, sing to me, Prokoshina... " and etc.). Thanks to him, A. Tvardovsky entered literature, writing about changes in the countryside, glorifying collective farm construction in poetry and in the poem “The Country of Ant.” Poetry in the 1930s, represented by D. Kedrin, expanded the boundaries of knowledge of history. The author glorified the work of the creative people in the poems “Architects”, “Horse”, “Pyramid”.

At the same time, other writers continued to create, later recorded as “oppositionists” who went into the “spiritual underground” - B. Pasternak (the book “My Sister is Life”), M. Bulgakov (the novel “The Master and Margarita”), O. Mandelstam (cycle “Voronezh Notebooks”), A. Akhmatova (poem “Requiem”). Abroad, I. Shmelev, B. Zaitsev, V. Nabokov, M. Tsvetaeva, V. Khodasevich, G. Ivanov and others created their works of a social, existential, religious nature.

Lesson No.

Literary process of the 1930s-1940s.

The development of foreign literature in the 30-40s. R. M. Rilke.

Goals:

educational:

formation of moral foundations of students’ worldview;

creating conditions for involving students in active practical activities;

educational:

make a general description of Russian and foreign literature of the 30-40s;

trace complexity creative searches and writers' destinies;

introduce students to the facts of the biography of R. M. Rilke, his philosophical views and aesthetic concept;

reveal originality art world R. M. Rilke on the example of the analysis of poems-things.

developing:

develop note-taking skills;

development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.

Lesson type: lesson improving knowledge, skills and abilities.

Lesson type: lecture.

Methodical techniques: drawing up lecture notes, discussing issues, defending a project.

Predicted result:

knowgeneral characteristics of Russian and foreign literature of the 30-40s;

be able tohighlight the main points in the text, draw up abstracts on the project, defend the project.

Equipment : notebooks, works of foreign and Russian authors, computer, multimedia, presentation.

During the classes:

I . Organizing time.

II .Motivation for learning activities. Goal setting.

The teacher's word.

First World War 1914-1918 and revolutions of the early 20th century,

first of all, the revolution of 1917 in Russia, with which the formation of

a social system alternative to capitalism led to tremendous changes in the life of mankind, to the formation of a new mentality that reflected the emerging confrontation between social systems. The unprecedented successes of civilization have a powerful influence on the literary process and its conditions.

development.

Traditionally, literature has had a great influence on public consciousness. That is why the ruling regimes sought to direct its development in a beneficial direction, to make it their support. Writers and poets often found themselves at the center of political events, and it was necessary to have strong willpower and talent not to betray the truth to history. This was especially difficult to do in states where totalitarianism had long established itself as a form of political rule and spiritual intoxication of the masses.

Discussion of the topic and objectives of the lesson.

III . Improving knowledge, skills and abilities.

1. Lecture. Russian literature of the 30-40s. Review.

In the thirties, 3 main directions were distinguished in the literature:

I. Soviet literature (still with many directions, still bright, diverse both in perception of the world and in artistic forms, but increasingly experiencing ideological pressure from “the main guiding and directing force of our society” - the party).

II. Literature “delayed”, which did not reach the reader on time (these are works by M. Tsvetaeva, A. Platonov, M. Bulgakov, A. Akhmatova, O. Mandelstam).

III. Avant-garde literature, especially OBERIU.

Since the early 1930s, a policy of strict regulation and control has been established in the field of culture. The diversity of groupings and directions, the search for forms and methods of reflecting reality gave way to uniformity. The creation of the Union of Soviet Writers of the USSR in 1934 finally turned official literature into one of the areas of ideology. Now a feeling of “social optimism” has penetrated into art and aspirations for a “bright future” have arisen. Many artists sincerely believed that an era had arrived that required a new hero.

Main method. In the development of art in the 1930s, successively

principles were establishedsocialist realism. The term “socialist realism” first appeared in the Soviet press in 1932. It arose in connection with the need to find a definition that corresponded to the main direction of development of Soviet literature. The concept of realism was not denied

no one, but it was noted that in the conditions of a socialist society, realism cannot be the same: a different social system and the “socialist worldview” of Soviet writers determine the difference between the critical realism of the 11th century and the new method.

In August 1934, the First All-Union Congress of Soviet

writers. The congress delegates recognized the method of socialist realism as the main method of Soviet literature. This was included in the Charter of the Union of Soviet Writers of the USSR. It was then that this method was given the following definition: “Socialist realism, being a method of Soviet artistic

literature and literary criticism, requires from the artist a truthful, historically specific depiction of reality in its revolutionary development, while being truthful and historically specific artistic image must be combined with the task of ideological transformation and education of working people in the spirit of socialism.

Socialist realism provides artistic creativity with the opportunity to demonstrate creative initiative, to choose a variety of forms, styles and genres.” Speaking at the congress, M. Gorky described this method

so: “Socialist realism affirms existence as an act, as creativity, the goal of which is the continuous development of the most valuable individual abilities of man for the sake of his victory over the forces of nature, for the sake of his health and longevity, for the sake of the great happiness of living on earth.”

The philosophical basis of the new creative method was Marxist

affirmation of the role of revolutionary transformative activity. Based on this, the ideologists of socialist realism formulated the idea of ​​depicting reality in its revolutionary development. The most important thing in socialist realism wasthe principle of partisanship in literature . Artists were required to combine the depth of objective (Objectivity - absence of bias, impartial attitude towards something) knowledge of reality with subjective (Subjective - peculiar, inherent only to a given person, subject)

revolutionary activity, which in practice meant a biased interpretation of the facts.

Another fundamentalprinciple literature of socialist realism

was nationality . In Soviet society, nationality was understood primarily as a measure of expression in art of “the ideas and interests of the working people.”

The period from 1935 to 1941 is characterized by a tendency towards the monumentalization of art. The affirmation of the gains of socialism should have been reflected in all types of artistic culture (in the works of N. Ostrovsky, L. Leonov, F. Gladkov, M. Shaginyan, E. Bagritsky, M. Svetlov, etc.). Every the art form was moving toward the creation of a monument to any image of modernity,

the image of a new man, to the establishment of socialist standards of life.

The theme of the "lost generation" . However, artistic works were also created

works that contradict official doctrine, which could not be published and became a fact of literary and social life only in the 1960s. Among their authors: M. Bulgakov, A. Akhmatova, A. Platonov and many others. The development of European literature of this period is marked by the emergence of the theme of the “lost generation,” which is associated with the name of the German writer Erich Maria Remarque (1898 -1970). In 1929, this writer’s novel “All Quiet on the Western Front” appeared, which immerses the reader in the conditions of front-line life during the First World War. The novel is introduced by the words: “This book is neither an accusation nor a confession. This is only an attempt to tell about the generation that was destroyed by the war, about those who became its victims, even if they escaped from the shells.” Main character In the novel, dropout high school student Paul Bäumer volunteered for this war, and several of his classmates ended up in the trenches with him. The entire novel is the story of the dying of the soul in 18-year-old boys: “We became callous, distrustful, ruthless, vindictive, rude - and it’s good that we became like that: these are precisely the qualities we lacked. If we were sent into the trenches without being given this training, most of us would probably go crazy.” Remarque's heroes gradually get used to the reality of war and are afraid of a peaceful future in which they have no place. This generation is “lost” for life. They had no past, which means they had no ground under their feet. Nothing remains of their youthful dreams:

“We are fugitives. We are running from ourselves. From my life."

The dominance of small forms, so characteristic of the literature of the early 1920s, was replaced byan abundance of works of “major” genres . It became such a genre in the first placenovel . However, the Soviet novel has several characteristic features. In accordance with the principles of socialist realism

the main focus of a work of art should be on social origins reality. Therefore, the decisive factor in human life in the depiction of Soviet novelistsbecame social labor .

Soviet novels are always eventful and action-packed. The demand for social activity presented by socialist realism was embodied in the dynamics of the plot.

Historical novels and stories . In the 1930s, interest in history intensified in literature, and the number of historical novels and stories increased. In Soviet literature, “a novel was created that was not found in pre-revolutionary literature” (M. Gorky). In the historical works “Kühlya” and “Death

Vazir-Mukhtar" by Yu.N. Tynyanov, "Razin Stepan" by A.P. Chapygin, "Dressed in Stone" by O.D. Forsh and others, the assessment of the events of past eras was given from the standpoint of modernity. The driving force of history was considered to be the class struggle, and the entire history of mankind was considered as a change in socio-economic

formations. Writers of the 1930s also approached history from this point of view.The hero of historical novels of this time was the people as a single whole , the people are the creators of history.

After the establishment of a single method in literature in the 1930s and the abolition of diverse groupings in poetry, the aesthetics of socialist realism became dominant. The diversity of groups gave way to the unity of themes. The poetic process continued to develop, but now it is worth talking

about the creative evolution of individual poets rather than about strong creative connections. In the 1930s, many representatives of the creative intelligentsia, including poets, were repressed: former Acmeists O. Mandelstam and V. Narbut, Oberiuts D. Kharms, A. Vvedensky (later, during the Great Patriotic War), N. Zabolotsky and etc. Collectivization of the 1930s led to the extermination of not only peasants, but also peasant poets.

First of all, those who glorified the revolution were published - Demyan Bedny, Vladimir Lugovskoy, Nikolai Tikhonov and others. Poets, like writers, were forced to fulfill the social order - to create works about industrial achievements (A. Zharov “Poems and Coal” , A. Bezymensky “Poems make steel”, etc.).

At the First Congress of Writers in 1934, M. Gorky proposed another social order to the poets: “The world would very well and gratefully hear the voices of poets if, together with musicians, they tried to create songs - new ones that the world does not have, but which it should have " This is how the songs “Katyusha”, “Kakhovka” and others appeared.

Romantic prose in the literature of the 30s. Romantic prose became a remarkable page in the literature of the 30s. The names of A. Green and A. Platonov are usually associated with it. The latter talks about hidden people who understand life as spiritual overcoming in the name of love. Such are the young teacher Maria Naryshkina (“The Sandy Teacher”, 1932), the orphan Olga (“At the Dawn of a Foggy Youth”, 1934), the young scientist Nazar Chagataev (“Dzhan”, 1934), a resident of the working-class village Frosya (“Fro”, 1936) , husband and wife Nikita and Lyuba (“Potudan River”, 1937), etc.

The romantic prose of A. Green and A. Platonov could be objectively perceived by contemporaries of those years as a spiritual program for a revolution that would transform the life of society. But in the 1930s this program was not perceived by everyone as a truly saving force. The country was undergoing economic and political transformations; problems of industrial and agricultural production came to the fore. Literature did not stand aside from this process either: writers created so-called “industrial” novels, the spiritual world of the characters in which was determined by their participation in socialist construction.

Industrial novel in the literature of the 30s. Pictures of industrialization are presented in V. Kataev’s novels “Time, Forward!” (1931), M.Shaginyan “Hydrocentral” (1931), F.Gladkova “Energy” (1938). F. Panferov’s book “Bruski” (1928-1937) told about collectivization in the village. These works are normative. The characters in them are clearly divided into positive and negative, depending on their political position and view of the technical problems that arose during the production process. Although other personality traits of the characters were noted, they were considered secondary and did not determine the essence of the character.

The composition of “industrial novels” was also normative. The climax of the plot coincided not with the psychological state of the characters, but with production problems: the fight against natural disasters, a construction accident (most often the result of the sabotage activities of elements hostile to socialism), etc.

This kind of artistic decisions stemmed from the obligatory subordination of writers in those years to the official ideology and aesthetics of socialist realism. The intensity of industrial passions allowed writers to create a canonical image of a hero-fighter, who through his deeds affirmed the greatness of socialist ideals.

Overcoming artistic normativity and social predicament in the works of M. Sholokhov, A. Platonov, K. Paustovsky, L. Leonov.

However, artistic normativity and social predicament of the “production theme” could not restrain the desires of writers to express themselves in a unique and unique way. For example, completely outside the observance of “production” canons, such brilliant works as “Virgin Soil Upturned” by M. Sholokhov, the first book of which appeared in 1932, the story by A. Platonov “The Pit” (1930) and K. Paustovsky “Kara-Bugaz” were created "(1932), novel by L. Leonov "Sot" (1930).

The meaning of the novel “Virgin Soil Upturned” will appear in all its complexity if we consider that at first this work was entitled “With Blood and Sweat.” There is evidence that the name “Virgin Soil Upturned” was imposed on the writer and was perceived with hostility by M. Sholokhov all his life. It is worth looking at this work from the point of view of its original title, as the book begins to reveal new, previously unnoticed horizons of humanistic meaning based on universal human values.

The center of A. Platonov’s story “The Pit” is not a production problem (the construction of a common proletarian house), but the writer’s bitterness over the spiritual failure of all the undertakings of the Bolshevik heroes.

K. Paustovsky in the story “Kara-Bugaz” is also occupied not so much with technical problems (mining Glauber’s salt in the Kara-Bugaz Bay), but with the characters and destinies of those dreamers who devoted their lives to exploring the mysteries of the bay.

Reading “Sot” by L. Leonov, you see that through the canonical features of the “industrial novel” the traditions of the works of F. M. Dostoevsky are visible in it, first of all, his in-depth psychologism.

Novel of education in the literature of the 30s . The literature of the 30s turned out to be close to the traditions of the “novel of education” that developed during the Enlightenment (K.M. Wieland, I.V. Goethe, etc.). But here, too, a genre modification corresponding to the time manifested itself: writers pay attention to the formation of exclusively socio-political and ideological qualities of the young hero. It is precisely this direction of the genre of “educational” novel in Soviet times that is evidenced by the name of the main work in this series - N. Ostrovsky’s novel “How the Steel Was Tempered” (1934). A. Makarenko’s book “Pedagogical Poem” (1935) also has a “speaking” title. It reflects the poetic, enthusiastic hope of the author (and most people of those years) for the humanistic transformation of personality under the influence of the ideas of the revolution.

It should be noted that the above-mentioned works, designated by the terms “historical novel” and “educational novel,” despite their subordination to the official ideology of those years, also contained expressive universal content.

Thus, the literature of the 30s developed in line with two parallel trends. One of them can be defined as “socially poetic,” the other as “specifically analytical.” The first was based on a feeling of confidence in the wonderful humanistic prospects of the revolution; the second stated the reality of modern times. Each trend has its own writers, its own works and its own heroes. But sometimes both of these tendencies manifested themselves within the same work.

Dramaturgy. In the 1930s, the development of drama, like all Soviet art, was dominated by a desire for monumentality. Within the framework of the method of socialist realism in drama, a discussion took place between two trends: monumental realism, embodied in the plays of Vs. Vishnevsky (“The First Horse”, “Optimistic Tragedy”, etc.), N. Pogodin (“Poem about the Axe”, “Silver Pad”, etc.), and chamber style, whose theorists and practitioners talked about showing the big world social life through an in-depth image of a small circle of phenomena (“Distant”, “Mother of Her Children” by A. Afinogenov, “Bread”, “Big Day” by V. Kirshon).Heroic-romantic the drama depicted the theme of heroic labor, poeticized the mass daily labor of people, heroism during the civil war. Such drama gravitated towards a large-scale depiction of life. At the same time, plays of this type were distinguished by their one-sidedness and ideological orientation. In the history of art they remained as a fact of the literary process of the 30s and are currently not popular.

The plays were more artistically completesocio-psychological . Representatives of this trend in dramaturgy of the 30s were A. Afinogenov and A. Arbuzov, who called on artists to explore what was happening in souls, “inside people.”

In the 1930s, bright characters and acute conflicts disappeared from plays. At the end of the 1930s, the lives of many playwrights - I. Babel, A. Faiko, S. Tretyakov - were cut short. The plays of M. Bulgakov and N. Erdman were not staged.

In plays created within the framework of “monumental realism”, the desire for dynamism was manifested in innovations in the field of form: the rejection of “acts”, the fragmentation of action into many laconic episodes.

N. Pogodin created the so-called"production play" much like a production novel. In such plays, a new type of conflict prevailed - conflict on a production basis. The heroes of “production plays” argued about production standards, deadlines for delivery of objects, etc. Such, for example, is the play “My Friend” by N. Pogodin.

A new phenomenon on the scene wasLeninian . In 1936, leading Soviet writers were invited to participate in a closed competition held to mark the 20th anniversary of the October Revolution. Each of the participants had to write a play about V.I. Lenin. It soon became clear that every theater should have such a play in its repertoire. The most notable among those submitted to the competition was N. Pogodin’s drama “Man with a Gun.” A special phenomenon in dramaturgy is the work of B.L. Schwartz. The works of this playwright dealt with eternal problems and did not fit into the framework of the dramaturgy of socialist realism.

In the pre-war years in literature in general and drama in particularincreased attention to the heroic theme . At the All-Union Directors' Conference in 1939, the need to embody heroism was discussed. The newspaper Pravda constantly wrote that plays about Ilya Muromtse,

Suvorov, Nakhimov. Already on the eve of the war, many military-patriotic plays appeared.

Satire of the 1930s-1940s. In the 1920s, political, everyday, and literary satire reached an unprecedented peak. In the field of satire, a variety of genres were present - from the comic novel to the epigram. The number of satirical magazines published at that time reached several hundred. The leading trend has been the democratization of satire. “Street language” poured into belles lettres. The pre-revolutionary magazine “Satyricon” was dominated by the genre of sharpened, polished, high-level editingcomic novella . These conventional forms disappeared in the post-revolutionary story-fragment, story-essay, story-feuilleton, and satirical reportage. Satirical works of the most significant short story writers of the era - M. Zoshchenko, P. Romanov, V. Kataev, I. Ilf and E. Petrov, M. Koltsov - were published in the magazines "Begemot", "Smekhach", the publishing house "Earth and Factory" (ZIF ).

Satirical works were written by V. Mayakovsky. His satire was aimed primarily at exposing the shortcomings of modernity. The poet was worried about the discrepancy between the revolutionary spirit of the time and the psychology of the tradesman, the bureaucrat. This is an evil, revealing, pathetic satire.

The main trends in the development of satire in the 1920s are the same - the exposure of what should not exist in a new society created for people who do not carry petty proprietary instincts, bureaucratic chicanery, etc.

A special place among satirical writers belongs toM. Zoshchenko . He created a unique artistic style, his own type of hero, which was called “Zoshchenkovsky”. The main element of Zoshchenko’s creativity in the 1920s and early 1930s washumorous everyday life . Object elected

the author as the main character, he himself characterizes it as follows: “But, of course, the author will still prefer a shallow background, a completely petty and insignificant hero with his trifling passions and experiences.” The development of the plot in M. Zoshchenko’s stories is based on constantly posed and comically resolved conflicts between “yes” and “no”. The narrator, in the entire tone of the story, assures that

it is exactly as he does that one should evaluate what is depicted, and the reader knows for sure or guesses that such characteristics are incorrect. In the stories “Aristocrat”, “Bathhouse”, “On live bait”, “ Nervous people“and others, Zoshchenko seems to be cutting off various socio-cultural layers, getting to those layers where the origins of lack of culture, vulgarity, and indifference are rooted. The writer combines two plans - ethical and cultural-historical, while showing their distortion in the minds of the characters. The traditional source of the comic is

disconnection between cause and effect . For a satirical writer

it is important to capture the type of conflict characteristic of the era and convey it through artistic means. Zoshchenko’s main motive ismotive discord, everyday absurdity , inconsistency of the hero with the pace and spirit of the times. By telling private stories and choosing everyday subjects, the writer raised them to the level of serious generalization. The bourgeois involuntarily exposes himself in his monologues (“Aristocrat”, “Capital Thing”, etc.).

Even the satirical works of the 1930s are colored by the desire for the “heroic.” Thus, M. Zoshchenko was seized by the idea of ​​merging satire and heroics. In one of his stories already in 1927, Zoshchenko, albeit in his characteristic manner, admitted: “Today I want to try something heroic.

Some sort of grandiose, expansive character with many progressive views and moods. Otherwise, everything is trivial and petty - just disgusting... And I miss, brothers, a real hero! I wish I could meet

like that!”

In the 1930s, even the style became completely different.Zoshchenko's novella . The author abandons the tale-like manner so characteristic of previous stories. Plot and compositional principles are also changing, and psychological analysis is being widely introduced.

Famous novels by I. Ilf and E. Petrov about the great adventurer Ostap Bender, “The Twelve Chairs” and “The Golden Calf,” for all the attractiveness of their hero, are aimed at demonstrating how life has changed, in which there is no place even for a wonderful adventurer. Looking after cars flying past them - participants in the rally (a very characteristic phenomenon of that time), the heroes of the novel “The Golden Calf” feel envy and sadness because they are on the sidelines from the big life. Having achieved his goal of becoming a millionaire, Ostap Bender does not become happy. In Soviet reality there is no place for millionaires. It is not money that makes a person socially significant. The satire was life-affirming in nature and was directed against “individual bourgeois survivals.” The humor became major and light.

Thus, the literature of the 1930s and early 1940s developed in accordance with general trends characteristic of all types of art of that time.

1. Presentation of the project “Trends and genres in the development of poetry of the 30s”

The poetry of the 30s solved common problems facing all literature, reflectedchanges , which were also characteristic of prose: expansion of themes, development of new principles of artistic understanding of the era (the nature of typification, the intensive process of updating genres). The departure from literature of Mayakovsky and Yesenin, of course, could not but affect its general development- it was a big loss. However, the 30s were marked by a tendency for the creative development of their artistic heritage by a galaxy of young poets who came to literature: M. V. Isakovsky, A. T. Tvardovsky, P. N. Vasiliev, A. A. Prokofiev, S. P. Shchipachev. The works of N. A. Zabolotsky, D. B. Kedrin, B. A. Ruchev, V. A. Lugovsky attracted increasing attention from readers and critics; N. S. Tikhonov, E. G. Bagritsky, N. N. Aseev felt a surge of creative energy. Poets—both established masters and young ones who had just embarked on the path of literature—realized more and more clearly their responsibility to time.

The poets of these years were closely connected with the life of the people, with the grandiose construction projects of the first five-year plans. In poems and verses they sought to depict this amazing new world. The young poetic generation, who grew up in new historical conditions, asserted in the poetry of its lyrical hero - a hard worker, an enthusiastic builder, a businesslike and at the same time romantically inspired man, captured the very process of his formation, his spiritual growth.

The scope of socialist construction - the largest construction projects, collective farms and, most importantly, people, the heroes of the everyday work of the first five-year plans - was organically included in the lines of poems and poems by N. S. Tikhonov, V. A. Lugovsky, S. Vurgun, M. F. Rylsky, A. I. Bezymensky, P. G. Tychina, P. N. Vasiliev, M. V. Isakovsky, B. A. Ruchev, A. T. Tvardovsky. In the best poetic works, the authors managed to avoid that topicality that borders on immediacy and factuality.

The poetry of the 30s gradually became more and more multifaceted. The mastery of poetic classics and traditions of folklore, new turns in the artistic understanding of modernity, the establishment of a new lyrical hero, of course, influenced the expansion of the creative range and the deepening of the vision of the world.

Works of the lyric-epic genre acquire new qualities and become enriched. The hyperbolic, universal scale of depicting the era, characteristic of the poetry of the 20s, gave way to a deeper psychological study of life processes. If we compare in this regard “The Country of Ant” by A. Tvardovsky, “The Poem of Care” and “Four Desires” by M. Isakovsky, “The Death of a Pioneer” by E. Bagritsky, then one cannot help but notice how differently modern material was mastered (with all the ideological similarity: the man of the new world, his past and present, his future). A. Tvardovsky has a more pronounced epic beginning, the poems of M. Isakovsky and E. Bagritsky are lyrical in their leading tendency. Poetry of the 30s was enriched with such genre finds as lyrical-dramatic poems (A. Bezymensky “The Tragic Night”), epic short stories (D. Kedrin “Horse”, “Architects”). New forms were found that were at the intersection of a lyric poem and an essay, a diary, and a report. Cycles of historical poems were created (“Land of the Fathers” by N. Rylenkov).

Poems of the 30s are characterized by a desire for a wide coverage of events; they are distinguished by attention to dramatic situations. This is how it was in life - great processes of industrialization and collectivization took place, the struggle for a new man was waged, new norms of relations between people, a new, socialist morality were taking shape. Naturally, the poem, as a major poetic genre, was saturated with these important problems.

The relationship between the lyrical and epic principles in the poem of the 1930s manifests itself in a unique way. If in the poems of the previous decade the lyrical beginning was often associated with the self-disclosure of the author, then in the poetic epic of the 30s the prevailing tendency is towards a broad reproduction of the events of the era, towards a depth of depiction of modern life, correlated with the history and historical destinies of the people (with all the attention to the characters of individual heroes). So, on the one hand, there is an increased interest of poets in the epic in mastering reality, and on the other, a variety of lyrical solutions. Expanding the problematic, enriching the genre of the poem through a combination of a variety of elements: epic, lyrical, satirical, coming from folk song traditions, deepening psychologism, attention to the fate of the contemporary hero - these are the general patterns of the internal evolution of the poem of the 30s.

Genre diversity characteristic of the lyrics of this time. Poetic “stories”, “portraits”, landscape and intimate lyrics became widespread. Man and his work, man is the master of his land, work as a moral need, work as a source of creative inspiration - this is what constituted the pathos of the lyrics, was its dominant. Deep psychologism and lyrical tension are characteristic of verses as well as poems. The desire to poetically comprehend significant changes in a person’s life and in his worldview turned poets to folk life, everyday life, to those sources where it was formed national character. There was increased attention to folk poetry with its rich traditions in the exploration of the spiritual world of man, poetic principles for creating characters, and a variety of visual means and forms.

The lyrical tension of the poems was largely determined by the fact that the poet and his lyrical hero were united by an active, joyful, creative attitude to life, to the construction of a new world. Excitement and pride from the consciousness of one’s involvement in the construction of socialism, purity of feeling, and extreme self-disclosure determined the high moral atmosphere of the lyrics, and the poet’s voice merged with the voice of his lyrical hero - a friend, contemporary, comrade. The declarative, oratorical intonations of poetry of the 20s gave way to lyrical, journalistic, song intonations, conveying the naturalness and warmth of the feelings of contemporaries.

In the 30s, a whole galaxy of original, talented masters who knew first-hand about the life of the people came to poetry. They themselves came out of the midst of the people, they themselves directly participated as ordinary people in building a new life. Komsomol activists, workers' and village correspondents, natives of various regions and republics - S. P. Shchipachev, P. N. Vasilyev, N. I. Rylenkov, A. A. Prokofiev, B. P. Kornilov - they brought with them to literature new themes, new heroes. All together and each individually, they created a portrait of an ordinary person of the era, a portrait of a unique time.

The poetry of the 30s did not create its own special systems, but it very succinctly and sensitively reflected psychological condition society, embodying both a powerful spiritual uplift and the creative inspiration of the people.

Conclusion. Main themes and features of literature of the 30s.

The priority in the verbal art of the 30s was precisely

“collectivist” themes: collectivization, industrialization, the struggle of a revolutionary hero against class enemies, socialist construction, the leading role of the communist party in society, etc.

In the literature of the 30s there was a variety of artistic

systems Along with the development of socialist realism, the development of traditional realism was obvious. It manifested itself in the works of emigrant writers, in the works of writers M. Bulgakov, M. Zoshchenko, and others who lived in the country. Obvious features of romanticism are noticeable in the work of A. Green. A. Fadeev and A. Platonov were no strangers to romanticism. In the literature of the early 30s, the OBERIU direction appeared (D. Kharms, A. Vvedensky, K. Vaginov, N. Zabolotsky, etc.), close to Dadaism, surrealism, theater of the absurd, and stream of consciousness literature.

The literature of the 30s is characterized by active interaction of different types

literature. For example, the biblical epic manifested itself in the lyrics of A. Akhmatova; M. Bulgakov’s novel “The Master and Margarita” has many of its features in common with dramatic works - primarily with I. V. Goethe’s tragedy “Faust”.

During this period of literary development, the

traditional system of genres. New types of novels are emerging (primarily the so-called “industrial novel”). The plot outline of a novel often consists of a series of essays.

Writers of the 1930s were very diverse in the way they used

compositional solutions. “Production” novels most often depict a panorama of the labor process, linking the development of the plot with the stages of construction. The composition of a philosophical novel (V. Nabokov performed in this genre variety) is connected, rather, not with external action, but with the struggle in the soul of the character. In “The Master and Margarita” M. Bulgakov presents a “novel within a novel”, and neither of the two plots can be considered leading.

1. Project presentation. Foreign literature of the 1930-1940s.

Foreign literature in the years 1917-1945 more or less reflected the turbulent events of this era. Taking into account the national specifics of each literature, its inherent national traditions, we can, however, identify several main stages common to them. This is the 20s, when the literary process takes place under the influence of the recently ended First World War and the revolution in Russia that shook the whole world. A new stage - the 30s, a time of aggravation of the socio-political and literary struggle in connection with the global economic crisis, the approach of the Second World War. And finally, the third stage is the years of the Second World War, when all progressive humanity united in the fight against fascism.

An important place in literature belongs to the anti-war theme. Its origins are in the First World War of 1914-1918. The anti-war theme became the basis in the works of writers of the “lost generation” - E. M. Remarque, E. Hemingway, R. Aldington. They saw the war as a terrible, senseless massacre and condemned it from a humanistic standpoint. Writers such as B. Shaw, B. Brecht, A. Barbusse, P. Eluard and others did not remain aloof from this topic.

They had a great influence on the world literary process revolutionary events in Russia in October 1917. Writers such as D. Reed, I. Becher, B. Shaw, A. Barbusse, A. France and others spoke in defense of the young Soviet republic against foreign intervention. Almost all the progressive writers of the world visited post-revolutionary Russia and in their journalistic and artistic works sought to talk about building a new life based on social justice - D. Reed, E. Sinclair, J. Hasek, T. Dreiser, B. Shaw, R. Rolland . Many did not see and did not understand what ugly forms the construction of socialism began to take in Russia with its cult of personality, repression, total surveillance, denunciation, etc. Those who saw and understood, such as J. Orwell, Andre Gide, were excluded from the cultural life of the Soviet Union for a long time, since the Iron Curtain worked properly, and in their homeland they did not always enjoy understanding and support, since in the 30s in Europe and the USA due to the global economic crisis of 1929 The labor and farmer movement was strengthening, interest in socialism was growing, and criticism of the USSR was perceived as slander.

Defending their privileges, the bourgeoisie in a number of countries is relying on open fascist dictatorship, a policy of aggression and war. Fascist regimes are established in Italy, Spain and Germany. On September 1, 1939, World War II begins, and on June 22, 1941, Nazi Germany attacks the Soviet Union. All progressive humanity united in the fight against fascism. The first battle against fascism was given in Spain during the national revolutionary war of 1937-1939, about which E. Hemingway wrote his novel “For Whom the Bell Tolls” (1940). In the countries occupied by the fascists (France, Poland, Czechoslovakia, Denmark), the underground anti-fascist press is active, anti-fascist leaflets, articles, stories, stories, poems and plays are published. The brightest page in anti-fascist literature is the poetry of L. Aragon, P. Eluard, I. Becher, B. Becher.

The main literary trends of this period: realism and modernism opposing it; although sometimes the writer passed difficult path from modernism to realism (W. Faulkner) and, on the contrary, from realism to modernism (James Joyce), and sometimes modernist and realistic principles were closely intertwined, representing a single artistic whole (M. Proust and his novel “In Search of Lost Time”) .

Many writers remained faithful to the traditions of classical realism of the 19th century, the traditions of Dickens, Thackeray, Stendhal, and Balzac. Thus, the genre of the epic novel, the genre of family chronicle, is developed by such writers as Romain Rolland (“The Enchanted Soul”), Roger Martin du Gard (“The Thibault Family”), John Galsworthy (“The Forsyte Saga”). But the realism of the twentieth century is being renewed; new themes and problems require new artistic forms for their solution. Tek, E. Hemingway develops such a technique as the “iceberg principle” (subtext, saturated to the limit), Francis Scott Fitzgerald resorts to a double vision of the world, W. Faulkner, following Dostoevsky, strengthens the polyphony of his works, B. Brecht creates epic theater with his "the effect of alienation or detachment."

The 20s and 30s were a period of new achievements of realism in most foreign literature.

The leading artistic method of most progressive writers in the 20th century remainscritical realism . But this realism becomes more complicated and includes new elements. Thus, in the works of T. Dreiser and B. Brecht, the influence of socialist ideas is noticeable, which affected the appearance of the positive hero and the artistic structure of their works.

New times, new living conditions contributedemergence and widespread dissemination in the critical realism of others,new art forms . Many artists widely use internal monologue(Hemingway, Remarque), combine different time layers in one work (Faulkner, Wilder), use stream of consciousness (Faulkner, Hemingway). These forms helped to depict a person’s character in a new way, to bring out what was special and original in him, and diversified the artistic palette of writers.

Noting the rise of realism in the post-October period, it should also be said that foreign literature continues to existvarious trends promoting capitalist society who defend the bourgeois way of life. This especially applies to American literature, in which apologetic, conformist fiction, often permeated with anti-Sovietism, has become widespread.

The question is more complicated with the so-calledmodernist literature . If the realists, who laid the basis of their creativity on observation, the study of reality, striving to reflect its objective laws, did not shy away from artistic experiments, then for the modernists the main thing was experimentation in the field of form.

Of course, they were attracted not only by form-creation, a new form was required in order to embody a new vision of the world and man, new concepts, which were based not so much on direct contacts with reality, but on various modernist, usually idealistic, philosophical theories, ideas A Schopenhauer, F. Nietzsche, Z. Freud, existentialists - Sartre, Camus, E. Fromm, M. Heidegger and others. The main modernist movements weresurrealism, expressionism, existentialism .

In 1916, one of the modernist groups arose in Switzerland, called"Dadaism" (an avant-garde movement in literature, fine arts, theater and cinema. Originated during the First World War in neutral Switzerland, in Zurich (Cabaret Voltaire). Existed from 1916 to 1922). The group included: Romanian T. Tzara, German R. Gulsenbeck. In France, A. Breton, L. Aragon, and P. Eluard joined the group. The Dadaists absolutized “pure art.” “We are against all principles,” they declared. Relying on alogism, the Dadaists tried to create their own special world, unlike the real one, using a set of words. They wrote absurd poems and plays, were fond of verbal trickery, and the reproduction of sounds devoid of any meaning. Having a negative attitude towards bourgeois reality, they simultaneously rejected realistic art and rejected the connection of art with social life. In 1923-1924, finding themselves in a creative impasse, the group broke up.

Dadaism was replaced bysurrealism ((from the French surréalisme, literally “super-realism”, “above-realism”) - a movement in literature and art of the twentieth century that emerged in the 1920s. It is distinguished by the use of allusions and paradoxical combinations of forms). It took shape in France in the 20s; former French Dadaists became surrealists: A. Breton, L. Aragon, P. Eluard. The movement was based on the philosophy of Bergson and Freud. The surrealists believed that they freed the human “I”, the human spirit from the surrounding existence that entangled them, that is, from life. The tool for such action is, in their opinion, abstraction in creativity from the outside world, “automatic writing”, outside the control of the mind, “pure mental automatism, meaning expression either verbally, or in writing, or in any other way of the real functioning of thought.”

The situation is even more complicated withexpressionism ((from Latin expressio, “expression”) - a movement in European art of the era of modernism, which received greatest development in the first decades of the 20th century, mainly in Germany and Austria. Expressionism strives not so much to reproduce reality, but to express the emotional state of the author). The Expressionists, like many modernists, emphasized authorial subjectivity, believing that art serves to express the writer’s inner self. But at the same time, the left-wing German expressionists Kaiser, Toller, Hasenclever protested against violence, exploitation, were opponents of war, and called for the renewal of the world. Such an interweaving of crisis phenomena with criticism of bourgeois society, with calls for spiritual awakening is characteristic of modernism.

In the late 40s and early 50s. French prose is experiencing a period of literary dominanceexistentialism ((French existentialisme from Latin existentia - existence), also the philosophy of existence - a special direction in the philosophy of the 20th century, focusing on the uniqueness of human existence, declaring it irrational), which had an influence on art comparable only to the influence of Freud's ideas. Formed into late XIX- the beginning of the 20th century in the works of Heidegger and Jaspers, Shestov and Berdyaev. How literary direction formed in France during the Second World War.

In the literature of the beginning of the century, existentialism was not so widespread, but it colored the worldview of such writers as Franz Kafka and William Faulkner, and under its “agile” the absurdity was consolidated in art as a technique and as a view of human activity in the context of all history.

Existentialism is one of the darkest philosophical and aesthetic movements of our time. Man, as depicted by existentialists, is immensely burdened by his existence; he is a bearer of inner loneliness and fear of reality. Life is meaningless social activity sterile, morality untenable. There is no God in the world, no ideals, there is only existence, destiny-vocation, to which man stoically and unquestioningly submits; existence is a concern that a person must accept, because the mind is not able to cope with the hostility of existence: a person is doomed to absolute loneliness, no one will share his existence.

Conclusion. The period of the 30s and 40s introduced new trends into foreign literature - surrealism, expressionism, existentialism. The techniques of these literary movements were reflected in the works of this period.

The leading artistic method of most progressive writers in the 20th century remains critical realism. But this realism becomes more complicated and includes new elements.

Trends that advertise a capitalist society continue to exist. Apologetic, conformist fiction became widespread.

Drawing up abstracts for the student’s speech.

1. Rainer - Maria Rilke. The originality of the poet's poetic world.

Teacher's word.

Austrian literature is a unique artistic phenomenon in the history of European culture. She appeared a unique synthesis of German, Hungarian, Italian and Polish literature and culture of the Ukrainians of Galicia.

Austrian literature is distinguished by the breadth and significance of its topics, depth

deep understanding of problems of universal human significance, depth of philosophical

comprehension of the world, penetration into the historical past, into psychology

human soul, artistic and aesthetic discoveries, which is essential

but influenced the development of world literature of the 20th century. Significant contribution to development

Rainer Maria Rilke also contributed to national literature. Studying the work of Ril-

ke, we can understand ourselves better because this genius poet I saw, as they say, from the outside, all the best and most secret things that

is in us, - and he spoke about it quite clearly and clearly. The Austrian poet, who, like Franz Kafka, was born in the Czech Republic, but wrote his works in German, created new examples of philosophical lyrics, going through the path from symbolism to neoclassical modernist poetry in his work.

R. M. Rilke was called the “Prophet of the past” and “Orpheus of the 20th century.” We found out why in today's lesson.

Personal message. Rainer Maria Rilke ( December 4, 1875 - December 29, 1926 ). Life and art.

Rainer Maria Rilke, a master of modernism in poetry, was born on December 4, 1875 in Prague, the son of a railway official with a failed military career and the daughter of an imperial adviser. Nine years later, the parents' marriage broke up, and Rainer remained with his father. He saw the military path as the only future for his son, so he sent his son to military school, and in 1891 at the school. Thanks to poor health, Rainer managed to avoid a career as a serviceman.

Things didn’t work out with the legal profession either; at the insistence of his lawyer uncle, he returned from Lint, where he studied at the Trade Academy in Prague. I entered the university, first in philosophy, then transferred to the faculty of law.

He began publishing at the age of sixteen, the first collection was imitative, and the author himself did not like it, but the second book, “Victims of Laram,” conceived as a poetic farewell to Prague, revealed Rilke’s impressionistic talent.

Convinced of the right path, Rainer Maria breaks ties with her family and goes traveling. 1897, Italy, then Germany, studies at the University of Berlin, develops his command of words.

1899 - trip to Russia, traveled twice, was fascinated, youthfully spoke enthusiastically about talented, sincere Russians, was friends with the Pasternaks, corresponded with Tsvetaeva for many years, translated Russian literature, wrote a collection of “Book of Hours”, a kind of monk’s diary, many poems read like prayers. Marries Clara Westhoff and has a daughter, Ruth.

In 1902 he moved to Paris, which crushed him with noise big city and the polyphony of the crowd, works as a secretary for Rodin, publishes books on art history, and writes prose. He makes short trips around Europe, in 1907 he meets Maxim Gorky in Capri, and in 1910 he travels to Venice and North Africa. He writes a lot, translates from Portuguese, creates a poetry collection “Duino Elegies”, where the lyrical hero turns to the dark beginning within himself, paints a gloomy philosophical picture of the world.

Rainer is sick and goes to Switzerland for treatment, but the medicine of that time is powerless to help him. On December 29, 1926, Rainer Maria Rilke died of leukemia at the Val-Mont clinic.

The originality of the poetic world and Rilke’s aesthetic principles.

Individual advanced task: extract from the textbook article and comment:

1. the desire for integrity in artistic creativity (the poet, his personality, life, beliefs, views, death - a single whole. The embodiment of unity is the sculptors Cezanne and Rodin, their life and work);

2. to live means to see the world in artistic images;

3. source of creativity - inspiration (irrational, high power);

4. the poet has no power over the creative process;

5. favorable conditions for creativity - loneliness, inner freedom, alienation from the hustle and bustle;

6. modeling of poems. The basis of the poem is a thing from the surrounding world:

7. Man is an incredibly lonely creature to whom everyone is indifferent. This loneliness cannot be destroyed even by close, dear and beloved people;

8. The poet’s task is to save things from destruction by spiritualizing them.

What principles and views do you think are paradoxical?

Modeling cannot be an uncontrolled process;

a poet must be lonely, but “a man alone cannot” (E. Hemingway).

Conclusion. Rilke's poems are a verbal sculpture, in their genre essence - a captured emotion. For Rilke, inanimate objects did not exist. Outwardly frozen, objects have a soul. Therefore, Rilke wrote poems reflecting the soul of objects (“Cathedral”, “Portal”, “Archaic Torso of Apollo”).

Work on the ideological and artistic content of poems from the collection “Book of Hours”.

1) The teacher's word.

In the early lyrics of R. M. Rilke, the influence of fashionable moods of the “end of the century” is noticeable - loneliness, fatigue, longing for the past. Over time, the poet learned to combine his self-absorbed detachment from the world with love for this world and the people who inhabit it, with love, which he perceived as an indispensable condition for true poetry. The impetus for this approach was the

chatting from two trips around Russia (spring 1899 and summer 1890), communication with L. I. Tolstoy, I. I. Repin, L. O. Pasternak (artist, father of B. L. Pasternak). These impressions caused a violent reaction in Rilke. He decided that he understood the “mysterious Russian soul” and this understanding should turn everything around in his own soul. Subsequently, remembering Russia, Rilke more than once called it his spiritual homeland. The image of Russia was largely formed from the ideas that were widespread in the West at that time about primordially Russian religiosity, about a patient and silent people who live in the middle of endless expanses, do not “do” life, but only contemplate its slow course with a wise and calm gaze. The main thing that Rilke took away from his fascination with Russia was the awareness of his own poetic gift as a service that “does not tolerate fuss,” as the highest responsibility to oneself, to art, to life and to those whose lot in it is “poverty and death.”

Contact with the patriarchal way of Russian folk life - the origins of Russian culture and spirituality, served as a powerful impetus for the creation of the poetry collection “Book of Hours” (1905), which brought Rilke national fame. In its form, the Book of Hours is a “collection of prayers,” reflections,

spells, invariably addressed to God. God is the confidant of man who seeks him in the stillness and darkness of the night, in humble solitude. Rilke’s God contains all earthly existence, determines the value of everything that exists (the poem “I find you everywhere and in everything..."), gives life to everything. He himself is life, that wonderful and unstoppable force that is present in everything. The poet turns to God when he reflects with pain and regret on the cruelty, inhumanity and alienation of “big cities”:

Lord! Big cities

Doomed to heavenly punishment.

Where to run before a fire?

Destroyed with one blow

The city will disappear forever.

2) Expressive reading by heart of poems from the collection “Book of Hours” by previously prepared students (book three “On Poverty and Death”: “Lord, great cities...”)

Lord! Big cities

doomed to heavenly punishment.

Where to run before a fire?

Destroyed with one blow

the city will disappear forever.

Living in basements is getting worse and more difficult;

there with the sacrificial cattle, with the timid herd,

Your people are similar in posture and look.

Your land lives and breathes nearby,

but the poor forgot about her.

There are children growing on the windowsills

in the same cloudy shadow.

They don't realize that all the flowers in the world

call to the wind on sunny days,

Children have no time to run around in basements.

There the girl is drawn to the unknown,

Having become sad about her childhood, she blossoms...

But the body will tremble and the dream will disappear,

the body must close in its turn.

And motherhood hides in closets,

where the crying does not stop at night;

weakening, life passes on the margins

cold years of failure.

And women will achieve their goal:

they live to lie down in the darkness

and die for a long time in bed,

like in an almshouse or like in a prison.

3) Analytical conversation

What mood are the poems permeated with?

What artistic means does the author use to intensify the impression of horror that the “lost cities” evoke?

What lines contain the main idea of ​​the poem?

Work on the ideological and artistic content of poems from the collection “Sonnets to Orpheus”.

1) The teacher's word.

In the poem “Orpheus, Eurydice, Hermes” from the collection “Sonnets to Orpheus,” Rilke expressed his own humanistic expectations that art can provide harmony to this world and make it truly human. The cycle about Orpheus is a kind of poetic spell. For Rilke, the legend of Orpheus is a symbol of an attempt to save the world with the help of beauty. He saw

in art there is the only salvation from the hopelessness of a vain and frantic everyday life, in which people hate each other. The image of Orpheus is also about overcoming human alienation. From the poet's point of view, major tragedy a person is his loneliness. Ordinary people are doomed to misunderstanding. They are alone both in their lives and in the Universe. From this thesis, another understanding of the function of art emerges: it is an opportunity to realize this loneliness and at the same time is a means of overcoming it. Friendship between two great poets of the 20th century. - Marina Ivanovna Tsvetaeva and Rainer Maria Rilke are an amazing example of human relations. They had never met in life. But they wrote very emotional and highly poetic letters to each other

for six months in 1926, last year life of R. M. Ril-

ke. B. L. Pasternak also participated in this correspondence.

2) Expressive reading by heart of the poem “Orpheus, Eurydice, Hermes” from the collection “Sonnets to Orpheus” to pre-prepared students.

These were unimaginable mines.

And, like the silent veins of ore,

they were woven into the fabric of darkness. Between the roots

blood flowed like a key and flowed away

pieces of heavy porphyry to people.

And there was no more red in the landscape.

But there were rocks and forests, bridges over the abyss

and that huge gray pond that rose

above its so distant bottom, like the sky

rainy, hanging in space.

And between the meadows filled with patience

and softness, a stripe was visible

the only path, like a sheet,

laid by someone for bleaching.

They were getting closer and closer along that path.

A slender man walked ahead of everyone

in a blue cape, his gaze thoughtless

looked impatiently into the distance.

His steps devoured the road

in large pieces, without slowing down,

to chew them; hands hung

heavy and compressed, made of folds

capes, and no longer remembered

about a light lyre - a lyre that grew together

with your left hand once like a rose

with a slender branch of an oil olive.

It seemed that his feelings were divided,

for while his gaze sought,

like a dog, forward, then stupidly returning,

then turning around suddenly, then freezing

at the next far turn

narrow paths, his hearing dragged

there's a smell behind it. Sometimes it seemed

to him that his hearing strives for his shoulder blades,

back to hear the step of the stragglers,

who must rise behind him

on the climbing slopes. After

again as if nothing was heard,

only the echoes of his steps and rustling

capes. He, however, convinced

yourself that they are right behind you;

uttering these words, he clearly heard,

like sound, not embodied, freezes.

They really followed him, but these two

They walked with terrifying ease. If

would he dare to look back (and if

looking back didn't mean losing

her forever), he would have seen them,

two light-footed ones that wander behind him

in silence: god of wanderings and messages -

road helmet worn over the eyes

burning, staff clutched in hand,

wings flutter lightly at the ankles,

and in the left - the diva entrusted to him.

She is so beloved that from one

more graceful lyres were born

sobs than from all the crazy crying,

that the whole world was born from crying,

in which there were also forest, land and valleys,

villages and roads, cities,

fields, streams, animals, their herds,

and around this creation it revolved,

as if around another earth and the sun,

and the whole silent firmament,

the whole sky is crying with other stars, -

and that's all she is, so beloved.

But, taking God by the hand, she

walked with him, but her step was slowed down

the boundaries of the shroud by herself - she walked

so soft, serene, impatience

did not touch what was hidden within itself,

like a girl whose death is near;

she didn't think about the person

that walked before her, nor the path that led

to the threshold of life. Hiding inside myself

she wandered, and solutions of death

filled the diva to the brim.

Full, like fruit, of both sweetness and darkness,

she was her great death,

so new, unusual for her,

that she didn’t understand anything.

She found her innocence again

was intangible, and the floor

it closed like a flower in the evening,

and my pale hands are so unaccustomed

to be a wife, as well as touching

the lord of wanderings would be enough,

to confuse her as if by sinful proximity.

She wasn't the same now

not that fair-haired lady,

whose image appeared in the poet’s poems,

no longer the scent of a wedding night,

not the property of Orpheus. And she

was already loose, like braids,

and distributed among the stars, poles,

wasted, like supplies on a journey.

She was like a root. And when

suddenly God stopped her,

exclaiming painfully: “He turned around!” -

She asked in confusion, “Who?”

But in the distance stood in a bright passage

someone with indistinguishable facial features.

I stood and saw how on the strip

paths between meadows god of messages

turned around with sad eyes,

without saying anything to go

following the figure walking backwards

along that path back, slowly -

since the shroud restricted movement, -

so softly, slightly absentmindedly, tearlessly.

Analysis of the poem “Orpheus, Eurydice and Hermes”

The author conveys how surprised the whole world around is listening to the singing of Orpheus. A poet should also be such a singer. He should be listened to, imitated and admired for his poetry. The poem “Orpheus, Eurydice, Hermes” tells about Orpheus’s attempt to bring his beloved Eurydice out of the underworld. Orpheus walked ahead, accepting the condition under no circumstances to turn back. He felt with all the cells of his body that two people were walking behind him: the God of travel and errands and his beloved Eurydice:

Now she stands next to God, although the shroud prevents her from walking,

uncertain, and tender, and patient. She seemed to have become in a position (Full, like a fruit, with both sweetness and darkness, she was her huge death),

I didn’t think about the husband who walks ahead, I didn’t think about the path,

which will lead her back to life.

However, Orpheus could not stand it and turned around. The descent into the kingdom of the dead did not bring any results. But for Orpheus it was last hope to bring back his beloved, if he brought Eurydice back to life, he would thereby regain his meaning of existence. I would stop being lonely and start playing great music again. But the reunion of Orpheus and Eurydice turned out to be impossible, since death is an inevitable part of life. No one has ever returned from the kingdom of the dead, and certainly not only at the whim of one person. Rilke has his own interpretation of the image of Eurydice. Having been in the other world, she changed a lot: she became sensitive, quiet, submissive, and wise like a woman:

She is no longer the blond woman once glorified in poet's songs,

because she is no longer the property of a man. She is already a root, and when God suddenly stopped her and said to her in despair: “He turned around!”

senselessly and quietly asked: “Who?”

Eurydice in Rilke is a symbol of femininity and all women on earth. This is what the poet imagines a real woman should be like - “uncertain, and gentle, and patient.”

3) Analytical conversation.

What music would you use to accompany the reading of a poem and why?

How do Orpheus and the author of the poem treat Eurydice?

Draw verbal portraits of Orpheus, Hermes, Eurydice.

How do you imagine Eurydice when “she asked

surprised: “Who?”

How does the landscape of the first two stanzas precede the events of the poem?

How do you understand the metaphors that characterize Eurydice?

Why couldn't Orpheus save Eurydice?

4) Comparative work (in pairs)

Read the poem by M. I. Tsvetaeva “Eurydice to Orpheus” and answer the questions: “Why does M. I. Tsvetaeva think that Orpheus should not go to Eurydice?”; “How are the thoughts of M. I. Tsvetaeva and R. M. Rilke similar in their poems and how are they different?”

Eurydice-Orpheus

For those who have lost their last shreds

Cover (no lips, no cheeks!...)

Oh, isn't this an abuse of authority?

Orpheus descending into Hades?

For those who have lost the last links

Earthly... On a bed of lies

Those who laid down the great lie of contemplation,

Inside the beholders - a date with a knife.

Paid with all the roses of blood

For this spacious cut

Immortality...

All the way to the upper reaches of Lethea

Lover - I need peace

Forgetfulness... For in a ghostly house

Sam - you are a ghost, existing, but reality -

I, dead... What can I tell you, except:

- “Forget it and leave it!”

After all, you won’t worry! I won't get carried away!

No hands! No lips to fall

With your lips! - From immortality with a snake bite

Women's passion ends.

It's paid - remember my cries! -

For this last space.

And brothers to disturb sisters.

Analysis of the poem by M. I. Tsvetaeva “Eurydice to Orpheus.”

M.I. Tsvetaeva pays more attention to the image of Eurydice. In her letters to B. Pasternak of the same period, he appears more than once: “I would like to write Eurydice with passion: waiting, walking, retreating. If you only knew how I see Hades!” In another letter, Tsvetaeva projects the image of Eurydice onto herself: “My separation from life is becoming more and more irreparable. I am moving, I am moving, taking with me that I would give drink and drink to all of Hades!”

Now Eurydice is not a submissive shadow following Orpheus, but almost a “warlike” soul.” She addresses the dead “for those who have shed the last shreds of cover; for those who have renounced the last links of the earthly,” considering them “those who have laid down the great lie of contemplation” with bewilderment: “isn’t Orpheus, descending into Hades, an excess of authority?”

In the poem “Eurydice to Orpheus,” her image is already on the other side of existence, having parted forever with earthly flesh and laid down the “great lie of contemplation” on her deathbed. Along with physical death, the ability to see life in a false, distorting shell left her. She is now among those who “see within,” to the root of things and the world. Having lost my flesh and ceased to feel joy past life, but feeling with all her essence being, eternity, “she managed to become an underground root, the very beginning from which life grows. There, on the surface, on earth, where she was “a fragrant island in bed and a fair-haired beauty of songs” - there, she, in essence, lived superficially. But now, here in the depths, she has changed.

A date with Orpheus is a “knife” for her. Eurydice does not want to return to the old, to the love of “lips” and “lanes”, she asks to leave her “paid for with all the roses of blood for this spacious cut of immortality... who loved to the very Lethean upper reaches - I need peace.”

Now for Eurydice, all the former pleasures of life are completely alien: “What can I tell you, except: “Forget it and leave it!” She recognizes Orpheus’ ideas about earthly reality as superficial.

And true for her human life- beyond the line, stay in Hades. Orpheus is an image from her past, a ghost that seems imaginary to her. “You won’t disturb me! I won't get carried away! No hands! No lips to fall!”

The last two quatrains say that Eurydice died from a snake bite. This “immortal snake bite” is contrasted with the voluptuousness of earthly life. “With immortality, a woman’s passion ends with a snake bite.” Feeling him, Eurydice does not want and cannot leave with Orpheus; for her, above the former dead passion is the “last expanse” of Hades.

It's paid - remember my cries! –

For this last space.

The poem repeats the motif of payment twice. And this payment for entry into Hades, for the peace of immortality, Eurydice calls earthly love for Orpheus. Now they are brother and sister to each other, and not great lovers:

Orpheus doesn't need to go to Eurydice

And Brothers should disturb Sisters.

Eurydice remembers what connected them above, in earthly life, but he is no longer her lover, but a spiritual brother. Passion died along with the body, and the arrival of Orpheus is a reminder of the “shreds of the veil,” that is, meaning Tsvetaeva, shreds of lyricism and passion, the memory of which does not cause melancholy. These are not even remains, but rags instead of an outfit, which cannot be compared with the beautiful “spacious cut” of new clothes - immortality. Having more, Tsvetaeva's Eurydice does not want and cannot part with him for the sake of less. Orpheus exceeds his authority by descending into Hades, trying to lure Eurydice away from the world of immortality, since life cannot prevail over death.

Conclusion.

What is unique about the poetic world of the Austrian poet?

What did Russia mean in the life of R. M. Rilke? Which Russian writers and poets was he familiar with?

Describe the collection “Book of Hours.” What are the features of symbolism

inherent in him?

Why can the collection “Sonnets to Orpheus” be called poetic?

the will of R. M. Rilke?

IV . Homework information:

Prepare a report about M. Tsvetaeva, learn the poem.

V . Summing up the lesson. Reflection.