Mystical content in literature. Christian mysticism, or who can see angels

Mystical in the narrow sense is Greek mysticism associated with the cults of Demeter and Dionysus. In a broader sense - a supersensible way of knowing being, as well as the results of this knowledge. “Mystic,” wrote Fr. Sergius Bulgakov, is called the internal (mystical) experience, which gives us contact with the spiritual, Divine world, as well as internal (and not only external) comprehension of our natural world. Mystical experience must be distinguished from a simple state of mind, a state of mind, which, according to Bulgakov, is limited to "an obviously subjective area, psychologism." “On the contrary,” the philosopher emphasized, “mystical experience has an objective character, it involves going out of oneself, spiritual contact or meeting.” It is this semantic specificity that determines the aesthetic interpretation of mysticism in literature. Mysticism must be separated from fantasy, which can also be mystical in form. Science fiction presupposes purposeful invention, deliberate fiction. Mysticism is experienced by the subject as a true reality, although it takes bizarre forms. The forms of mystical experience are of two kinds: external and internal. External mystical experience is revealed as visions, visual representations. Internal experience is experienced as special psychophysical states, perceived without visual impressions, as a special kind of feeling. Western Christian mysticism focused on the first type of experience, Eastern - on the second. The most famous mystics in Western Christianity were Francis of Assisi, who was stigmatized as a manifestation of mystical influence, and Ignatius of Loyola, who developed a system of meditative exercises aimed specifically at visual images. In Eastern Christianity, a tradition of inner mysticism developed. It was carried out as an experience of “smart doing”, in which the so-called Jesus Prayer occupies a central place. The highest result of inner doing is "hesychia" (silence), in which the individual spirit unites with God, enters into direct energetic communication with Him (the theological justification of hesychasm is given by Gregory Palamas, 1296-1359). In some cases, it can also be realized in the form of communication with a word, accompanied by a visible phenomenon of the spiritual world. An example of such a mystical ascent is the story of St. Sergius of Radonezh (1314-92) and Seraphim of Sarov (1759-1833). Centuries-old experience of prayer work is collected in the multi-volume anthology of asceticism "The Philokalia", translated into Church Slavonic by the Moldavian monk Paisiy Velichkovsky (1722-94). An original mystical monument is the "Ladder" of St. John, hegumen of Mount Sinai (7th century). The experience of inner work in Eastern, and in particular Russian Christianity, gave rise to the phenomenon of the so-called eldership. The inner mysticism of Eastern Christianity is realized in the apophatic theology of Dionysius (Pseudo-Dionysius) the Areopagite (5th - early 6th century, "Mystical Theology", "Divine Names", "Heavenly Hierarchy", etc.).

In addition to Christian mysticism, the practice and theory of spiritual ascent has developed at different times and in different cultures. The most famous of them are: the Upanishids, the speculative part of the Vedic sacred collections; an ancient Chinese mystical text created by Laozi; in ancient Greek culture - the teachings of Heraclitus, the Pythagoreans, Empedocles, Plato; the Jewish-Hellenic teachings of Philo of Alexandria; in the Egyptian-Hellenic speculation - the so-called "hermetic books" associated with the name of Hermes Trismegistus; the teachings of the Neoplatonists and Gnostics; Kabbalism among the Jews; Sufism among Persian Muslims. Original mystical teachings were also developed by the mystics Paracelsus (1493-1541), Jacob Boehme ("Aurora, or Dawn in Ascent", 1612), Emmanuel Swedenborg ("Secrets of Heaven", 1749-56), Meister Eckhart (1260-1327), Heinrich Suso (1295-1366), Johann Tauler (1300-61). A special place belongs to female mysticism, where spiritual experience sometimes acquires sacred-erotic forms. These are Angela of Folino, Margherita of Cortona (13th century); Theresia the Great (15th century, "Autobiography"). In Russia, an experience similar in direction is associated with the name of A.N. In the 20th century, the theosophy of Helena Blavatsky ("The Secret Doctrine", 1888) and the anthroposophy of Rudolf Steiner, which modernized the so-called occultism, were widespread. A major figure in Russian mysticism was V.S. Solovyov, who created the sophiological (S.N. Bulgakov, P.A. Florensky) and eschatological (N.A. Berdyaev) directions of religious philosophy of the 20th century. A unique mystical work of the 20th century is The Rose of the World (1958) by Daniil Andreev. The Anglo-American culture of the 20th century was also influenced by the mysticism of the Indians, described by Carlos Castaneda (“Teachings of Don Juan. The Way of Knowledge of the Yaqui Indians”, 1968).

A complex of sensations is associated with mystical states, which can become the subject of artistic embodiment. First of all, the mystical state is associated with an unusual experience of space-time connections, the chronotope. In art, such a psychophysical state often precedes creativity and is called inspiration. In fact, inspiration in art is a mystical transcendence, a touch of another world, a spiritual otherness. This experience, consciously or unconsciously, the artist seeks to translate into artistic forms. One can also speak of stable mystical motives. They are epistemological in nature and embody the results of the knowledge of God and the knowledge of the cosmos, cosmosophy - where natural phenomena become symbols of higher reality. Such, for example, is the rose of Paracelsus and the diverse cosmological symbols of world myths. The only mystical experience that gives a sense of the spiritual and is perceived as beauty can be concretized depending on the content of spirituality. Divine spirituality is psychologically recognized as love, and physically as light. Divine spirituality is opposed to demonic. It egocentrically absorbs the environment into itself. Physically, such anti-divine spirituality is experienced as darkness, and in the moral realm, as evil and falsehood, which do not have their own metaphysical content, but are the destruction of goodness and truth. The mysticism of beauty was best formulated by F. M. Dostoevsky, saying about its duality: “Here the devil fights with God, and the battlefield is the hearts of people” (“The Brothers Karamazov”). Divine, genuine beauty has great theurgical power, because it transfers spiritual creative energies into the material world, gives birth to love in the human soul as an experience of a higher world, changing it from the inside, and with it the surrounding reality. This is the mystical meaning of the well-known aphorism in Dostoevsky's novel The Idiot by Dostoevsky: "Beauty will save the world."

In the history of world literature, the mystical has been revealed in various aesthetic forms. The most ancient and complete form of the mystical in literature is myth. The peculiarity of mythological mysticism is that it is revealed in full-fledged, sensual-corporeal forms of the material world; this is a wonderful reality. Some figurative units, and in particular the personification and symbol, have a mythological nature. In the medieval literature of Western Europe, Byzantium, and Ancient Rus', the mystical was the basis of worldview and aesthetics. However, it was developed in literature only within the framework of religious genres. In Western Europe, the most developed genres of mystical-religious literature were the mysteries that came out of the temple liturgical action and were dramatizations of biblical stories, as well as miracles - poetic dramas with a plot based on a miracle performed by a saint or the Virgin. In the mysteries and miracles, the situation of the intervention of heavenly forces in earthly events was recreated, thereby realizing mystical presence of another world. The mystical nature distinguished these genres from morality, where the emphasis was on the earthly situation itself and had a moral and didactic orientation.

In Russian medieval literature the mystical was revealed in the genres of chronicle, life, teaching. The chronicle not only recorded the events, but also indicated their historiosophical perspective. Intuitively, the chronicle relied on those books of the Bible that are understood as Sacred History. The mystical purpose of these works is to designate the participation of the Divine forces in the historical process, and the didactic in them, as in the teachings, had an eschatological character. The lives combined the mystical, ethical and aesthetic. The criterion of holiness was a miracle, a physically manifested mystical event. The spiritual was experienced by the author of his life as beauty. A special place in religious culture and literature was occupied by religious folklore, largely free from dogmatic institutions. Among the genres of religious folklore, legends are especially mystically saturated, including echoes of pagan mythology (dragons, goblin, water), and the so-called spiritual poems - poetic works of mystical-cosmological and life, but not canonical, but apocryphal content. In Western literature, the most significant monument of this type is the "Golden Legend" (13th century), which became the basis of the chivalric romance, liturgical drama, lyrics and iconography. In Russian literature, this is a circle of texts associated with the so-called "Pigeon Book" (13th century).

It is generally accepted that in the literature of the Renaissance, the mystical in the proper sense of the word is relegated to the background . However, the return to the aesthetic consciousness of antiquity with its cult of the body does not absorb the mystical in principle. Ancient corporality had a mythological - spiritual and bodily - nature. It is significant that the Christian revelation about the God-man Christ was accepted by the Hellenic, and not by the Jewish culture. In addition to the mystical overtones associated with the anti-ascetic attitude to the body, mysticism is realized in the Renaissance in religious themes and images. Of particular note are the "Divine Comedy" (1307-21) by Dante, "The Liberated Jerusalem" (1580) by T. Tasso, "Paradise Lost" (1667), "Paradise Regained" (1671) by J. Milton. The new aesthetic consciousness is combined here with the traditions of Catholic mysticism and theology. The mystical plays an important role in the poetics of the tragedies of W. Shakespeare, who in his own way revived the tradition of the ancient tragedy of rock, where a person turned out to be powerless before the mysterious forces of fate. However, the mystical was experienced rather in the subtext and was perceived more widely - as irrational. In a peculiar way, mysticism is refracted in the Baroque era, striving for the "connection of the incompatible", which was artistically realized in the clash of fantasy and reality, ancient mythology and Christian symbolism. Baroque poetics gravitated toward everything bizarre, sophisticated imagery developed the art of perception (treatise "Wit or the Art of a Sophisticated Mind", 1642, B. Graciani-Morales). The mystical as irrational was excluded from the rationalistic, normative aesthetics of classicism. As extra-rational, the mystical partly appears in the aesthetics of sentimentalism. The mystical subtext was outlined here by the theme of death and the intuition of fate, which are included in the emotional model of "sacred melancholy". The revival of interest in the mystical occurs in the work of the Romantics. The universal intuition of the dual world includes the metaphysical, mystical dual world. This explains the attraction of romantics to folklore and mythological culture. The decisive influence on the formation of a mystical worldview in the literature of the late 18th and early 19th centuries was exerted by the work of J.W. Goethe. In his dramatic poem "Faust" (1808-31), the unity of the mystical and empirical, characteristic of mythological imagery, is realized. The mystical is depicted here as a kind of reality. A similar type of figurative thinking is concretized in its own way in the works of European and Russian writers: Novalis, E.T. A. Hoffman, J. Byron, W. Whitman, W. Wordsworth, S. T. Coleridge, W. Blake, R. Southey, V.A. Zhukovsky, N.V. Gogol and others. (poem "Demon", 1829-39; poems of mystical and religious content). Within the framework of realism, the mystical becomes a method of romantic estrangement, a means of philosophical and psychological analysis of reality and approaches fantasy (Gogol. Nos, 1836; I.S. Turgenev. Clara Milich, 1883; N.A. Nekrasov. Railway, 1864; Dostoevsky. Double, 1846). The mystical as irrational is actively used by Dostoevsky in his novels (The Brothers Karamazov, 1879-80). In Dostoevsky, L.N. Tolstoy, N.S. Leskov, V.V. Rozanov, the mystical is realized through the development of religious and philosophical problems. The mystical as philosophical, psychological and aesthetic becomes the basis of the aesthetics of symbolism. Symbolist theorists develop the concept of the mystical at all stages of the creative process; immersion in the mystical world - gnostics, anamnesis (Vyach. Ivanov, A. Bely, A. Blok, M. Voloshin); artistic embodiment - a symbol, music as a means of fixing and transmitting the mystical; theurgy is the level of artistic realization, perception. Some symbolists were influenced by the occult teachings of E. Blavatsky, A. Besant, R. Steiner (primarily A. Bely and M. Voloshin). In symbolism, the mythological mysticism of F.I. Tyutchev and V.S. Solovyov developed. Russian symbolists of the second wave (Bely, Blok, Voloshin) artistically developed mystical mythologems: Eternal femininity, World Soul, Motherland, God-man, God-Earth. The mythologemes of symbolism develop in the unique mystical-artistic, mythological world of D. Andreev - the treatise "Rose of the World", the poetic ensemble "Russian Gods" (1933-56). Andreev himself defines his type of symbolism as metarealism. This is mystical, mythological realism in its original sense.

Keywords

ORDER OF THE KNIGHTS TEMPLAR / ANARCHIO-MYSTICISM/ KNIGHTHOOD / ETHICAL-MYSTICAL CONCEPT / IMPROVING THE WAREHOUSE OF THE SOUL/ SUFFERING / ORDER OF THE KNIGHTS TEMPLAR / ANARCHO-MYSTICISM / CHIVALRY / AN ETHICAL AND MYSTICAL CONCEPT / IMPROVEMENT OF THE SOUL""S STOREHOUSE/SUFFERING

annotation scientific article on philosophy, ethics, religious studies, author of scientific work - Nazarova Yulia Vladimirovna

The article analyzes the little-known concept of a mystical society " Order of the Knights Templar”, which existed in the Soviet Union in the 20-30s of the twentieth century. A philosophical analysis of the mystical and ethical elements of the Order's worldview is carried out. The fact that anarchism lay at the basis of the socio-political views of the Templars allows us to conclude that the main goal of the Templars was to improve the individual in order to build a further anarchic (acratic) ideal: a society of spiritually and morally developed individuals, free from any power. This fact determines the further conclusion about the priority of the ethical in the concept of the Order; an ethical analysis of some categories of this concept is carried out. Thus, the ethical content of the concept of "knight" in the concept of the Templars is determined through a comparative analysis of the understanding of the knight as a representative of the knightly ethos, and the knight as a warrior of the spirit. It is established that the central concept, carrying a deep ethical and mystical meaning in the concept of the Order, was the concept of suffering. The relationship between the ethical and the mystical is considered, as a result of which it is concluded that in the concept of the Order, the ethical was considered as the goal of serving humanity, and the mystical as a means of achieving this goal, through the acquisition of knowledge and subsequent spiritual development.

The text of the scientific work on the topic "Ethical and mystical content of the concept of the Russian Knights Templar"

PHILOSOPHICAL SCIENCES

Yu. V. Nazarova

Tula State Pedagogical University

them. L. N. Tolstoy

ETHICAL AND MYSTICAL CONTENT OF THE CONCEPT OF THE RUSSIAN ORDER OF THE Templars

The article analyzes the little-known concept of the mystical society "Order of the Knights Templar", which existed in the Soviet Union in the 20-30s of the twentieth century. A philosophical analysis of the mystical and ethical elements of the Order's worldview is carried out. The fact that anarchism lay at the basis of the socio-political views of the Templars allows us to conclude that the main goal of the Templars was to improve the individual in order to build a further anarchic (acratic) ideal: a society of spiritually and morally developed individuals, free from any power. This fact determines the further conclusion about the priority of the ethical in the concept of the Order; an ethical analysis of some categories of this concept is carried out. Thus, the ethical content of the concept of "knight" in the concept of the Templars is determined through a comparative analysis of the understanding of the knight as a representative of the knightly ethos, and the knight as a warrior of the spirit. It is established that the central concept, carrying a deep ethical and mystical meaning in the concept of the Order, was the concept of suffering. The relationship between the ethical and the mystical is considered, as a result of which it is concluded that in the concept of the Order, the ethical was considered as the goal of serving humanity, and the mystical as a means of achieving this goal, through the acquisition of knowledge and subsequent spiritual development.

Keywords: order of the Knights Templar; anarcho-mysticism; chivalry; ethical-mystical concept; improvement of the warehouse of the soul; suffering.

TSPU (Tula, Russia)

ETHICAL AND MYSTERY CONTENT OF THE CONCEPT OF THE ORDER OF THE RUSSIAN KNIGHTS TEMPLAR

knight "s understanding as a representative of knightly ethos, and a knight as a warrior of the spirit. It is established that the concept of suffering was the central concept bearing a ethical deep and mystical meaning, in the concept of the Order. The relationship between the ethical and the mystical is considered, which leads to the conclusion that in the concept of the Order the ethical was considered as the goal of serving humanity, and the mystical as a means of achieving this goal, through mastering knowledge and subsequent spiritual development .

Keywords: Order of the Knights Templar; anarcho-mysticism; chivalry; an ethical and mystical concept; improvement of the soul's storehouse; suffering.

Secret societies of a mystical nature that existed in the Soviet Union, such as Freemasons, Templars, Rosicrucians, are a little-studied topic, shrouded in a halo of legends, prejudices and conjectures. Meanwhile, it requires careful study, not only from a historical, but also from a philosophical point of view. It should be borne in mind that, unlike European or Russian (pre-revolutionary) secret societies, the Soviet ones developed in a unique environment, which could not but leave an imprint on their concepts: in a totalitarian and atheistic society with a single ideology. A freemason, a Templar, a Rosicrucian for such a society - at best, was a fantastic figure, and at worst - was associated with religious fanaticism or an anti-Soviet conspiracy. Nevertheless, the mystical communities in the Soviet Union, despite persecution, lawsuits and partial oblivion, left a very important mark. According to A. L. Nikitin, who studied the mystical societies of Soviet Russia, “there is a vast area of cultural life in the 20s and 30s of the last century, which had a powerful, and most importantly, continuing influence on the process of spiritual development of the Russian intelligentsia in almost all areas of science. , art and life itself, which until recently remained completely unknown. We are talking about mystical societies, mystical movements and orders, the existence of which was kept in deep secret both by the initiates themselves, who survived the years of imprisonment and concentration camps, and by the official authorities, who simply forgot about their existence. This phrase of a well-known researcher confirms the relevance of the philosophical study of the heritage of the secret mystical communities of the Soviet period: after all, in our time, in a crisis of values, surrounded by new challenges of the information society, in the process of mixing cultures and religions, the Russian intelligentsia is transforming (or has already transformed), defining new goals and meanings of moral and social responsibility. Under such conditions, it is very important to understand the degree of influence of the heritage of secret mystical communities (of which the best representatives of the intelligentsia were members) on this transformation, which will help to look at what is happening in modern Russia from an unusual angle and predict further processes of the spiritual development of society.

The worldview of mystical communities in the context of philosophical analysis can be considered from different points of view, however, in this article we will aim to consider the ethical aspects of this worldview using the example of the Knights Templar. Philosophical analysis in an ethical context

will help to understand the roots of the socio-political views of the Templars of the Soviet period, the ethical content, goals and principles of their activities.

It is important enough in this article to get an answer to the question of the relationship between the mystical and the ethical in the concept of the Templars. This will help determine the ultimate goal and meaning of the Order.

The Order of the Soviet Templars was founded by A. A. Karelin, one of the ideologists of the anarchist movement, according to some sources, no later than 1919, according to other statements - in 1920, after a period of forced emigration of Karelin to France. There is an opinion that the Order of the Templars was created by Karelin precisely for the dissemination of anarchist ideas, and members of the Order were often called anarcho-mystics, but, on the other hand, anarchism could also serve as a cover for the mystical tasks of the Order. In any case, anarchism, or akratia, was the basis of the worldview of the members of the Order - the non-recognition of any power (any power is considered immoral, since it is one of the forms of violence against a person). This point of view can be traced in the legends of the Soviet Templars, in particular, in one of the basic legends - about Atlantis ("On Atlantis"). The main values in anarchism can be called the values of freedom and equality, however, unlike liberalism, these values are formed not due to a “social contract”, but due to the creation of a society without any power, based on the equal interaction of free individuals. In the process of forming such a society, the spiritual development and moral improvement of the individual come to the fore, thanks to which there is no need not only for authoritarian power, but also for a “social contract”. The spiritual development of the individual in the representation of the Templars was carried out through the study of the mystical side of the order's teachings; moral perfection, "improvement of the mentality" - due to following certain ethical models, which were presented in order legends; the main goal of the Russian Templars of the Soviet period is "to promote the movement of mankind in such a form of being and consciousness, which would be determined by higher spiritual principles" . Thus, mysticism and ethics were at the center of the concept of the Templars, and ethics is presented not as a means, but as the ultimate goal of the order movement. It is noteworthy that, for example, Russian Freemasonry, which had a longer history than the Knights Templar, was also distinguished by the predominance of ethical ideas over mystical ones, in contrast to Western Freemasonry, which suggests that the ethical nature of the worldview was a distinctive feature of Russian mystical communities.

Just like in Russian Freemasonry, the Knights Templar paid much attention to the moral improvement of the individual, which is generally uncharacteristic of the Russian mentality with its ideal of “community”, public moral responsibility, and, moreover, was uncharacteristic of the Soviet value system. ideal. The moral ideal of a person for a Templar is a knight, however, this is a very conditional, allegorical

Name. The spirit knight is not the same as the warrior knight of the Middle Ages. So, the latter, according to M. Ossovskaya, existed in two parallel systems of values - the values of military prowess and Christian values, and the values of both systems could come into conflict with each other. The knightly ideal of the Middle Ages is associated with the military virtues of courage, honor, fidelity, etc., as well as with the idea of worshiping the eternally feminine (the cult of the Beautiful Lady). Ideas about the knightly ideal at the beginning of the 20th century have a more pronounced mystical and romantic connotation; this is splendidly shown, for example, in A. Blok's play "The Rose and the Cross" (the creation and staging of which, perhaps, were also associated with mystical communities, however, it would be better to devote a separate study to this topic). Thus, in the ideas of the knightly ideal among the Templars of the twentieth century, the medieval military virtues of honor, courage and loyalty acquire the character of means for serving humanity in influencing its spiritual transformation and are transformed, filled with a broader ethical meaning (which is implied in the texts of initiation into various levels Orders): honor - as following the only purpose in the matter of spiritual improvement on the basis of knowledge and value ideals; fidelity - as fidelity to the ideas of the Order; courage - as steadfastness in upholding principles and achieving goals, as a willingness to accept suffering in the name of humanity.

The question of suffering is connected, firstly, with the text of one of the levels of initiation, secondly, with the legend of the Chalice, and thirdly, with the tragic history of the Order in the Soviet period:

1. It is characteristic that when a Templar was introduced to the highest, third degree of the Order, the following was said: “Not a crown, not a scepter, but a crown of thorns and a tunic covered in blood - from now on, your true attire, knight.” For comparison, the first degree of initiation began with the phrase: "... Be strong, be brave, be a knight without fear and reproach." Second degree: “Go to the heights, overtake the spirits of all, striving towards the creator in a powerful impulse!” In the first stage of initiation, we are talking about ethics - as the improvement of the disposition of the soul; in the second - about knowledge leading to spiritual perfection. Identification with the Lamb suffering for the sins of man came after these two stages of initiation; thus, suffering and redemption occurred among the Templars at the highest stage of spiritual development, the right to suffer had to be earned by the moral and spiritual transformation of the soul.

2. The question of suffering is closely connected with the legend of the Grail, which reveals the moral and mystical meaning of suffering. According to legend, the Chalice is the vessel into which the blood of Christ was collected after the execution, and this Chalice is kept by the initiates. The full history of the Grail in the interpretation of the Templars is given in the legend "Appius Claudius", which, among other things, explains the origin of the Rosicrucians and their connection with the Knights Templar, and also indicates that it was the Rosicrucians who were the guardians of the true Christian teaching. Rosicrucians and Templars formed

the “new Grail”, having united its orders, since the Grail, in which the blood of Christ is collected, began to dry up, just as the grace of God on earth began to dry up. The knights decided to fill the new Grail with their blood, in order to become like Christ, increase the grace of God and save humanity: “And the Order decided that in order to become a worthy guardian of Christ's teaching, the Order must partake of the living Grail, fed by the blood of the martyrs; the holy of holies of Christ's teachings should be kept in it, and the blood stored in it should be shed not only in the battlefields, but also at the hands of the executioners ... not only should their blood be shed, but the bodies of those knights who , having decided to imitate Christ, they are ready to repeat his feat, having suffered no less than he suffered ”(italics mine - Yu.N).

3. The very history of the Knights Templar in the Soviet period is presented as the embodiment of suffering: it is not only arrests, interrogations, persecution and punishment, but also, ultimately, oblivion.

Ethics in the worldview of the Templars of the Soviet period has great prospects for study, and, limited by the scope of the article, we have identified, in our opinion, the central points of the ethics of the Templars, which are later interesting to study, recreating the integral ethical and mystical system of the concept of the Order. Let's sum up, focusing on the most important conclusions.

1. A significant part of the concept of the Templars of the Soviet period can be described as ethical and mystical, where ethics is the goal, and mysticism is the means to achieve spiritual and moral perfection.

2. The ethics of the Templars is aimed at improving the warehouse of the soul of each individual: personal improvement leads to the improvement of all mankind

3. The concept of "knight" is allegorical: it is painted in a mystical shade, and implies not only a Templar as a "knight of the temple", but also a Templar as a "knight of the spirit", who, at the first stage of initiation, improves morally - through ethics; on the second - spiritually - through mystical knowledge, and on the third, higher, he is ready to be transformed through suffering.

4. The suffering of the knight fills the Grail, replacing the waning blood of Christ - this allegory emphasizes the deep moral meaning of suffering, or rather, compassion (suffering with Christ); thus, the Templar sacrifices himself for the good of all mankind. But first he must earn the right to suffer by going through the first two stages of initiation.

The peculiarities of the Russian Knights Templar in the Soviet period were such features as the predominance of ethics over mysticism, the category of suffering, which was at the center of the ethical and mystical concept of the Templars, and the very embodiment of suffering, expressed in their tragic history. Further philosophical analysis of the worldview of the Templars could expand the understanding of the ethical meanings of their concept, which is of undeniable importance for modern Russian spiritual culture.

Literature

1. Nazarova Yu. V. Ethics of Russian Freemasonry // Izvestiya Tul. state university Series: Humanities. 2012. No. 2. S. 44-52.

2. Ossovskaya M. Knight and bourgeois: research on the history of morality. M.: Progress, 1987. 528 p.

3. Order of the Russian Templars. In 3 volumes. Documents of 1922-1930. / publ., vst. Art., Decree. A. L. Nikitina. M.: Past, 2003.

1. Nazarova Yu. V. Etika russkogo masonstva // Izvestiya Tul. gos. unta. Seriya: Humanitarian sciences. 2012 No. 2. P. 44-52.

2. Ossovskaya M. Rytsar" i burzhua: issledovaniya po istorii morali. Moscow: Progress, 1987. 528 p.

3. Orden rossiyskikh tampliyerov. In 3 vols. Documenty 1922-1930 gg / publ., foreword art., appendix. by A. L. Nikitin. Moscow: Minuvshee, 2003.

"The Silver Age of Russian Poetry" - Bobeobi sang lips. Acmeism (akme-clarity) 1910-1921. Sergei Yesenin 1895 - 1925. Now I have become more stingy in desires, My life? Nikolai Gumilyov 1886 - 1921. As if I rode on a pink horse in a spring echoing early. 1917. K. Balmont. A. Blok. Decadence -. Silver Age Decadence Modernism Symbolism Acmeism Futurism Imagism.

"Poets of poetry of the Silver Age" - "The rowan was lit with a red brush ...". Ivan Vladimirovich Tsvetaev 1847-1913. A. Akhmatova 5. M. Tsvetaeva 11. 1. I. Annensky 7. N. Gumilyov 2. K. Balmont 8. I. Severyanin 3. V. Bryusov 9. S. Klychkov 4. M. Voloshin 10. M. I Tsvetaeva. Creativity of M.I. Tsvetaeva. “I was too, passer-by! "I like…". Poets of the Silver Age.

"Creativity of poets of the Silver Age" - Nikolai Gumilyov (1886-1921). He achieved everything by himself, by independent work. The beginning of the 20th century - rapprochement with Gippius, Merezhkovsky, Bely, Bryusov, Balmont. Homework for the holidays. Dmitry Sergeevich Merezhkovsky (1865-1941). Born in the Olonets province in a peasant family. The revolution caught in Estonia - the lack of orders for collections, concerts.

"Poets of the 20th century" - Symbolism. My divine nature I will not reveal to anyone. A page from V. Khlebnikov's book "Razin". Go all to the call of the star, Look, I am burning before you. Why could only a futurist poet write like this? Maximilian Voloshin, or simply Max. Find and read the poems of V. Khlebnikov “The spell of laughter”, “Bobeobi lips sang”, etc.

"Symbolism" - Ideas of symbolism. Bryusov created his own style - sonorous, chased, picturesque. In the USSR, the "bourgeois poet" Balmont was forgotten for many years. The purpose of art is an intuitive comprehension of the world through symbols. D.Merezhkovsky V.Bryusov K.Balmont Z.Gippius F.Sologub M.Kuzmin. Russian prose writer and poet; one of the prominent representatives of the older generation of symbolists.

"Acmeism" - Romance, heroism, exoticism. Adamism Adam is a traveler, a conquistador, a man of strong will. A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut. 1911 - the literary association "Workshop of Poets" Heads of the "Workshop": N. Gumilyov and S. Gorodetsky 1913 "Apollo" magazine - declaration of the acmeist group.

There are 16 presentations in total in the topic

Symbolism (from French symbolisme - a sign, a sign, a sign) is an artistic direction in European and Russian literature (the last third of the 19th - early 20th centuries).

Symbolism arose in France in the 1870s (as an opposition to naturalism and realism) in the work of the poets P. Verlaine (collections "Gallant festivities", "Romances without words", "Wisdom"), S. Mallarme (collection "Poems", poems "Herodias", "Luck will never abolish chance"), A. Rimbaud (the ballad "The Drunken Ship", the sonnet "Vowels", the collection "Last Poems") and others.

In subsequent years, symbolism was developed in Belgium in the works of M. Maeterlinck (fairy tale plays "Princess Malene", "Peléas and Melisande", "The Death of Tentagille"), E. Verhaarn (collections "Evening", "Crash", "Black Torches ”), in Germany in the lyrics of S. George (collections “The Seventh Ring”, “Star of the Union”, “New Kingdom”), in Austria in the poetry of R. M. Rilke (collection “New Poems”), in England in the work of O Wilde (fairy tale "The Happy Prince", novel "The Picture of Dorian Gray", short stories).

Feeling the hostility of the surrounding real environment, fearing a social and spiritual crisis, feeling powerless in the face of a rough, cruel world and its laws, the Symbolists sought to escape from reality into another, unearthly, otherworldly world or into the depths of spiritual, inner life.

For the Symbolists, the laws of social life remain incomprehensible, so they spoke about the unknowability of the world, which means that the essence of poetry for them is in the unspoken, supersensible.

The Symbolists proceeded from the fact that the true reality is inaccessible to the mind and is comprehended only in an intuitive-ecstatic way, which is seen in mysticism. Turning primarily not to reason, but to feelings, to emotions, to intuition, they wanted to penetrate into the sphere of the subconscious, to comprehend the secrets of the universe.

For the symbolists, intuition, the subconscious were more important than reason and logic. This sphere of the subconscious, the secret of the world, that is, the mystical content, they declared the main subject of the new art.

The symbol becomes the main means of expressing mystical content. In other words, the artistic image in art has become a model, a sign of a new reality.

The symbol was intended to help penetrate the essence of hidden phenomena. The symbol connected earthly existence with the transcendent world (inaccessible to consciousness), with the depths of the spirit and soul, with the eternal, it was a form of familiarization with the Mystery.

Unlike the realists, who operated with typical images, in which the generalization is objective, the symbol fixed the extremely subjective attitude of the artist to the world.

The symbol expanded the meaning, meaning of an ordinary word, logical definition and concept, and this led to an expansion of artistic impressionability - the presence in the text of fleeting, elusive details, impressions, hints.

The philosophical and aesthetic principles of symbolism go back to the works of A. Schopenhauer with his universal pessimism, despair, impotence of reason, his view of “the world as the abode of suffering”, E. Hartmann, who considered the absolutely unconscious spiritual principle to be the basis of existence - the world will, F. Nietzsche, who saw the reason for the decline of culture in the spiritual and physical degradation of modern man, who has turned into mediocrity, a herd; Nietzsche put forward an individualistic cult of a strong personality - a "superman", free from any morality and duties to others, called to command the herd. The German philosopher, asserting the secondary nature of the mind, emphasized its subordination to the will, instincts.

In Russia, symbolism emerged in the early 1890s in the works of D. S. Merezhkovsky (the collections Poems, Symbols, the novels Christ and the Antichrist, The Kingdom of Evil), Z. N. Gippius (Collected Poems , collections of stories "The Scarlet Sword", "Moon Ants", the novel "Devil's Doll"), V. Ya. Bryusov (collections "Russian Symbolists", "Third Guard", "To the City and the World", "Wreath", novels angel”, “Altar of Victory”), K. D. Balmont (collections “Under the northern sky”, “In the vastness”, “Silence”, “Burning buildings”, “We will be like the sun”, “Only love”, “Liturgy of Beauty ”), F.K. Sologub (collection “The Fiery Circle”, novels “Small Demon”, “Created Legend”, collections of stories “The Sting of Death”, “Rotting Masks”). These writers received in literary criticism the name of "senior" symbolists.

In the early 1900s, “younger” symbolists entered literature, significant representatives of which were A.A. "Retribution", "Night Violet", cycles "City", "Scary World", "Bubbles of the Earth", "Yambs", "Black Blood", "Dance of Death"), Andrey Bely (collections "Gold in Azure", " Ashes", "Urn", poems "Funeral", "Christ is risen", novel "Petersburg"), S. M. Solovyov (collections "Flowers and incense", "April", "Princess's flower garden", "Return to the father's house ”), V.I. Ivanov (collections “Helding Stars”, “Transparency”, “Tender Secret”, poems “Prometheus”, “Infancy”, book “Eros”). These artists relied on the religious and mystical philosophy of V. S. Solovyov, who argued that the divine Beauty (the Soul of the World, Eternal Femininity) would descend into the world of evil, which should “save the world”, connecting the heavenly, divine principle of life with the earthly, material.

These two groups of Russian symbolists, although they belonged to the same trend, represented a different combination of philosophical and aesthetic positions and artistic personalities. If, for example, for the "senior" symbolism is primarily an opportunity to create new, purely artistic values, then for the "young symbolists" the new art should become theurgy, that is, a divine action, a miracle, a kind of magic with which it is possible to change the course of events, subordinating the actions of the gods and spirits to their will.

Theurgy was perceived as a spiritual step leading to harmony, the establishment of the Kingdom of God on earth. If the "senior" symbolists, who considered themselves harbingers of the new world, were characterized by pessimistic, even apocalyptic moods - despondency, fear of life, spiritual emptiness, a feeling of complete loss in a hostile world, disbelief in the ability of a person to change the world and change for the better, feelings endless fatigue and hopeless despair, the prediction of the inevitable death of mankind, the poetization of death, then the "younger" not only considered themselves the harbingers of the new world, but also its witnesses: for them, the new world will be born at the moment of the mystical synthesis of heaven and earth, at the moment of the inevitable descent to earth Eternal Beauty.

At the same time, they sought to merge with nature, which already lives in the expectation of the Eternal Femininity and with which the Symbolists associated creative inspiration, communion with the truth.

In the same connection, it should be noted the interest of the Symbolists in mythology and myth-making, the desire to revive in modern man the psychological experiences of a person belonging to different eras - antiquity, the Middle Ages, modern times. For the Symbolists, mythology is outside of history, it is connected not with time, but with eternity. Myths and legends are always modern, fascinating and beautiful.

All Symbolists were characterized by the preaching of the inherent value of art (“art for art’s sake”), its independence from life, the assertion of pure aestheticism, extreme individualism (interest in the problem of the individual protesting against society, dooming him to death).

Symbolists were distinguished by experiments in the field of the form of an artistic text, a penchant for free verse, free verse, verse in prose. Among the genres, a short lyric poem prevailed, conveying fleeting intimate experiences. Of particular importance (primarily philosophical) for the Symbolists was music - the fundamental basis of their work. In terms of importance, music occupied the second place (after the symbol) in the aesthetics of symbolism.

The poetics of conventions, allusions, omissions, allegories, the arbitrariness of associative connections, frequent repetitions of words and entire lines, variation of motives, complicated metaphorical language means, sound, rhythm, intonation of the verse were intended to replace the exact, direct meaning of the word (the predominance of sound over meaning); speech expression, which was usually brought to the maximum limit, made lyrical creativity related to music.

For the Symbolists, it was not so much words that were important as the music of words. Poems were usually built as a bewitching verbal-musical flow, the image was shrouded in a mystical haze, its contours and boundaries were erased. Symbolist poets did not strive to be generally understandable, they turned to the chosen reader, the reader-creator, the reader-co-author, wishing to awaken in him his own thoughts and feelings, to help him in comprehending the "super-real".

By the end of the initial decade of the 20th century, symbolism as a trend was going through a deep internal crisis, in fact, it had exhausted itself, turning into vulgar beauty, pretentiousness and falsehood. It became obvious that art should be closer to life. There are two new trends in modernism - acmeism and futurism.

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

A. A. Blok in the context of his religious worldview. The work reveals the content of a number of concepts of metaphysical, religious, mystical content, which formed the basis of Blok's poetic book "Poems about the Beautiful Lady".

For researchers studying the history of Russian literature at the beginning of the 20th century. , and anyone interested in Russian symbolism.

Heresiarch of All Rus'

Alexander Kholin Poetry Absent

The book of the famous poet, prose writer and playwright Alexander Kholin will surprise the reader with its unusualness. However, it has no specific content. The only thing that can be noted and that runs through the pages like a red line is the author's mystical experiences for the Motherland, for his native city, for many acquaintances and not too familiar, who surround the Heresiarch of All Rus' today.

At first glance, the title of the book may seem odious, but comparing it with a brief annotation, the meaning and content immediately become clear: “I am today and. O. but imagine the Messiah! Because a poet, because I have to yell at the empty crossroads of Russia about devastation and pain, about the forgotten become!

railway stories

Dmitry Bykov stories Absent

We bring to your attention an audiobook based on "ZhD-stories" by Dmitry Bykov - a talented modern prose writer and poet, author of famous novels and collections of poems, children's fairy tales and biographical books about Boris Pasternak and Bulat Okudzhava, an outrageous journalist and public figure.

The audio collection included twelve "thematic" stories, one way or another connected with the railway. The intrigue unfolds to the steady sound of wheels and the rattling of a spoon in a glass of tea, the scene is limited to a couple of square meters ... It would seem that what could be fascinating and unusual here? However, before you is a storehouse of exciting stories and a real encyclopedia of genres - a romantic story, everyday satire, an ironic detective story, a fantastic dystopia, a mystical horror ... The audiobook also includes five "Not Railway Stories", the content of which is not related to the railway theme.

Angarsk story Bitki Tolstovets The girl with matches lights up Another opera Instructions Killer Milady Mozharovo Men's car Lineman Vacation Subject Conductor Correction of mistakes Murder on the Orient Express Chud Exorcist-2006.

At the bottom of the heart. Even bottomless hearts can find a bottom. Why did the heroine end up at the bottom of her heart?

Alexandra Bublik Contemporary romance novels Missing No data

The book "At the bottom of the heart" is a collection of stories about mystical love. The content of this book consists of stories: "A mysterious acquaintance", "The secret of the old park", "At the bottom of the heart", "My dear wolf". Scientists have noticed that the heart is a kind of substance.

Someone believes that the heart is bottomless, but I believe that it is possible to sink to the bottom of the heart. What happened in the life of the heroine that she seemed at the bottom of her heart? What steps do you need to take to get up?

Akhenaten and Nefertiti

Alexandra Nevskaya Poetry Absent

The theme of the female share and motherhood is an important content in the work of Alexandra Nevskaya. In her poem, seemingly opposite traditions collide - an esoteric treatise and a family saga, very characteristic of modern culture, but at the same time it turns out not a soap opera, but a hymn to cosmic love.

A romantic-mystical plot, incantatory poetics, poems built like hymns - this is what distinguishes the version of the story of Akhenaten and Nefertiti created by Alexandra Nevskaya.

white hotel

D. M. Thomas Modern foreign literature Alphabet Premium

We bring to your attention one of the most famous novels of modern English literature. Shocking contemporaries with its frankness of intimate content, instantly becoming a bestseller, shortlisted for the Booker Prize and translated into thirty languages, The White Hotel is built as the case history of one patient of Sigmund Freud.

Tracing her fate, the novel touches on the most painful points of our common history and causes an emotional shock in the reader who, it would seem, is already accustomed to everything. Only a mystical coincidence can explain the fact that The White Hotel has not yet reached the big screen - although Bernardo Bertolucci and Emir Kusturica, David Lynch and Pedro Almodovar, Terence Malick and David Cronenberg showed interest in its production at different times, and on The main roles were announced by Anthony Hopkins, Meryl Streep, Barbra Streisand, Isabella Rossellini, Juliette Binoche.

Well, after the actress Brittany Murphy first died under mysterious circumstances, and then her husband, director Simon Monjack, who started a new attempt at filming this work of modern classics, they began to talk about the “Hollywood curse of the White Hotel” ...

Five of Swords

Natalia Solntseva Action-packed romance novels Gardens of Cassandra

Criminal Investigation Officer Artem Ponomarev is investigating a series of murders that have rocked St. Petersburg. The maniac selects young, beautiful women as his victims, leaving an exquisite poetic epitaph near the corpse. The threads of the investigation lead to the clairvoyant Dinara, who predicted the imminent death of one of her clients... A secret curse has weighed on the wealthy merchant family of the Salakhovs from century to century.

A descendant of the Salakhovs - Yuri, a young successful businessman - receives anonymous letters of strange content. Ponomarev is trying to unravel the tangle of inexplicable events around Salakhov. But all this is just a fascinating background against which the most exciting thing happens: the love story of Yuri and Anna unfolds, full of charm and mystical mystery.

Not recommended for impressionable persons and persons suffering from insomnia - you will not be able to sleep until you solve the mystery of a serial killer whose victims are young beauties. You should not read the novel at night, otherwise you will see the ghost of the Queen of Spades, tabby cats or accidentally touch the blue silks of Mata Hari ... Beware, addiction is possible!

Images of the Future. Reflections on the revelation of Sri Aurobindo and the Mother

Archak Religion: other Absent

Some of those who fall into the hands of this book will no doubt classify it as a science fiction genre, at the same time there will be those who will be able to see the connection of its contents with the new mystical teaching, of which Sri Aurobindo became the founder. Unlike science fiction works, the book is not about the extraterrestrial, but about the superterrestrial, not about the conquest of outer space, but about the development of our inner world at the level of some kind of planetary consciousness, higher than the current human consciousness.

stories

Edgar Allan Poe Foreign fiction Missing No data

Edgar Poe (1809-1849) is a unique phenomenon in the history of American literature. He is the forerunner of modern science fiction and detective literature, the creator of brilliant enigmatic short stories and poems, remembered for their mysterious pathos and peculiar gloomy beauty.

The composition of this book includes twenty of the most famous mystical stories of Edgar Allan Poe, intriguing and creepy due to their atmosphere and unique emotional coloring. The book also includes "The Tale of the Adventures of Arthur Gordon Pym of Nantucket" - one of the largest in volume and controversial in content of symbolic adventure works written by E.

By. The reader will see the deepest and most inexplicable nooks and crannies of the human soul, very strange journeys, acquaintances and amazing meetings with the other world, arising on the edge of a borderline situation.

Infanta's birthday. Storybook

Oscar Wilde Fairy tales Absent

Almost for the first time in the history of culture, an artist, a writer, considered his whole life as an aesthetic act. However, what in the 20th century became almost an artistic norm was unacceptable for Victorian England at the end of the 19th century. O. Wilde, with his pursuit of exquisite sensations, with his gourmet physiology, is alien to metaphysical aspirations.

Wilde's fantasy, devoid of mystical coloring, is either naked - a conditional assumption, or a fabulous game of fiction. All his fairy tales end with the apotheosis of love, self-sacrifice, compassion for the disadvantaged, helping the poor. CONTENTS 1. The giant is an egoist; 2.

Birthday of the Infanta; 3. Star boy.

Fiery Angel (compilation)

Valery Yakovlevich Bryusov Russian classics Missing No data

One of the most enigmatic Russian novels of the 20th century, Valery Bryusov's The Fiery Angel, is at the same time autobiographical, mystical and historical. The "life" of sinners - occultists, thirsting for transcendental knowledge, leads them either to martyrdom or to spiritual devastation, this is the tragic path of Faust, but to some extent this is the path of our civilization.

The book also includes articles by V. Khodasevich and A. Bely, which will help the modern reader to better understand the biographical, historical and literary context of the novel. Contents of the collection: Fiery Angel Foreword by a Russian publisher Foreword by V.

Bryusov The slandered disciple V. Bryusov The legend of Agrippa A. White Fiery Angel The last pages from the woman's diary Dasha's betrothal.

The fisherman and his soul. Storybook

Oscar Wilde Fairy tales Absent

The cult of the Beautiful, of which Wilde was an ardent propagandist, led the young man to rebellion against bourgeois values, but rather to a purely aesthetic rebellion. The sermon of the beauty of suffering, Christianity (taken in the ethical-aesthetic aspect), which Wilde came to in prison (De profundis), was prepared in his previous work.

Almost for the first time in the history of culture, an artist, a writer, considered his whole life as an aesthetic act. However, what in the 20th century became almost an artistic norm was unacceptable for Victorian England at the end of the 19th century. Wilde, with his pursuit of refined sensations, with his gourmet physiology, is alien to metaphysical aspirations.

The fisherman and his soul; 3. Happy Prince.

Russians won't come (compilation)

Alexander Kabakov Absent

Writer Alexander Kabakov is a master of gloomy prophecies, mystical dystopias and psychological novels. The book "The Russians Will Not Come" contains works that are considered Kabakov's calling card: the legendary "Defector", action-packed action, the total circulation of which has exceeded one million, its continuation - the phantasmagoria "Sentenced" and the recently thundered "Fugitive" ("Prose of the Year - 2009 ”) is an elegant stylization of an old diary.

The diary of a king. Records of evil

Andrew Khems Modern Russian literature Missing No data

The first mystical story about Peter, which will impress any reader with its content and form. This literature is a guide to the world of adventure and mysticism.

Adventures. Fantastic

Victor Zhitinkin Modern Russian literature Missing No data

Fantastic stories are written simply and easily, reading them even gives pleasure and turns into real relaxation. Read and relax!

Third prophecy

Elena Khanga Modern detectives Absent

A modeling agency is not only profitable, but also unpredictable. Zhenya Linderman had to be convinced of this, infamous for the fact that at secular shows, VIP parties and banquets he drove .. that is, he introduced beautiful models to politicians and oligarchs.

And now a wonderful business is disrupted by inexplicable attempts on "girls" .. At the same time, an international criminal group kidnaps a girl with unique abilities from Russia. Who is she, how is she connected with Linderman, where to look for her? The protagonist of the mystical detective story "The Third Prophecy" will not only have to find out, but also face the biggest secret of the twentieth century - the third prophecy of the Fatima Virgin, the contents of which have long been hidden from mankind.

And perhaps hiding, still ..

Us and them. How to be friends with dogs and cats?

Elena Medvedeva Pets Missing No data

In the previous dog breeding guide “Adopt a dog?!” The author, amateur cynologist, trainer and judge recounted the extraordinary adventures of dozens of her pets, from tiny Chihuahuas to giant mastiffs and greyhounds. These stories include advice on choosing a puppy, keeping it, feeding it, raising it, and purposeful training.

In this book you will find interesting observations on the representatives of the cat family, including true mystical stories. The author, the owner of a total of 15 cats of different breeds and several dozen kittens, gives a comparative description of four-legged pets, as well as advice on their maintenance.

The complete euphoria of those present in the hall. Joy and exaltation are so high that the guests did not soon notice that the hero of the occasion was dead. Turmoil, calling an ambulance, police, security. But when the investigator appears, it turns out that there is no corpse in the cordoned off hall.

Mystic. The detective interviews everyone who was present at the banquet and those who were on television. No results. The history is mystical, full of adventurous events. As if we are watching the program "Legend of the Star" - just as mysterious, full of amazing reincarnations of the actress Alisa Dashkova, created by herself or her sister ...? There is a lot of adventure, mysticism, adventures in the novel.

How to become a magician. French occult manifesto of the age of decadence

Josephine Péladan 19th century literature Absent

The treatise "How to become a magician" was written by the famous writer and mystic Josephin Péladan at the end of the 19th century. It reflected the author's views on the mystical heritage of the Rosicrucians. The content of the book is built on the principle of upward movement - from the concrete and earthly to the abstract and sublime - similar to the structure of the Tree of Life in Kabbalah.

In the first part, Peladan talks about the way of life of the magician - what will have to be changed, how to eat, with whom to strive to communicate and enter into relationships. And in the second and third - about twelve steps that will lead you to an understanding of culture, society, death and the idea of the divine.

And if you fully immerse yourself in the book, you will already have done a significant part of the way, and you will have the opportunity to live life as if it were all magical work.

Mystical content in literature. Christian mysticism, or who can see angels

annotation scientific article on philosophy, ethics, religious studies, author of scientific work - Nazarova Yulia Vladimirovna

Related Topics scientific works on philosophy, ethics, religious studies, author of scientific work - Nazarova Yulia Vladimirovna

The text of the scientific work on the topic "Ethical and mystical content of the concept of the Russian Knights Templar"