художественото

The life of a genius is not measured by the average duration of human existence. Every passing day expands the boundaries of his immortality. The works of contemporaries give us the opportunity to better understand the greatness of genius. Genius is contemporary even after millennia. But one is the contemporaneity of Aristotle, another of Shakespeare, a third - of Marx. And hardly has the history of mankind known such a complete manifestation of Man with a capital letter, such penetration into the depths of the future, without leaving the real basis of the present, as was manifested in the work and personality of Lenin. 90 years have passed since his birth and only 36 years since his death, and the ideas of Leninism, the ideas of communism are increasingly becoming ideas of all working humanity, marking the path to the future.

A resourceful French artist painted Rabelais's portrait in an interesting composition: behind the great satirist stand Homer and Socrates - the one the embodiment of poetry, and the other - of wisdom. In front of Rabelais's brilliant work "Gargantua and Pantagruel" one can see a "crowd" of writers who have more or less experienced the influence of his ironic laughter. Among the crowd of artists are depicted such brilliant masters of the pen as Moliere, Swift, Lesage, Voltaire, Balzac, in whose satirical works, according to the artist, the unfading tradition of the cheerful French monk lives. Whatever the extent of Rabelais's influence on the work of these writers, their satire is still so peculiar, so "theirs" that we call it "Moliere's satire", "Swift's satire", "Balzac's satire", thereby expressing its peculiarity. Every gifted author who wields a Juvenal whip in his hand, without necessarily being in the ranks of those great morons I mentioned above, has his own characteristic sarcasm, or, so to speak, as many satirists exist in literature as there is bitter laughter.

The great poet resembles the sea: the more the diver enters into it, the deeper it becomes, the more wonderful and unsuspected beauties its depths reveal. We experience the same feeling when we want to stir up that wonderful peace of ideological and artistic values ​​that we call the poetry of Hristo Smirnenski. Four decades ago, the "discoverer" of Smirnenski as a poet and his first enthusiastic critic - Georgi Bakalov wrote about him: "He was a poet. A true poet. A juicy poet, as they say. A poet who is rarely born... There is no other poet in our country after Botev as popular among the masses as Smirnenski. The names of the two Hristovtsi are inseparably linked in the consciousness of the masses. Inseparable in immortality.

Elin Pelin's artistic mastery has already been written, but what has been said is still not enough. The history of the story "Lepo" is indicative of the direction of development of the great fiction writer, his growth as a writer with an original approach and view of our rural reality from the end of the last and the first decades of the present century. A comparison of the different editions of the story leads not only to a more accurate understanding of it, but also to a more complete clarification of Elin Pelin's artistic mastery, illuminates some moments of the creative process: the wear and tear of the product, the embodiment of the idea in verbal form.

Mikhail Yurievich Lermontov is one of the undisputed peaks of Russian and world revolutionary-romantic poetry. His ideological and artistic formation entirely refers to the period after the defeat of the Decembrist uprising of 1825. It is precisely the period between 1828 and 1837 that is unusually rich both in the poet's personal life and in events that changed the face of Russian society at that time. The reactionary policy that Nicholas I established towards all democratic strata remained unchanged almost until his death. It is significant that for thirty years (1825-1855) 674 uprisings took place in Russia according to official data, but in reality there must have been much more. Characterizing this historical period, V. I. Lenin wrote: "This is the era from the Decembrists to Herzen. Serfdom Russia is oppressed and immobile. An insignificant minority of the nobles protested, powerless without the support of the people. But the best people of the nobles helped to awaken the people." At the same time, the class struggle intensified in the West - in England the Chartist movement was developing, in France the July Revolution broke out, in Italy the Young Italy society was developing revolutionary and liberation activities. To a certain extent, these events found an echo in the highly sensitive Lermontov, helping to build him as a poet of the post-Decembrist era. This is even a whole line that was outlined in Lermontov's development as early as his entry into Moscow University.

There is a motto of Marx, which in Russian sounds like this: "Be yourself and go your own way!" There is no more appropriate motto for a person and an artist with firm and unshakable convictions, for a complete personality that is always organic in its manifestations and does not deviate from the chosen path. Sometimes this striving for fidelity to oneself can cost extraordinary efforts, great moral endurance and readiness for sacrifice. The upheavals of time, surprising tremors and storms can confuse the weaker and break the susceptible to insidious temptations, break his resistance and turn him from a subject into an object of events. However, the stronger will not submit to circumstances and will not give up his essence. For me, this motto radiates nobility unclouded by time, apostolic selflessness and consistency in his convictions. He has no relation to those who play in life as on a stage, and after each intermission they put on a new costume, after each act they take a higher note. We know from history that all revolutions and the eras that followed them had their knights and silent heroes, but also their inevitable grimaces - I think a German poet said this back in the last century.

In his "Prolegomena ad Homerum" published in 1795, Friedrich Wolff, while denying the sole authorship of the "Iliad", notes that in this form the poem is unfinished and that it could be continued with a description of the subsequent events of the "Trojan cycle". Among the many protests and objections that met this idea, Hegel's rebuff was particularly sharp and categorical: "Then... the third question arises about the unity of the completeness of the epic work. I have already pointed out that this thesis becomes very important, since in recent times the notion has begun to be considered permissible that the epic can be arbitrarily completed or continue to develop further, as long as it pleases. Although this view is supported by sound-minded scholars-researchers, e.g. F. A. Wolf, it remains crude and barbaric, since this view actually amounts to denying the best epic poems the true properties of works of art" (Hegel's quote). One hundred and fifty years later, in his study "The Origin of the Novel-Epic," A. V. Chicherin 3 argued that works belonging to the great epic types (e.g., Tolstoy's "War and Peace") were not completed and could not be completed, since the wide scope of artistic reality, the large number of characters, the large number of problems

The October Revolution is not just a picturesque moment in the turbulent history of mankind. With a certain set of actions, thoughts and attitudes, it radically changed the entire worldview of the man of our time. What it accomplished once again confirmed the basic principle: one moves forward by rejecting what is obsolete, by perceiving the past through new perspectives: moral, political and artistic. With its grandiose innovation, the October Revolution erased the "greatness" of the ideas, philosophical views and moral theses proclaimed by the bourgeois revolutions that preceded it. With the brightness and fury of lightning, it illuminated the backward content of philosophical concepts, layered, processed and systematized for almost a century and a half.

The perception, experience and understanding of works of art is a very complex process of creativity. The work that the reader, listener or viewer does is related, similar, in a certain sense opposite to that done by the poet, composer or painter. As in the process of artistic creation, all components of the human psyche, all the drivers of the soul, all its sides and elements participate in that of artistic perception.