THE PROBLEM OF THE RELATIONSHIP OF ART TO REALITY IN THE WORK OF I.F. ANNENSKY

Abstract

This article considers the peculiarities of the relationship of art to reality in the work of I.F. Annensky, a poet whose work for many years causes ambiguous interpretations of researchers. In general, the phenomenon of the generation of the last three decades of the XIX Century can be called the inner contradiction: on the one hand, the painful disappointment in the populism, the loss of sense of integrity and sense of life («philosophy of pessimism»), on the other - desperate, A relentless struggle for the ideal of an active personality, the search for a new meaning and value of being. At the same time it is important to note the increasing trend towards the historicism of thinking, the return to understanding the experience of past centuries, which is clearly traced in the work of I.F. Annensky.  I.F. Annensky himself connected the crisis of poetry of the late XIX century with the consequence of the authors' withdrawal from images of reality. Despite the growing popularity of modernist movements at the time, free experimentation, J.F. Annensky considered it necessary to preserve the basis of poetic creativity aspiration to depict reality. Both the literary and civil positions of Annensky seemed incomprehensible to many of his contemporaries. And today, despite numerous studies, opinions are also mixed. Of course, the early lyrics of I.F. Annensky could not but reflect the tendencies of symbolism and other modernist tendencies in literature and art in general, but, as shown in the article, deep signs of the desire to understand reality can be found in the early poems of the poet, Not to leave her. The authors conclude that the artistic world of I.F. Annensky was formed under the influence of many complementary and sometimes mutually exclusive tendencies, but the basis of it has always been the representation of reality.