Palmistry 

What period of Russian literature is called the Silver Age. Who coined the term "silver age. The state of society in the last years of the Russian Empire

The Silver Age is the era of modernism, captured in Russian literature. This is the period when innovative ideas captured all spheres of art, including the art of the word. Although it lasted only a quarter of a century (starting from 1898, ending around 1922), its legacy is the golden ford of Russian poetry. Until now, the poems of that time do not lose their charm and originality, even against the background of modern creativity. As we know, the works of the Futurists, Imagists and Symbolists became the basis of many famous songs. Therefore, in order to understand the current cultural realities, it is necessary to know the primary sources that we have listed in this article.

The Silver Age is one of the main, key periods of Russian poetry, covering the period of the late XIX - early XX centuries. The debate about who was the first to use this term is still going on. Some believe that the "Silver Age" belongs to Nikolai Avdeevich Otsup, a well-known critic. Others are inclined to believe that the term was introduced thanks to the poet Sergei Makovsky. But there are also options regarding Nikolai Aleksandrovich Berdyaev, a famous Russian philosopher, Razumnikov Vasilyevich Ivanov, a Russian literary critic, and the poet Vladimir Alekseevich Piast. But one thing is certain: the definition was coined by analogy with another, no less important period - the Golden Age of Russian literature.

As for the time frame of the period, they are arbitrary, since it is difficult to establish the exact dates for the birth of the Silver Age of poetry. The beginning is usually associated with the work of Alexander Alexandrovich Blok and his symbolism. The end is attributed to the date of the execution of Nikolai Stepanovich Gumilyov and the death of the previously mentioned Blok. Although echoes of this period can be found in the work of other famous Russian poets - Boris Pasternak, Anna Akhmatova, Osip Mandelstam.

Symbolism, Imagism, Futurism and Acmeism are the main currents of the Silver Age. All of them belong to such a direction in art as modernism.

The main philosophy of modernism was the idea of ​​positivism, that is, hope and faith in the new - in a new time, in a new life, in the formation of the newest / modern. People believed that they were born for something high, they have their own destiny, which they must fulfill. Now culture is aimed at eternal development, constant progress. But all this philosophy collapsed with the advent of wars. It was they who forever changed the worldview and attitude of people.

Futurism

Futurism is one of the directions of modernism, which is an integral part of the Russian avant-garde. For the first time, this term appeared in the manifesto "Slap in the face of public taste", written by members of the St. Petersburg group "Gileya". It included Vladimir Mayakovsky, Vasily Kamensky, Velimir Khlebnikov and other authors, who were most often called "budetlyane".

Paris is considered the ancestor of futurism, but its founder comes from Italy. However, it was in France in 1909 that Filippo Tommaso Marinetti's manifesto was published, skimping on the place of this trend in literature. Further, futurism "came" to other countries. Marinetti has shaped attitudes, ideas and thoughts. He was an eccentric millionaire, most of all fond of cars and women. However, after the accident, when the man lay next to the pulsing heart of the engine for several hours, he decided to sing the beauty of an industrial city, the melody of a rumbling car, the poetics of progress. Now the ideal for man was not the surrounding natural world, but the urban landscape, the noise and roar of the bustling metropolis. The Italian also admired the exact sciences and came up with the idea of ​​composing poetry using formulas and graphs, created a new “ladder” size, etc. However, his poetry turned out to be something like another manifesto, a theoretical and lifeless rebellion against old ideologies. From the point of view of artistry, a breakthrough in futurism was made not by its founder, but by the Russian admirer of his discovery - Vladimir Mayakovsky. In 1910, a new literary trend comes to Russia. Here it is represented by the four most influential groups:

  • Moscow group "Centrifuge" (Nikolai Aseev, Boris Pasternak, etc.);
  • The previously mentioned St. Petersburg group "Gileya";
  • Petersburg group "Moscow Egofuturists" under the control of the publishing house "Petersburg Herald" (Igor Severyanin, Konstantin Olimpov, etc.);
  • Moscow group "Moscow ego-futurists" under the control of the publishing house "Mezzanine of Art" (Boris Lavrenev, Vadim Shershenevich, etc.).

    • Since all these groups had a huge influence on futurism, it developed heterogeneously. There were such offshoots as egofuturism and cubofuturism.

    Futurism influenced not only literature. He also had a great influence on painting. A characteristic feature of such canvases is the cult of progress and protest against traditional artistic canons. This trend combines the features of cubism and expressionism. The first exhibition took place in 1912. Then in Paris they showed pictures that depicted various means of transportation (cars, planes, etc.). Futurist artists believed that technology would take the lead in the future. The main innovative move was an attempt to depict movement in statics.

    The main features of this trend in poetry are as follows:

    • the denial of everything old: the old way of life, the old literature, the old culture;
    • orientation to the new, the future, the cult of change;
    • feeling of imminent change;
    • creation of new forms and images, countless and radical experiments:
    • the invention of new words, speech turns, sizes.
    • desemantization of speech.

    Vladimir Mayakovsky

    Vladimir Vladimirovich Mayakovsky (1893-1930) is a famous Russian poet. One of the greatest representatives of futurism. He began literary experiments in 1912. Thanks to the poet, such neologisms as “nate”, “hollow-shtanny”, sickle” and many others were introduced into the Russian language. Vladimir Vladimirovich also made a huge contribution to versification. His "ladder" helps to correctly place accents when reading. And the lyrical lines in the creation “Lilichka! (Instead of a letter) "became the most poignant love confessions in the poetry of the 20th century. We have discussed it in detail in a separate article.

    The most famous works of the poet include the following examples of futurism: the previously mentioned "", "V.I. Lenin", "", poems "I get out of wide trousers", "Could you? (Listen!) ”,“ Poems about the Soviet passport ”,“ Left March ”,“ ”, etc.

    Mayakovsky's main themes include:

    • the place of the poet in society and his purpose;
    • patriotism;
    • glorification of the socialist system;
    • revolutionary theme;
    • love feelings and loneliness;
    • purposefulness on the way to a dream.

    After October 1917, the poet (with rare exceptions) was inspired only by revolutionary ideas. He sings of the power of change, the Bolshevik ideology and the greatness of Vladimir Ilyich Lenin.

    Igor Severyanin

    Igor Severyanin (1887 - 1941) is a famous Russian poet. One of the representatives of egofuturism. First of all, he is known for his outrageous poetry, where his own personality is sung. The Creator was sure that he was a pure incarnation of genius, so he often behaved selfishly and arrogantly. But that was only in public. In ordinary everyday life, Severyanin was no different from others, and after emigrating to Estonia, he completely “tied up” with modernist experiments and began to develop in line with classical poetry. His most famous works are the poems "!", "Nightingales of the monastery garden", "Classic roses", "Nocturne", "A girl was crying in the park" and the collections "The Thundering Cup", "Victoria regia", "Zlatolira". We have covered it in detail in another article.

    The main themes of Igor Severyanin's work:

    • technical progress;
    • own genius;
    • the poet's place in society;
    • love theme;
    • satire and scourging of social vices;
    • politics.

    He was the first poet in Russia to boldly call himself a futurist. But in 1912, Igor Severyanin founded a new, own trend - ego-futurism, which is characterized by the use of foreign words and the presence of a sense of "selfishness".

    Alexey Kruchenykh

    Alexey Eliseevich Kruchenykh (1886 - 1968) - Russian poet, journalist, artist. One of the representatives of Russian futurism. The creator became famous for bringing “zaum” into Russian poetry. “Zaum” is an abstract speech, devoid of any meaning, which allows the author to use any words (strange combinations, neologisms, parts of words, etc.). Aleksey Kruchenykh even issues his own “Declaration of the abstruse language”.

    The most famous poem of the poet is “Dyr bul schyl”, but there are other works: “Reinforced concrete weights - at home”, “Left”, “Rainforest”, “In the gambling house”, “Winter”, “Death of the artist, “Rus” and others.

    The main themes of Khlebnikov's work include:

    • the theme of love;
    • the theme of the language;
    • creation;
    • satire;
    • food theme.

    Velimir Khlebnikov

    Velimir Khlebnikov (1885 - 1922) - a famous Russian poet, one of the main figures of the avant-garde in Russia. He became famous, first of all, for being the founder of futurism in our country. Also, one should not forget that it was thanks to Khlebnikov that radical experiments began in the field of “creativity of the word” and the previously mentioned “zaumi”. Sometimes the poet was also called "the chairman of the globe." The main works are poems, poems, superstories, autobiographical materials and prose. Examples of futurism in poetry include:

    • "Bird in a cage";
    • "Vremysh - reeds";
    • "Out of the bag";
    • "Grasshopper" and others.

    For poems:

    • "Menagerie";
    • "Forest longing";
    • “Love comes like a terrible whirlwind”, etc.

    Super stories:

    • "Zangezi";
    • "War in the Mousetrap".
    • "Nikolai";
    • “Great is the day” (Imitation of Gogol);
    • "Cliff from the future".

    Autobiographical materials:

    • "Autobiographical note";
    • "Answers to the questionnaire of S. A. Vegnerov."

    The main themes of V. Khlebnikov's work:

    • the theme of the revolution and its glorification;
    • the theme of predestination, rock;
    • connection of times;
    • the theme of nature.

    Imagism

    Imagism is one of the currents of the Russian avant-garde, which also appeared and spread in the Silver Age. The concept comes from the English word "image", which translates as "image". This direction is an offshoot of futurism.

    Imagism first appeared in England. The main representatives were Ezra Pound and Percy Wyndham Lewis. Only in 1915 did this trend reach our country. But Russian Imagism differed significantly from English. In fact, only the name remained from it. For the first time the Russian public heard the works of Imagism on January 29, 1919 in the building of the All-Russian Union of Poets in Moscow. It provides that the image of the word rises above the idea, the idea.

    For the first time the term "Imagism" appears in Russian literature in 1916. It was then that Vadim Shershenevich's book "Green Street ..." was published, in which the author announced the emergence of a new trend. More extensive than futurism.

    Just like Futurism, Imagism influenced painting. The most popular artists are: Georgy Bogdanovich Yakulov (avant-garde artist), Sergey Timofeevich Konenkov (sculptor) and Boris Robertovich Erdman.

    The main features of Imagism:

    • dominance of the image;
    • extensive use of metaphors;
    • content of the work = development of the image + epithets;
    • epithet = comparisons + metaphors + antithesis;
    • poems perform, above all, an aesthetic function;
    • one work = one figurative catalogue.

    Sergey Yesenin

    Sergei Alexandrovich Yesenin (1895 - 1925) - a famous Russian poet, one of the most popular representatives of Imagism, an outstanding creator of peasant lyrics. we described in an essay about his contribution to the culture of the Silver Age.

    During his short life, he managed to become famous for his outstanding creativity. Everyone read his heartfelt poems about love, nature, the Russian village. But the poet was also known for being one of the founders of Imagism. In 1919, he, along with other poets - V.G. Shershenevich and A.B. Mariengof - for the first time told the public about the principles of this movement. The main feature was that the poems of the Imagists can be read from the bottom up. At the same time, the essence of the work does not change. But in 1922, Sergei Alexandrovich realized that this innovative creative association was very limited, and in 1924 he wrote a letter announcing the closure of the Imagist group.

    The main works of the poet (it should be noted that not all of them are written in the style of Imagism):

    • “Goy you, Russia, my dear!”;
    • "Letter to a woman";
    • "Hooligan";
    • “You don’t love me, you don’t regret ...”;
    • "I have one fun left";
    • Poem "";

    The main themes of Yesenin's work:

    • theme of the Motherland;
    • the theme of nature;
    • love lyrics;
    • longing and spiritual crisis;
    • nostalgia;
    • rethinking the historical transformations of the 20th century

    Anatoly Mariengof

    Anatoly Borisovich Mariengof (1897 - 1962) - Russian imaginist poet, playwright, prose writer. Together with S. Yesenin and V. Shershenevich, he founded a new direction of avant-garde - imaginism. First of all, he became famous for his revolutionary literature, since most of his works praise this political phenomenon.

    The main works of the poet include such books as:

    • "A novel without lies";
    • "" (1991 a film adaptation of this book was released);
    • "Shaved Man";
    • "Immortal Trilogy";
    • "Anatoly Mariengof about Sergei Yesenin";
    • "Without a fig leaf";
    • "Showcase of the Heart"

    To poems-examples of Imagism:

    • "Meeting";
    • "Jugs of Memory";
    • "March of revolutions";
    • "Hands with a tie";
    • "September" and many others.

    Themes of Mariengof's works:

    • revolution and its chanting;
    • the theme of "Russianness";
    • bohemian life;
    • socialist ideas;
    • anticlerical protest.

    Together with Sergei Yesenin and other Imagists, the poet participated in the creation of issues of the magazine Hotel for Travelers in Beauty and the book The Imagists.

    Symbolism

    - a trend headed by an innovative image-symbol that replaced the artistic one. The term "symbolism" comes from the French "symbolisme" and the Greek "symbolon" - a symbol, a sign.

    France is considered to be the ancestor of this trend. After all, it was there, in the 18th century, that the famous French poet Stéphane Mallarmé united with other poets to create a new literary movement. Then the symbolism "migrated" to other European countries, and already at the end of the 18th century it came to Russia.

    For the first time this concept appears in the works of the French poet Jean Moreas.

    The main features of symbolism include:

    • dual world - division into reality and the illusory world;
    • musicality;
    • psychologism;
    • the presence of a symbol as the basis of meaning and idea;
    • mystical images and motives;
    • reliance on philosophy;
    • cult of individuality.

    Alexander Blok

    Alexander Alexandrovich Blok (1880-1921) is a famous Russian poet, one of the most important representatives of symbolism in Russian poetry.

    The block belongs to the second stage of development of this trend in our country. He is a "junior symbolist", who embodied in his works the philosophical ideas of the thinker Vladimir Sergeevich Solovyov.

    The main works of Alexander Blok include the following examples of Russian symbolism:

    • "On the railway";
    • "Factory";
    • “Night, street, lamp, pharmacy…”;
    • "I enter dark temples";
    • "The girl sang in the church choir";
    • "I'm scared to meet you";
    • "Oh, I want to live crazy";
    • poem "" and much more.

    Blok's themes:

    • the theme of the poet and his place in the life of society;
    • the theme of sacrificial love, love-worship;
    • the theme of the Motherland and understanding of its historical fate;
    • beauty as an ideal and the salvation of the world;
    • the theme of the revolution;
    • mystical and folklore motifs

    Valery Bryusov

    Valery Yakovlevich Bryusov (1873 - 1924) - Russian symbolist poet, translator. One of the most famous representatives of the Silver Age of Russian poetry. He stood at the origins of Russian symbolism along with A.A. Block. The success of the creator began with the scandal associated with the monostich "Oh, close your pale legs." Then, after the publication of even more defiant works, Bryusov finds himself at the epicenter of fame. He is invited to various secular and poetic evenings, and his name becomes a real brand in the art world.

    Examples of symbolist verses:

    • "Its end";
    • "In past";
    • "Napoleon";
    • "Woman";
    • "Shadows of the Past";
    • "Mason";
    • "Tormenting gift";
    • "Clouds";
    • "Images of Time".

    The main themes in the work of Valery Yakovlevich Bryusov:

    • mysticism and religion;
    • problems of personality and society;
    • departure to a fictional world;
    • the history of homeland.

    Andrey Bely

    Andrey Bely (1880 - 1934) - Russian poet, writer, critic. Just like Blok, Bely is considered one of the most famous representatives of symbolism in our country. It is worth noting that the creator supported the ideas of individualism and subjectivism. He believed that symbolism represents a certain worldview of a person, and not just a trend in art. He considered the language of signs to be the highest manifestation of speech. The poet was also of the opinion that all art is a kind of spirit, the mystical energy of higher powers.

    He called his works symphonies, including "Dramatic", "Northern", "Symphonic" and "Return". Famous poems include: “And the water? The moment is clear ... "," Asya (Azure is pale), "Balmont", "Madman" and others.

    Themes in the poet's work are:

    • the theme of love or passion for a woman;
    • struggle against petty-bourgeois vulgarity;
    • ethical and moral aspects of the revolution;
    • mystical and religious motives;

    Konstantin Balmont

    Konstantin Dmitrievich Balmont (1867 - 1942) - Russian symbolist poet, literary critic and writer. He became famous for his "optimistic narcissism". According to the famous Russian poet Anninsky, he raised the most important philosophical questions in his works. The main works of the poet are the collections "Under the Northern Sky", "We'll Be Like the Sun" and "Burning Buildings" and the well-known poems "Butterfly", "In the Blue Temple", "There is no day that I do not think about You ...". These are very illustrative examples of symbolism.

    The main themes in the work of Balmont:

    • the sublime place of the poet in society;
    • individualism;
    • the theme of infinity;
    • questions of being and non-being;
    • beauty and mystery of the surrounding world.

    Vyacheslav Ivanov

    Vyacheslav Ivanovich Ivanov (1866 - 1949) - poet, critic, playwright, translator. Although he survived the heyday of symbolism much, he still remained true to his aesthetic and literary principles. The creator is known for his idea of ​​Dionysian symbolism (he was inspired by the ancient Greek god of fertility and wine, Dionysus). His poetry was dominated by ancient images and philosophical questions posed by ancient Greek philosophers like Epicurus.

    Ivanov's main works:

    • "Alexander Blok";
    • "The ark";
    • "News";
    • "Scales";
    • "Contemporaries";
    • "Valley - temple";
    • "The Sky Lives"

    Topics of creativity:

    • the secret of natural harmony;
    • the theme of love;
    • the theme of life and death;
    • mythological motives;
    • true nature of happiness.

    Acmeism

    Acmeism is the last trend that made up the poetry of the Silver Age. The term comes from the Greek word "acme", which means the dawn of something, the peak.

    As a literary manifestation, acmeism was formed at the beginning of the 20th century. Beginning in 1900, young poets began to gather in the apartment of the poet Vyacheslav Ivanov in St. Petersburg. In 1906-1907 a small group broke away from everyone and formed a "circle of young people". He was distinguished by the desire to move away from symbolism and form something new. Also, the literary group "Workshop of Poets" made a great contribution to the development of acmeism. It included such poets as Anna Akhmatova, Osip Mandelstam, Georgy Adamovich, Vladimir Narbut and others. The workshop was headed by Nikolay Gumilyov and Sergey Gorodetsky. After 5 - 6 years, another part separated from this group, which began to call themselves acmeists.

    Acmeism is also reflected in painting. The views of such artists as Alexandre Benois (“Marquise’s Bath” and “The Venetian Garden”), Konstantin Somov (“The Mocked Kiss”), Sergei Sudeikin and Leon Bakst (all of whom were part of the art group of the late 19th century “The World of Arts”) were similar to the views of acmeist writers. In all the pictures we can see how the modern world is opposed to the world of the past. Each canvas is a kind of stylized decoration.

    The main features of acmeism:

    • rejection of the ideas of symbolism, opposition to them;
    • return to the origins: connection with past poets and literary movements;
    • the symbol is no longer a way to influence / influence the reader;
    • the absence of everything mystical;
    • connection of physiological wisdom with the inner world of man.
    • Striving for simplicity and ultimate clarity of the image, theme, style.

    Anna Akhmatova

    Anna Andreevna Akhmatova (1889 - 1966) - Russian poetess, literary critic, translator. She is also a nominee for the Nobel Prize in Literature. As a talented poetess, the world recognized her in 1914. It was in this year that the collection "Rosary" was released. Further, her influence in bohemian circles only increased, and the poem "" provided her with scandalous fame. In the Soviet Union, criticism did not favor her talent, mainly her fame went underground, to samizdat, but the works from her pen were copied by hand and learned by heart. It was she who patronized Joseph Brodsky in the early stages of his work.

    Significant creations include:

    • “I learned to live simply, wisely”;
    • “She clenched her hands over a dark veil”;
    • “I asked the cuckoo…”;
    • "Grey-eyed king";
    • "I'm not asking for your love";
    • “And now you are heavy and dull,” and others.

    Poetry themes include:

    • the theme of conjugal and maternal love;
    • the theme of true friendship;
    • the theme of Stalinist repressions and the suffering of the people;
    • the theme of the war;
    • the place of the poet in the world;
    • reflection on the fate of Russia.

    Basically, the lyrical works of Anna Akhmatova are written in the direction of acmeism, but sometimes there are manifestations of symbolism, most often against the background of some kind of action.

    Nikolay Gumilyov

    Nikolai Stepanovich Gumilev (1886 - 1921) - Russian poet, critic, prose writer and literary critic. At the beginning of the 20th century, he was already part of the “Workshop of Poets” already known to you. It was thanks to this creator and his colleague Sergei Gorodetsky that acmeism was founded. They spearheaded this pioneering separation from the general group. Gumilyov's poems are understandable and transparent, they do not contain pomposity and zaum, so they are still rehearsed and played on stages and music tracks. He speaks simply, but beautifully and sublimely about complex feelings and thoughts. For his connection with the White Guards, he was shot by the Bolsheviks.

    The main works include:

    • "Giraffe";
    • "The Lost Tram";
    • “Remember more than once”;
    • "From a bouquet of a whole lilac";
    • "Comfort";
    • "The escape";
    • "I laughed at myself";
    • "My Readers" and much more.

    The main theme of Gumilyov's poetry is overcoming life's failures and obstacles. He also touched upon philosophical, love, military topics. His view of art is curious, because for him creativity is always a sacrifice, always an anguish, to which you surrender without a trace.

    Osip Mandelstam

    Osip Emilievich Mandelstam (1891 - 1938) - a famous poet, literary critic, translator and prose writer. He is the author of original love lyrics, dedicated many poems to the city. His work is distinguished by a satirical and clearly oppositional orientation in relation to the current authorities at that time. He was not afraid to touch on topical issues and ask uncomfortable questions. For his caustic and insulting "dedication" to Stalin, he was arrested and convicted. The mystery of his death in the labor camp remains unsolved to this day.

    Examples of acmeism can be found in his works:

    • Notre Dame;
    • “We live without feeling the country under us”;
    • "Insomnia. Homer. Tight sails…”;
    • Silentium;
    • "Self-portrait";
    • “The evening is gentle. Twilight is important…”;
    • "You smile" and much more.

    Themes in the work of Mandelstam:

    • the beauty of Petersburg;
    • the theme of love;
    • the place of the poet in public life;
    • the theme of culture and freedom of creativity;
    • political protest;
    • poet and power.

    Sergei Gorodetsky

    Sergei Mitrofanovich Gorodetsky (1884 - 1967) - Russian poet - acmeist, translator. His work is characterized by the presence of folklore motifs, he was fond of folk epos and ancient Russian culture. After 1915 he became a peasant poet, describing the customs and life of the village. While working as a war correspondent, he created a cycle of poems dedicated to the Armenian genocide. After the revolution, he was mainly engaged in translations.

    Significant works of the poet, which can be considered examples of acmeism:

    • "Armenia";
    • "Birch";
    • cycle "Spring";
    • "Town";
    • "Wolf";
    • “My face is a hiding place of births”;
    • "Remember, the blizzard came";
    • "Lilac";
    • "Snow";
    • "Series".

    The main themes in the poems of Sergei Gorodetsky:

    • the natural splendor of the Caucasus;
    • the theme of the poet and poetry;
    • Armenian genocide;
    • the theme of the revolution;
    • the theme of the war;
    • love and philosophical lyrics.

    Creativity of Marina Tsvetaeva

    Marina Ivanovna Tsvetaeva (1892-1941) is a well-known Russian poetess, translator, prose writer. First of all, she is known for her love poems. She also tended to reflect on the ethical aspects of the revolution, and nostalgia for the old times was traced in her works. Perhaps that is why she was forced to leave the country of the Soviets, where her work was not appreciated. She knew other languages ​​brilliantly, and her popularity spread not only to our country. The talent of the poetess is admired in Germany, France and the Czech Republic.

    The main works of Tsvetaeva:

    • "Come, you look like me";
    • “I will win you back from all lands, from all heavens ..”;
    • "Homesickness! For a long time…";
    • “I like that you are not sick with me”;
    • "I would like to live with you";

    The main themes in the work of the poetess:

    • theme of the Motherland;
    • the theme of love, jealousy, separation;
    • theme of home and childhood;
    • the theme of the poet and his significance;
    • the historical fate of the fatherland;
    • spiritual relationship.

    One amazing feature of Marina Tsvetaeva is that her poems do not belong to any literary movement. All of them are outside any direction.

    The work of Sofia Parnok

    Sofia Yakovlevna Parnok (1885 - 1933) - Russian poetess, translator. She gained fame thanks to a scandalous friendship with the famous poetess Marina Tsvetaeva. The fact is that communication between them was attributed to something more than friendly relations. Parnok was also awarded the nickname "Russian Sappho" for her statements about the right of women to non-traditional love and equal rights with men.

    Main works:

    • "White Night";
    • “In a barren land no grain can grow”;
    • “Not yet spirit, almost not flesh”;
    • "I love you in your space";
    • "How bright the light is today";
    • "Divination";
    • "The lips were too tight."

    The main themes in the work of the poetess are prejudice-free love, spiritual connection between people, independence from public opinion.

    Parnok does not belong to a certain direction. All her life she tried to find her special place in literature, not tied to a particular trend.

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). This also includes the authors of the Russian abroad, whose work is also considered in line with modernism ( cm. LITERATURE OF THE RUSSIAN ABROAD). There is another approach that seeks to consider the entire frontier era as a single whole, in a complex relationship not only with different literary movements, but also with all the phenomena of the cultural life of this period (art, philosophy, religious and political movements). Such an idea of ​​the "Silver Age" has been widespread in recent decades both in Western and domestic science.

The boundaries of the designated period are defined by different researchers in different ways. The beginning of the Silver Age is dated by most scientists to the 1890s, some to the 1880s. Differences regarding its final border are great (from 1913–1915 to the middle of the 20th century). However, the point of view is gradually being asserted that the "Silver Age" came to an end in the early 1920s.

In modern use, the expression "silver age" either does not have an evaluative character, or carries a touch of poeticization (silver as a noble metal, lunar silver, special spirituality). The original use of the term was rather negative, since the silver age coming after the golden one implies recession, degradation, decadence. This idea goes back to antiquity, to Hesiod and Ovid, who built the cycles of human history in accordance with the change of generations of the gods (under the titan Kronos-Saturn there was a golden age, under his son Zeus-Jupiter came a silver one). The metaphor of the "golden age" as a happy time for mankind, when eternal spring reigned and the earth itself bore fruit, received a new development in European culture, starting with the Renaissance (primarily in pastoral literature). Therefore, the expression "silver age" should have indicated a decrease in the quality of the phenomenon, its regression. With this understanding, Russian literature of the Silver Age (modernism) was opposed to the "golden age" of Pushkin and his contemporaries as "classical" literature.

R. Ivanov-Razumnik and V. Piast, who were the first to use the expression "silver age", did not oppose it to Pushkin's "golden age", but distinguished it in the literature of the early 20th century. two poetic periods ("golden age", strong and talented poets; and "silver age", poets of lesser power and lesser importance). For Piast, the "silver age" is primarily a chronological concept, although the succession of periods correlates with a certain lowering of the poetic level. On the contrary, Ivanov-Razumnik uses it as an estimate. For him, the "Silver Age" is the decline of the "creative wave", the main features of which are "self-sufficient technique, a decrease in spiritual take-off with an apparent increase in the technical level, the brilliance of form."

N. Otsup, popularizer of the term, also used it in different senses. In a 1933 article, he defined the Silver Age not so much chronologically as qualitatively, as a special type of creativity.

In the future, the concept of "Silver Age" was poeticized and lost its negative connotation. It was rethought as a figurative, poetic designation of an era marked by a special type of creativity, a special tone of poetry, with a touch of high tragedy and exquisite refinement. The expression "silver age" replaced analytical terms and provoked disputes about the unity or contradictory nature of the processes of the early 20th century.

The phenomenon that the term “Silver Age” denotes was an unprecedented cultural upsurge, the tension of creative forces that came in Russia after the populist period, marked by positivism and a utilitarian approach to life and art. The "decomposition of populism" in the 1880s was accompanied by a general mood of decline, "the end of the century." In the 1890s, overcoming the crisis began. Organically perceiving the influence of European modernism (primarily symbolism), Russian culture created its own versions of the “new art”, which marked the birth of a different cultural consciousness.

Despite the difference in poetics and creative attitudes, the modernist currents that arose in the late 19th and early 20th centuries proceeded from the same ideological root and had many common features. “What united the young Symbolists was not a common program ... but the same determination of denial and rejection of the past, the“ no ”thrown in the face of the fathers,” wrote in his Memoirs A. Bely. This definition can be extended to the entire set of directions that arose at that time. Contrary to the idea of ​​the “usefulness of art”, they asserted the inner freedom of the artist, his selectivity, even messianism, and the transformative role of art in relation to life. N. Berdyaev, who called this phenomenon “Russian cultural renaissance” (or “Russian spiritual renaissance”), described it this way: “Now we can definitely say that the beginning of the 20th century was marked in our country by a renaissance of spiritual culture, a philosophical and literary and aesthetic renaissance, an religious and mystical sensibility. Never before has Russian culture reached such refinement as at that time.” Unlike critics who preferred the expression "silver age", Berdyaev did not oppose the beginning of the 20th century. Pushkin's era, but brought them closer: "There was a similarity with the romantic and idealistic movement of the early 19th century." He expressed the general feeling of a turning point, a transition that prevailed at the turn of the 19th and 20th centuries: “In the part of the Russian intelligentsia, the most cultured, most educated and gifted, a spiritual crisis took place, there was a transition to a different type of culture, more perhaps close to the first half of the 19th century than to the second. This spiritual crisis was associated with the decomposition of the integrity of the revolutionary intellectual worldview, oriented exclusively socially, it was a break with the Russian "enlightenment", with positivism in the broad sense of the word, it was the proclamation of the rights to the "other world". That was the liberation of the human soul from the yoke of sociality, the liberation of creative forces from the yoke of utilitarianism.

Apocalyptic aspirations, a sense of crisis both in life and in art, were associated with the spread in Russia of the ideas of Schopenhauer, Nietzsche and Spengler, on the one hand, and with the anticipation of new revolutions, on the other. Some directions fixed the state of chaos associated with the awareness of the “end” (expressionism), some called for renewal and hoped for a future that was already approaching. This focus on the future gave rise to the idea of ​​a “new man”: the Nietzsche Superman and the androgyne of the symbolists, the New Adam of the acmeists, the “future man” of the futurists ( cm. FUTURISM). At the same time, even within the same direction, opposite aspirations coexisted: extreme individualism, aestheticism (in the decadent part of symbolism) and the preaching of the World Soul, the new Dionysianism, catholicity (among the “younger” symbolists). The search for truth, the ultimate meaning of being, resulted in various forms of mysticism, and occultism, which was popular in the early 19th century, came into fashion again. A characteristic expression of these sentiments was the novel by V. Bryusov Fire Angel. There was an interest in Russian sectarianism (“Khlystism” by N. Klyuev, some motives in the poetry of S. Yesenin, a novel silver dove White). Turning inward, neo-romantic intoxication with the depths of the human "I" was combined with the rediscovery of the world in its sensually comprehended objectivity. A special trend at the turn of the century was a new myth-making, also associated with the expectation of the emerging future, with the need to rethink human existence. The fusion of everyday and existential, everyday life and metaphysics is distinguishable in the works of writers of different directions.

At the same time, there was a general desire to renew the artistic form, to relearn the language. The modernization of verse, begun by the experiments of the Symbolists, who introduced rare words and combinations into poetry, was brought to a poetic "zaum" by the Futurists. The Symbolists, developing the precepts of Verlaine (“Music first!”) and Mallarme (with his idea of ​​inspiring a certain mood, “suggestive” poetry), were looking for some kind of “magic of words”, in which their special, musical combination would be correlated with a secret, inexpressible content . Bryusov described the birth of a symbolist work in the following way: “Words lose their usual meaning, figures lose their concrete meaning, - there remains a means to master the elements of the soul, to give them voluptuous-sweet combinations, which we call aesthetic pleasure.” Bely saw in the “embodied”, “living” (creative) word a saving principle that protects a person from death in the “epoch of general decline”: “from under the dust of a collapsing culture we call and conjure with the sounds of words”; "humanity is alive as long as the poetry of language exists" ( Word magic, 1910). Picking up the thesis of the symbolists about the significance of the word for life-building, the Moscow futurists-“budetlyane” proposed a radical approach to updating linguistic means. They proclaimed the value of a "self-made word", "an existing word outside of life and life's usefulness", the need for word creation, the creation of a new, "universal" language. V. Khlebnikov was looking for "a magic stone for the transformation of all Slavic words from one to another." A. Kruchenykh wrote: “The greatest expressiveness is achieved by cut words and their bizarre cunning combinations (abstruse language), and this is precisely what distinguishes the language of rapid modernity. V. Mayakovsky, who reformed poetry not so much with the help of "zaumi", but rather through the introduction of colloquial words, neologisms, expressive images, also sought to "bring the future closer with the help of poetry." Acmeists, with a different meaning, called for appreciating the “word as such” - in its entirety, in the unity of its form and content, in its reality as a material, like a stone that becomes part of an architectural structure. The clarity of the poetic image, the rejection of the nebulousness and mysticism of the symbolists and the futurist sound game, the “healthy” relationship between word and meaning - these were the requirements of the acmeists who wanted to return poetry from the field of pure experiment to harmony and life. Another variant of the creative program was presented by Imagism. The orientation towards a bright, unexpected image and the “rhythm of images” was proclaimed by the Imagists in their Declarations(1919). The basis of their method was the creation of a metaphor by combining incompatible, remote in meaning concepts and objects, "an image as an end in itself", "an image as a theme and content".

Poetic achievements were developed and continued in prose. The “stream of consciousness” technique, non-linear narration, the use of leitmotifs and montage as principles of text organization, expressiveness and even illogicality of images characterize the prose works of symbolism and expressionism ( Petersburg white, Drops of blood And petty imp F. Sologub, prose by E. Gabrilovich and L. Andreev).

In their own way, writers who continued the tradition of realism (A. Chekhov, I. Bunin, A. Kuprin, I. Shmelev, B. Zaitsev, A. N. Tolstoy), and Marxist writers (M. Gorky) met the requirements for updating the artistic form . Neorealism in the early 20th century accepted the creative discoveries of the modernists. Comprehension of being through everyday life is the main feature of this direction. Not just to depict reality, but to listen "to the mysterious rhythm that is full of world life", to give contemporaries the necessary philosophy of life called on the theorist of the "new realists" V. Veresaev. The turn from the positivism of the "old realists" towards questions of being was combined with a change in poetics, which was reflected primarily in the "lyricization" of prose. However, there was also a reverse influence of realistic depiction, expressed in the "objectification" of poetry. This is how one of the essential features of this period manifested itself - the desire for artistic synthesis. Synthetic in nature was the desire to bring poetry closer to music, philosophy (among the Symbolists), and social gesture (among the Futurists).

Similar processes took place in other arts: in painting, in theater, in architecture and in music. So, symbolism corresponded to the “total”, which spread to all fine and applied arts, as well as to architecture, the “modern” style (in France it was called “Art Nouveau”, in Germany “Jugendstil”, in Austria the style of “Secession”). Impressionism, which arose as a trend in painting, created an equally powerful trend in music, influencing literature as well. The same can be said about expressionism, which gave equally significant results to painting, music, literature, dramaturgy. And this also affected the tendency towards synthesis, characteristic of that time. It was not accidental that such “synthetic” creators appeared as the composer and artist M. Churlionis, the poets and artists Voloshin, Mayakovsky, Kruchenykh and others.

The Russian theater experienced a special flourishing. Being basically synthetic, theatrical art absorbed influences coming from literature (drama), music (opera and ballet). Through scenography, he was connected with new artistic trends. Such artists as A. Benois, Bakst, M. Dobuzhinsky, N. Roerich turned to the design of dramatic, opera and ballet performances. Like other arts, the theater renounced the dictates of lifelikeness.

At the same time, along with the desire for unity, there was a desire for distinction, for a clear definition of one's own creative program. Numerous "trends", groups, associations that arose within each of the arts declared their artistic attitudes in theoretical manifestos, which were no less important part of creativity than its practical manifestations. The situation in successively replacing each other directions of modernist literature is indicative: each subsequent one determined itself in repulsion from the previous one, was affirmed through negation. Acmeism and futurism, inheriting symbolism, opposed themselves to it on various grounds, simultaneously criticizing each other and all other directions: acmeists in articles The legacy of symbolism and acmeism And Morning of acmeism, cubofuturists in the program manifesto A slap in the face of public taste (1912).

All these tendencies were reflected in philosophy and criticism.

In the same vein, the creativity of the figures of the first wave of emigration developed, transferring to the “other shores” the cultural forms developed in Russia.

Thus, the turn of the 19th–20th centuries. can be considered as a special stage of Russian culture, internally integral with all the diversity of its phenomena. He gave birth in Russia to a new consciousness of the “non-classical era” and a new art corresponding to it, in which the “re-creation” of reality was replaced by its creative “re-creation”.

Tatyana Mikhailova

Philosophy of the Silver Age

Conventionally, the beginning of the "Silver Age" in philosophy can be associated with the time between the two Russian revolutions. If before the first revolution of 1905 the Russian intelligentsia was more or less unanimous on the issue of the need for political reforms (considering the form of state government to be the main reason for the unsatisfactory state of affairs in the country and society), then after the introduction of basic constitutional freedoms in 1905, public minds are sent to search for new forms of views. to peace and life.

Philosophers and writers of this period for the first time comprehended the state of personal freedom and sought an answer to the question: "How to realize the freedom of a person for his personal and social development?" After the revolution of 1917 and the civil war, most of the philosophers of the "Silver Age" found themselves in exile, where their interests were increasingly concentrated on the religious side of the life of the Russian Orthodox community abroad. As a result of this, such a phenomenon of the spiritual culture of the 20th century as Russian religious philosophy arises.

The philosophers of the Silver Age traditionally include N.A. Berdyaev, S.N. Bulgakov, B.P. Vysheslavtsev, S.L. Frank, N.O. Lossky, F.A. Stepun, P.B. Struve, V. N. Ilyina, L.P. Karsavina,

In 1907 the St. Petersburg Religious and Philosophical Society was founded. During that period, the traditional themes of philosophical and religious thought were developed in new literary forms. The era of the "Silver Age" of Russian culture is rich in experiences of expressing metaphysical ideas in art. Such examples of "literary" metaphysics are the work of two writers and polemicists - D.S. Merezhkovsky and V.V. Rozanov.

The main platform for philosophers of the "Silver Age" is participation in literary and philosophical journals ("Logos", "New Ideas in Philosophy", publishing house "The Way") and collections. Collection Milestones (1909) (cm. VEKHI AND VEKHOVTSY) has a pronounced ideological character. The authors – M.O. At the same time, the tradition of Russian radicalism was subjected to the main criticism. Meaning Milestones as the most important document of the era was a kind of change in the philosophical paradigm of Russian society. But it must be borne in mind that the main transition to religious and philosophical views occurred with Berdyaev, Bulgakov, and Frank much later, already in exile.

The philosophers of the Silver Age had different fates: some of them left their homeland together with the “white movement”, some were expelled from Soviet Russia and lived in exile, some were repressed and died in the Stalin years. There were also those who were able to fit into university and academic philosophical life in the USSR. But, despite this, it is legitimate to conditionally unite these thinkers under the name "philosophers of the Silver Age" on the basis of a combination of broad erudition, based on the European cultural tradition, and literary and journalistic talent.

Fedor Blucher

Literature:

Ippolit Udushyev [Ivanov-Razumnik R. V.]. Look and Something. Excerpt.(To the centenary of "Woe from Wit"). - In: Modern Literature . L., 1925
Otsup N. silver Age. – In Sat: Numbers, ed. Nicholas Otsup. Book. 7–8. Paris, 1933
Weidle V. Russia's task. New York, 1956
Otsup N. Contemporaries. Paris, 1961
Makovsky C. On Parnassus« Silver Age» . Munich, 1962
Kolobaeva L.A. . The concept of personality in Russian literature at the turn 19 - start 20in. M., 1990
Gasparov M.L. Poetics« silver age". - In the book: Russian poetry of the "Silver Age": an anthology. M., 1993
Memories of the Silver Age. Comp. Kreid V. M., 1993
Berdyaev N. Russian spiritual renaissance of the early twentieth century and the journal« Way» (by the decade« Ways"). - In the book: Berdyaev N. Philosophy of creativity, culture and art. In 2 vols, v. 2. M., 1994
History of Russian Literature: 20th Century: The Silver Age. Ed. Niva J., Sermana I., Strady V., Etkinda E.M. M., 1995
Iezuitova L.A. What was called the "golden" and "silver age" in the cultural Russia of the 19th - early 20th century. – In: Gumilev Readings: Proceedings of the International Conference of Slavic Philologists . St. Petersburg, 1996
Etkind A. Sodom and Psyche: Essays on the Intellectual History of the Silver Age. M., 1996
Piast Vl. Meetings. M., 1997
Imagist poets. - Comp. E.M. Shneiderman. SPb. - M., 1997
Etkind A. Whiplash: Sects, Literature and Revolution. M., 1998
Bogomolov N.A. Russian literature of the early twentieth century and the occult. M., 1999
Hardy W. Art Nouveau guide. M., 1999
Ronen O. The Silver Age as intent and fiction. M., 2000
Keldysh V.A. Russian literature« silver age» as a complex entity. - In the book: Russian literature at the turn of the century (1890 - early 1920s) . M., 2001
Koretskaya I.V. Literature in the circle of arts. - In the book: Russian literature at the turn of the century (1890 - early 1920s). M., 2001
Isupov K.G. Philosophy and Literature of the Silver Age(approaches and intersections). - In the book: Russian literature at the turn of the century (1890 - early 1920s). M., 2001
Smirnova L.A. silver Age. - In the book: Literary encyclopedia of terms and concepts. M., 2003
Mildon V.I. Russian Renaissance, or Falsity« silver age» . – Questions of Philosophy. M., 2005, No. 1



Probably, you have repeatedly heard about such a concept as the "Silver Age". They call the period of the beginning of the 20th century, however, it would be wrong to say that this name relates directly to the entire history of the beginning of this century. And below we will understand why the beginning of the 20th century is called the Silver Age.

What is called the "Silver Age"

People who love literature and poetry probably know that there was such a time as the "Golden Age". The period of activity of such talented people as, for example, A.S. Pushkin. But time passed, artists and poets passed away, and the Golden Age rolled towards its decline.

Fortunately, talented people have always been and appear on the territory of Russia. And the 20th century was no exception. The beginning of the century was marked by a multitude of new and fresh names who were distinguished by their skills, skills, bright minds.

Why the beginning of the 20th century was called the "Silver Age"

Due to the appearance of such a large number of talented people, it became obvious that a new age had begun for the development of literature and art. Of course, the "Golden Age" has already been completed, and it would be incorrect to attribute modern history to it. Therefore, this period of the heyday of spiritual culture received a different, but very similar name. So the beginning of the 20th century became known as the Silver Age.

Chronological framework of the "Silver Age"

Of course, it is necessary to note what exactly is called the Silver Age in order to understand what is the chronology of this stage in the history of the flowering of domestic spiritual culture.

The beginning of the history of this century was laid in the 90s of the nineteenth century. And the next 25-30 years, which lasted until the twenties of the 20th century, became a story that admirers of beauty, lovers of literature and art, today know as the "Silver Age".

"Silver Age" in surnames

And in order to understand what kind of people of history the Silver Age gave, it is necessary to note some names that are probably familiar to each of us today, even if he is not a big fan of literature and culture.

This era has given us such people as:

  • Anna Akhmatova;
  • Boris Pasternak;
  • Igor Severyanin;
  • Alexander Blok;
  • Marina Tsvetaeva.

And the best thing is that this list can be continued for quite a long time. However, you can find out its continuation yourself. As well as get acquainted with the work of all these people. The main thing is that now you know why the Silver Age is called that.

The Silver Age is most often associated with the poetry of this time. Such names as A. A. Fet, F. I. Tyutchev, A. A. Blok and others come to mind.

The Silver Age has become a powerful contrast with the previous and, moreover, with the time that followed it. The ideology of the populists, which actually relegated art to the background and pushed forward socio-political activity, "subordinating" each person to society, became the main prerequisite for making changes. And they were reflected in the activities of the Symbolists, who extolled the individual principle, shaped the aesthetic taste of society.

The development of art began as a powerful wave that swept across Russia. This century was marked by a huge number of cultural events: life was stormy, acquaintance with domestic and foreign music took place, art exhibitions were organized everywhere, a huge number of poets preached the emergence of a new aesthetics, new ideals.

The exact date, as well as the exact place of origin of this era, cannot be determined. It arose everywhere, thanks to the simultaneous activity of a huge number of people who did not suspect the existence of each other. Many researchers associate the beginning of the Silver Age with the release of the first issue of the World of Art magazine, when a new aesthetics had already taken shape in people's minds.

Most scientists agree that the end of the century comes with the beginning of the Civil, i.e. in 1917. And, despite the fact that individual figures of the great era, such as Gumilyov, Blok still continued to live and give the world their work, the Silver Age itself has already sunk into oblivion.

Someone believes that the name of this period is given by analogy with the golden age of our culture, which took place in earlier periods (the 19th century).

The Silver Age is a century of contrasts. Every person who lived at that time was waiting for change. Only for some, these changes were presented in the form of a bright, cloudless future, and for others - impenetrable darkness. All the creative work of the great era is saturated with the same contradictions. Perhaps that is why such a short period of time gave the world such a huge number of cultural masterpieces.

From time immemorial, people have been informed about the coming changes by the sound of a bell. And so, by the way, A. Bely said in his poems: "... The silver bell struck ...". And later, N. Berdyaev called this century, the age of change and forebodings, silver. However, the exact authorship of this term has not yet been established. Along with the famous philosopher N. Berdyaev, S. Makovsky and N. Otsup also claimed it.

The Silver Age of Russia is characterized by an increase in the general literacy of the population, the emergence of well-informed and enlightened lovers of culture and art, it became possible to single out a fairly wide layer of educated people.

The expression "Silver Age" came into general use after the publication of Anna Akhmatova's collection "The Run of Time". It contained the following lines: "... And the silver month froze brightly over the silver age ...". It happened as early as 1965.

Religious and philosophical meetings (RFS) of representatives of the Russian intelligentsia and the Orthodox clergy opened in St. Petersburg on November 29, 1901 at the initiative of a group of writers.
For the first time the idea of ​​their organization was expressed by Z.N. Gippius and picked up by her husband D.S. Merezhkovsky and V.V. Rozanov. On October 8, 1901, authorized founding members of the RFU - D.S. Merezhkovsky, D.V. Philosophers, V.V. Rozanov, V.S. Mirolyubov and V.A. Ternavtsev - were received by the chief prosecutor of the Holy Synod K.P. Pobedonostsev. In the evening of the same day, the founding members of the RFU - D.S. Merezhkovsky, Z.N. Gippius, V.A. Ternavtseva, N.M. Minsky, V.V. Rozanova, D.V. Filosofova, L.S. Bakst and A.N. Benois received Metr. Anthony (Vadkovsky).
The RFU took place in the building of the Geographical Society.
The permanent chairman of the RFU was Bp. Yamburgsky Sergiy (Stragorodsky), Rector of St. Petersburg Academy of Sciences. The Council of Assemblies also included: a future participant in the Renovationist schism, Archim. Antonin (Granovsky), Protopresbyter I.L. Yanyshev, Archpriest S.A. Sollertinsky, D.S. Merezhkovsky, V.S. Mirolyubov (publisher of the journal Life for All), V.V. Rozanov, treasurer - V.A. Ternavtsev. Later, the original composition of the founding members was expanded to include Archim. Sergiy (Tikhomirov), V.M. Skvortsov (editor of the Missionary Review), M.A. Novoselov (publisher-editor of the "Religious and Philosophical Library"), Z.N. Gippius, D.V. Philosophers, A.V. Kartashev, V.V. Uspensky, N.M. Minsky, P.P. Pertsov, E.A. Egorov.
Many representatives of the literary and artistic elites of Russia of those times were visitors to the RFU, among them - I.E. Repin, A.N. Benois, V.Ya. Bryusov, L.S. Bakst, S.P. Diaghilev, A.A. Block.
A total of 22 RFU meetings took place. The following topics were discussed: “On the relationship of the Church to the intelligentsia”, “Leo Tolstoy and the Russian Church”, “On the relationship between the Church and the state”, “On freedom of conscience”, “On the spirit and flesh”, “On marriage”, “On dogmatic development Churches". The minutes of the meetings were published in the journal "New Way", then "Notes of the St. Petersburg Religious and Philosophical Meetings" (St. Petersburg, 1906) were published.
A common valuation of the RFS as manifestations of the religious and philosophical revival, the revival of Russian theological apologetic thought etc., does not coincide with the diatribe of St. rights. John of Kronstadt "On the Old and New Ways of Salvation" (March 1903). On April 5, 1903, by a decree of K.P. Pobedonostsev RFU were closed.
According to the plan of the organizers, during the RFU under the guise of discussing burning issues of religious and civil life of the Church it was proposed to reconsider the attitude to Orthodox dogmas, to heretical teachings, to state power and marriage, and thereby overcome a certain “internal crisis” that supposedly prevents the Russian Orthodox Church from fulfilling the “great task of public salvation”. In the first report of V.A. Ternavtsev called the Church give an answer not in word, but in deed to universal human requests. In subsequent speeches, the ideas of a religious renewal of society, "neo-Christianity", were put forward for the sake of saving Russia in its "hopeless" situation.
The results of the RFU, this meeting of the "two worlds", the participants, as a rule, evaluate negatively, noting the lack of dialogue, mutual understanding of the parties, the imminent closure of the meetings. Despite this imaginary disappointment with the results of the RFU, with t. Sp. modernists, the action was a success in its own way. Representatives of the Orthodox clergy, with the exception of St. John of Kronstadt, did not give a church-canonical assessment of the new false teachings that were voiced during the RFU.
The consequences of the RFU, as a manifestation of modernism in the Russian Church, can be traced far ahead, right up to the beginning of the 21st century. Literally each of the ideas voiced at the RFU: Gnostic mixing of the Church and the world, dogmatic development, immorality, "collective salvation", opposition to the foundations of Christian statehood and the public, etc. - received further development, both in the immediate period of the Renovationist split, and in subsequent years. This can be seen on the examples of the teachings of Mariology, the materials of the conference "The Sacrament of Marriage - the Sacrament of Unity" (St. Petersburg, 2008), the teachings of prof. A.I. Osipov, sectarian activity about. G. Kochetkova and others.

Quotes from speeches at the RFU:
D.S. Merezhkovsky: For us, theological science is not the last authority, not a peremptory instance. If it prevents us from going to Christ, then we recognize that it must be destroyed, not to leave stone unturned.
V.A. Ternavtsev: There is absolutely nothing to do with the dogmas preserved by the Church, either in the state, or in artistic creativity, or in the struggle for the organization of a good social life. Yes, with them one can renounce all this, but not build up... While Christianity is tragically divided into warring confessions and stands in conflict with the state and culture, we are told that everything is complete in the teaching of the Church. This is the most unfortunate mistake of our scholastic school theology.
D.V. Philosophers: In our doctors, female students, students, who went to the service of their neighbor in a famine year, there was an unconscious “religiosity”, since they were true to true love for the “earth”. But "religiosity" is not a religion. Faith in God was replaced by their faith in progress, civilization, in the categorical imperative. And now, before our eyes, the consciousness of society has grown, and the old ideals have ceased to satisfy it. Dostoevsky and Nietzsche clearly showed their futility, so as not to talk about spiritual writers. In the name of love for one's neighbor, without love for God, there can be no true work on earth. Without God, there can be no real culture that embraces the fullness of human existence... The Church, in contrast to an intelligent society, understood and consciously accepted only the first half of the commandment: “Love the Lord Your God with all your heart and with all your soul.” And unable to accommodate the second, she began to deny it, brought her love for God, her service to Him - to hatred of the world, to contempt for culture. Historical Christianity, right up to the 20th century, focused all its attention only on the ascetic side of the teaching of Christ, on serving God, neglecting in its one-sidedness that God's world, part of which are neighbors who work in the sweat of their faces.

Sources


1. St. John of Kronstadt. On the Old and New Ways of Salvation // Missionary Review. 1903. No. 5. SS. 690-692
2. Prot. G. Florovsky. Ways of Russian theology. Paris, 1937
3. S.M. Polovinkin. At the turn of the century (Religious and philosophical meetings in St. Petersburg in 1901-1903) // "Russia XXI". 2001. №6