Writing art opens up the world. Essay on the Unified State Examination

Essay based on the text:

Mikhail Osipovich Gershenzon (1869 – 1925) – Russian literary critic, philosopher, publicist and translator. In his article he describes the problem of art.
The relevance of this problem is obvious, especially these days, as many people have begun to pay special attention to art. For some it has become a part of life, and for others it has become an exciting hobby.
Mikhail Osipovich writes: “All art reveals secrets.” In his own words, the author speaks of mystery.
The literary critic says, “the external captivating nature of art is important.” The author says that art plays a big role on earth, comparing it with the plant world.
The translator speaks. “Art is given to everyone to taste it according to their strength.” The philosopher says that not everyone is able to comprehend the full depth of art. It will not open to everyone!
The author believes that art is given for human self-development. And everyone chooses for themselves what they consider necessary.
I agree with the author. Indeed, art captures a person headlong into its gentle and warm environment.
First, let's remember the extraordinary painting by I. I. Shishkin “Morning in a Pine Forest.” This beautiful painting inspires many artists to create something unusual and beautiful.
Secondly, let's remember the beautiful and great artist of Russia - Nikas Safronov, inspired by the nature of his native country, paints magnificent paintings.
Thus, I want to make a conclusion. Art is an important part of humanity, without which we would find it difficult to imagine our lives!

Text by Mikhail Osipovich Gershenzon:

(1) Every art reveals secrets, and everything in its perfection is certainly captivating. (2) The artist’s job is to express his vision of the world, and it has no other goal. (3) But such is the mysterious law of art that the vision on the outside is expressed the more harmoniously, the more original and deeper it is in itself. (4) Here, in contrast to the material world, external charm is an unmistakable sign of inner truth and strength. (5) The captivating quality of art is that smooth, shiny ice crust shimmering with a rainbow, with which the fiery lava of the artist’s soul seems to cool down when it comes into contact with the outside air, with reality.

(6) This external captivating quality of art is extremely important: it plays the same role in the spiritual world as the bright color of a flower plays in the plant kingdom, attracting insects that are destined to spread flower dust. (7) The melodiousness of the form attracts the attention of people, not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for its external charms. (8) But at the same time, the shiny ice crust hides the depth from them, making it inaccessible; This is the wise trick of nature. (9) Beauty is a lure, but beauty is also a barrier. (10) A beautiful form of art attracts everyone with obvious temptation. (11) Truly beauty will not deceive anyone; but it completely absorbs weak attention; for the weak gaze it is opaque: he is condemned to amuse himself with it alone. (12) Only an intense and sharp gaze penetrates it and sees the depths, the deeper, the sharper it itself is. (13) Art allows everyone to taste according to their strength: to one the whole truth, because he is ripe, to another - a part, and to the third it shows only its brilliance, the beauty of its form, so that the fiery truth, entering the fragile soul, does not burn it fatally and did not destroy its young tissues.

(14) Likewise, Pushkin’s poetry is fraught with deep revelations, but the crowd easily glides through it, rejoicing in its smoothness and brilliance, reveling without thought in the music of the poems, the clarity and colorfulness of the images. (15) Only now are we beginning to see these depths under the ice and learning to understand the wisdom of Pushkin through the dazzling sparkle of his beauty.

(16) In science, the mind cognizes only individual series of phenomena, but man also has other knowledge, holistic, because his very personality is holistic. (17) And this highest knowledge is inherent in everyone without exception, complete in everyone and different in everyone. (18) This holistic vision of the world is unconsciously real in every soul and powerfully determines its existence in desires and assessments. (19) It is also the fruit of experience. (20) There is not a single person among people who does not carry within himself his own, unique vision of the Universe, as if a secret record of things. (21) And we don’t know that it is in us, we don’t know how it appears in a wonderful pattern in our scattered judgments and actions. (22) Only occasionally and for a moment will a person be illuminated by his personal truth, burning in secret, and will again disappear in the depths. (23) Only the chosen ones are given the opportunity to contemplate their vision for a long time, at least partially, in fragments of the whole; and this sight intoxicates them with such joy that they, as if in delirium, rush to tell the whole world about it. (24) It is not depicted in concepts; one can only talk about it incoherently, in images. (25) And Pushkin conveyed his knowledge to us in images; in images it is warmly covered and pleasant to look at. (26) I take it out of the images and know that, taken out into daylight, it will seem strange, and maybe even incredible.

(According to M. Gershenzon*)

*Mikhail Osipovich Gershenzon (1869-1925) - Russian literary critic, philosopher, publicist and translator.

Every art reveals secrets, and every art in its perfection is certainly captivating. The artist’s job is to express his vision of the world, and it has no other purpose.

Composition

Often, when analyzing a particular object of art, we pay attention to only one of its sides: the external, without thinking at all about what it can mean and what it can lead to. In this text M.O. Gershenzon raises the problem of interaction between form and content in art.

Analyzing this problem, the author cites as an example the poetry of A.S. Pushkin: many pay attention only to the form of the poem, glide through it, “rejoicing at its smoothness and brilliance,” enjoying the musicality of the lines and the colorfulness of the images. But all this was conceived in order to convey the poet’s “deep revelations,” which, taken “into the light of day,” may seem strange or even incredible. The literary critic emphasizes that not everyone can discern the secret essence of an object of art behind its form: “Only now are we...learning to understand the wisdom of Pushkin through the dazzling sparkle of his beauty.” This happens with paintings and music. The author brings us to the conclusion that the form serves to attract people’s attention to the content, and at the same time makes it inaccessible to fragile minds - this is the “wise trick of nature.”

M.O. Gershenzon believes that in art form and content are inseparable: first, the form draws attention to the entire work as a whole, and then arouses interest in its essence and content.

I completely agree with the author’s opinion and also believe that form and content in art are an inseparable tandem that can give a person incredible pleasure, philosophical rapture or a crushing mystery. One serves to attract attention and aesthetic pleasure, while the other gives secrets and revelations of the creator.

Creativity V.V. Mayakovsky is known not only for its expression, but also for its completely new form, unusual for that time. The poet’s famous “ladder” attracts most people with its shape and sonority, and it did not serve to enrich V.V. Mayakovsky on the number of lines, as many envious people argued, - this form is an integral part of his poetry, it served and continues to serve to convey the mood of the poem, its message. So, in the poem “Lilychka!” This form conveys the abruptness of the lyrical hero’s speech, his excitement, and rapid heartbeat due to parting with his beloved. All this more fully expresses the image of the lyrical hero and his beloved and is a cry of despair of V.V. himself. Mayakovsky.

Sometimes the maximum reduction of words in a poem contributes to the depth of its meaning. Matsuo Basho, being the founder of the haiku genre, used a unique, attractive form in his poems, famous for its “linked stanzas.” Three-verse lines, like “The Path to the North,” served to convey the inner beauty of the phenomenon or object being described, its “soul,” “inner life” in a simple, laconic form. With such a “sparseness” of lines, the poet drew attention to the essence of his works and gave the reader the opportunity to immerse himself in them as deeply as possible.

Thus, we can conclude that form and content in art serve to convey the thoughts of the creators in a deeper and more vivid way. They are inseparable and inseparable: form without essence is empty, and essence without form cannot find its reader.

Essay in Unified State Exam format based on the collection of I.P. Tsybulko - 2017.

Option 23

(1) Every art reveals secrets, and everything in its perfection is certainly captivating. (2) The artist’s job is to express his vision of the world, and it has no other goal. (3) But such is the mysterious law of art that the vision on the outside is expressed the more harmoniously, the more original and deeper it is in itself. (4)3 here, in contrast to the material world, external charm is an unmistakable sign of inner truth and strength. (5) The captivating quality of art is that smooth, shiny ice crust shimmering with a rainbow, with which the fiery lava of the artist’s soul seems to cool down when it comes into contact with the outside air, with reality.

(According to M. Gershenzon*)

Composition

K1 What first of all attracts us to the work of an artist, writer, poet? Do we want to comprehend the mystery of the design if the form of the work is unattractive? The famous literary critic M.O. suggests thinking about these questions. Gershenzon.

K2 The problem of interaction between external form and internal content is revealed through reasoning about how from the external captivating form of any creation we come to a deep understanding of the creator’s intention.

P 1 Very accurately noted by M.O. Gershenzon that “... not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for its external charms.” Each of us, as the author explains, has his own way of comprehending this mystery: “Only an intense and sharp gaze penetrates into it and sees the depths, the deeper the sharper it is.”P 2 That is why, at first glance, Pushkin’s poetry pleases us only with the smoothness, brilliance and musicality of the verse. It is only later that we understand what depth is hidden in this elegant poetry, what worried the great poet so much, what his mental torment was about.

K3 The wise philosopher very subtly leads us to the conclusion: the harmony between the external form of a work and its internal content is undeniable. Through images, symbols, details, any creator conveys his knowledge, the secret of understanding the world and its laws of existence.

K4 This is undeniable. The unusualness of the outer shell always hints at some secret, which we will certainly comprehend if we follow the author.

Any great art, music, literature has repeatedly confirmed all these thoughts.

A1 Anton Pavlovich Chekhov is an unsurpassed master of the short story, which is very convenient, on the one hand, for reading. On the other hand, these short stories are like the conclusions of a good diagnostician, recipes according to which it is necessary to treat the diseases of society. Using brevity and parsimonious language, the writer reliably and accurately creates a psychological picture. But in the first place is a detail that replaces verbose descriptions. In the story “Chameleon,” the new overcoat of police warden Ochumelov, the bundle in his hands, the telling names of the characters, and the name itself will explain a lot to us. Detail is one of the writer’s techniques that helps to present the depicted picture, object, character in its unique individuality.

A2 The work of Evgeniy Ivanovich Zamyatin is amazing in its organization.The story “The Cave” is one of the brightest works of a talented master, containing a wealth of material for understanding the writer’s worldview. From the very beginning we are immersed in the setting of the Stone Age, the Ice Age, when we read about “caves”, “rocks”, “animal skins”, “grey-mouthed mammoth”. And only by delving into the reading, we find the keys to the unfolded metaphor of the story, we understand why in cold and hungry Petrograd, immersed in darkness, fire is God, spring in the cave is only for one hour, and thenanimal skins, claws, fangs are shed, and green stems—thoughts—make their way through the icy cerebral crust. We also understand who this “grey-footed mammoth” is and why Martin Martinych is made of clay. Clay is a soft and pliable material, just like the character of Martin Martinich, in whose soul every blow leaves a deep mark. Thus, the meaning of the metaphor constantly deepens: from external similarity to the essence of character.

After all this, is it possible to doubt the inseparability of the external form of a work from its internal content? I think no.

Note.

You can turn to the works of V. Mayakovsky as arguments. In the literature textbook for grade 7, edited by V.Ya. Korovina, there is an explanation of why Mayakovsky wrote with a ladder.

A good argument would be about The Sistine Madonna by Raphael Santi.

It would be idle to dissect and dispute the arguments on which this assessment is based. If we, the current generation, see something different in Pushkin’s poetry, isn’t it better to directly express our new understanding? That assessment was, no doubt, quite conscientious; but it is our right and our duty to read Pushkin with our own eyes and, in the light of our experience, determine the meaning and value of his poetry.

Our symbolists are wrong when they claim that art is of two kinds: symbolic, that is, revealing secrets, and only captivating. No: all art reveals secrets, and each in its perfection is certainly captivating.

The artist’s job is to express his vision of the world, and art has no other purpose; but such is the mysterious law of art that the external vision is expressed the more harmoniously, the more original and profound it is in itself. Here, in contrast to the material world, external charm is an unmistakable sign of inner truth and strength. The captivating quality of art is that smooth, shiny, iridescent ice crust with which the fiery lava of the artistic soul seems to cool down when it comes into contact with the outside air, with reality. Or in other words: the melodiousness of the form is a carnal manifestation of the very harmonious rhythm that forms the vision in the spirit. But no matter how you describe this phenomenon, it will forever remain incomprehensible. Only one thing is clear: the stronger the boiling, the more brilliant and iridescent the shape.

This external captivating quality of art is extremely important: it plays in the spiritual world the same role that the bright color of a flower plays in the plant kingdom, attracting insects that are destined to spread flower dust. The melodiousness of the form attracts people's instinctive attention; not yet knowing what value is hidden in an artistic creation, people are unconsciously attracted to it and perceive it for its external charms. But at the same time, the shiny ice crust hides the depth from them, making it inaccessible; This is the wise trick of nature. Beauty is a lure, but beauty is also a barrier. The beautiful form of art attracts everyone with a clear temptation, so that all the people come running to watch; and truly beauty will not deceive anyone; but she completely absorbs weak attention, for a weak gaze she is opaque: he is condemned to amuse himself with her alone - and is this a small reward? Only an intense and sharp gaze penetrates into it and sees the depths, the deeper the sharper it is. Nature protects her little children, like puppies, with beneficial blindness. Art allows everyone to taste according to their strength - to one the whole truth, because he is ripe, to another a part, and to the third it shows only its brilliance, the beauty of its form, so that the fiery truth, entering the fragile soul, does not burn it mortally and destroyed her young tissues.

Likewise, Pushkin’s poetry is fraught with deep revelations, but the crowd easily glides through it, rejoicing in its smoothness and brilliance, reveling without thought in the music of the poems, the clarity and colorfulness of the images. Only now, after so many years, we begin to see these depths under the ice and learn to understand the wisdom of Pushkin through the dazzling sparkle of his beauty.

In science, the mind cognizes only separate series of phenomena, just as our external sense organs are separate; but a person also has another knowledge, holistic, because his very personality is holistic. And this highest knowledge is inherent in everyone without exception, complete in everyone and different in everyone; This holistic vision of the world is unconsciously real in every soul and powerfully determines its existence in desires and assessments. It is also the flesh of experience, and has all the certainty of experienced knowledge. Among people there is not a single one who does not carry within himself his own, unparalleled, unique vision of the universe, as if the secret record of things, which, stating what exists, legitimizes what should be from it. And we don’t know that it is in us, we don’t know how it appears in a wonderful pattern in our scattered judgments and actions; Only occasionally and for a moment will a person be illuminated by his personal truth, burning secretly in him, and will again disappear in the depths. Only the chosen ones are given the opportunity to contemplate their vision for a long time, at least not completely, in fragments of the whole; and this sight intoxicates them with such joy that they, as if in delirium, rush to tell the whole world about it. It cannot be represented in concepts; one can only talk about it incoherently, with similes and images. And Pushkin conveyed his knowledge to us in images; in images it is warmly covered and pleasant to look at; I take it out of the images, and I know that, taken out into the daylight, it will seem strange, and perhaps even incredible.

Pushkin was a European by upbringing and habits, an educated and secular man of the 19th century. And wherever he expressed his conscious opinions, we recognize in them an enlightened, rational mind. In ideas, Pushkin is our peer, flesh and blood of modern culture. But it’s strange: while creating, he is definitely transformed; in his familiar, European face, the dusty wrinkles of Agasphere appear, the heavy wisdom of millennia looks out of his eyes, as if he has survived all centuries and brought from them a confident knowledge of secrets. In his poetry he is dead to modernity. What is the daily passions and suffering of people, the unrest of nations to him? Everything that happens has always happened and will repeat itself forever; the rainbow forms change, but the essence remains the same; The world and man have remained unchanged for centuries. In the innumerable varied phenomena of life, a few patterns, seemingly so simple, are realized again and again - the eternal ones are repeated; and man knows this, he has long figured out the monotony and hopelessness of his destinies, and from time immemorial, as if he has been tirelessly repeating to himself the truth of fatal determinations. Pushkin carries this ancient truth within himself; These few were repeated he sees in the events of the day. He is unparalleledly individual in his contemplation, and yet the stream of Old Testament experience flows through his thinking.

Our symbolists are wrong when they claim that art is of two kinds: symbolic, that is, revealing secrets, and only captivating (6). No: all art reveals secrets, and each in its perfection is certainly captivating.