Runeberg Johan Ludwig. Folklore-linguistic interethnic contacts
Finnish literature is a dark forest for most people living outside Scandinavia. And this is not surprising: among the cultural heritage of the country of Suomi one can hardly find works as famous as, for example, “Faust” or “Decameron”. However, this does not mean at all that Finnish literature does not deserve the attention of those who are interested in the culture of the land of a thousand lakes: many distinctive and original masterpieces that have no analogues in the world were written here.
Literature of Finland. Photo: flickr.com
Pearls of Finnish literature
Perhaps one of the most famous works written by Finns is the Kalevala, a Karelian-Finnish poetic epic. It is a set of songs not connected by a single plot: they tell about the creation of the world, about the birth of the main character Väinämöinen from the daughter of the air and about his exploits, about the adventures of the sorcerer and seducer Lemminkäinen, about the search for the treasures of Finland and about the birth of the virgin Maryatta of a wonderful child who became ruler of Karelia.
In Finland there is even a special national holiday - the Day of the folk epic Kalevala. It is celebrated annually on February 28 with street costume parades and thematic performances.
The Kalevala still has a so-called “younger sister” in Finnish literature: this is the collection “Kanteletar”, which united Karelian folk songs. They were recorded by researcher Elias Lönnrot: many of the songs were given to him by performer Mateli Kuivalatar, who lived near Lake Koitere.
One of the most famous and revered poets in the country of a thousand lakes is Johan Ludwig Runeberg, a Swede by birth. He is the author of the Finnish anthem, which is based on the poem “Our Land,” which was not originally created for this purpose. By the way, Runeberg's birthday, February 5, is also celebrated in Finland as a national holiday.
A kind of “Eugene Onegin” in Finland can be called the novel “Seven Brothers” by the Finnish writer Alexis Kivi: this work is considered to be a national symbol, and its creator is known as the founder of realism in Suomi literature. The book tells the story of seven orphaned brothers who decide to challenge social order and go to live in the forest.
And, of course, we can’t help but mention the series of books about the famous Moomins - the legendary characters from Tove Jansson’s good fairy tales, who have conquered the whole world. In total, from the pen of the writer from 1945 to 1970, nine books about funny creatures were published: “Little Trolls and the Great Flood”, “Moomintroll and the Comet”, “The Wizard’s Hat”, “Memoirs of Moominpappa”, “Dangerous Summer” , “Magic Winter”, “The Invisible Child”, “Father and the Sea”, “At the End of November”.
Finnish literature: how it all developed
Finnish literature develops in two languages, Finnish and Swedish. The latter was written by one of the most famous authors in Suomi - Tove Jansson.
Also, works written in the Sami language are sometimes classified as Finnish literature. Finnish writers who wrote or are writing in the Sami language include Marjut Aikio, Matti Aikio (1872-1929), and contemporary writers Rauna Paadar-Leivo and Kirsti Paltto. Moreover, Kirsti Paltto's book Guhtos̀et dearvan min bohccot was translated into Finnish (Voijaa minun poroni, 1987) and awarded a literary award.
Romantics and realists
The national feelings of the Finns were especially strongly awakened at the beginning of the nineteenth century: it was then that the literature of the country of Suomi began to actively develop. At this time, fighters for national identity wrote history books, collected folk poetry and customs, and published many works in Finnish. Then the so-called Helsinki Romantics appeared - an association of the best writers and poets of the country of a thousand lakes. Then came the era of realism, largely thanks to Alexis Kivi: he is also considered the father of Finnish drama. The romantics were finally supplanted by the realists in the eighties of the 19th century, and at the turn of the century the era of neo-romanticism began in Finland (as well as in Russia). Also leading representatives of realism in Finland were the playwright Minna Kant, who criticized the shortcomings of society, the plight of women and workers, and the prolific short story writer Juhani Aho (1861-1921). His novel “The Railway” (1884) soon appeared in translations into various languages. He was perhaps the most famous Finnish writer of his time in Scandinavia and the rest of Europe.
Neo-romanticism
At the turn of the 19th and 20th centuries, realism gave way to national neo-romanticism. The brilliant lyric poet Eino Leino (1878-1926), who also wrote novels and plays, Pentti Saarikoski (1937-1983) and Paavo Haavikko (b. 1931) worked in his spirit. Leino also wrote in a national romantic style. Saarikoski had a versatile literary talent, and in 1960 he was one of the country's leading radicals. It is difficult to categorize Paavo Haavikko as a writer; he has published many poetry collections, reviews, collections of aphorisms and opera librettos. In 1984, Haavikko was awarded the Neustadt International Literary Prize. Between the world wars, Finnish literature was defined by strong prose, which was characterized by critical realism and historical works. Ilmari Kianto, whose writing debut took place during the times of autonomy, continued to write after Finland gained independence. In the novel “The Red Line” (1909) he showed the first parliamentary elections in 1908 and the attitude of the people of the deep provinces towards them, and in the novel “Ryusyuranna Josep” (1924) he examined the poor life of the outback and the problems of Finnish society, in particularly moonshine and drunkenness.
National self-criticism marked the novel by Joel Lehtonen “Putkinotko” (1919-1920), the theme of which was also poverty, but also the social injustice in which the civil war of 1918 was rooted. Voltaire Quilpi, who began as a romantic back in the days of autonomy, moved in the 30s to everyday life, in particular to depicting the original life on the islands. The slow development of action in the novel Alastalo's Visit (1933), close attention to detail and very long phrases brought Kilpi the fame of the Finnish James Joyce.
The only Finnish writer to be awarded the Nobel Prize is Frans Emil Sillanpää (1888-1964). His novel Righteous Poverty (1919) is based on his experiences during the Civil War. The writer is characterized by high humanism and special skill in depicting the relationship between man and nature.
Modernism
Modernism first came to Finland in the poetry of the Finnish Swedes, who were influenced by the Symbolists and Expressionists, as well as the Imagists and Surrealists. Poets wanted to renew the language and reveal its rhythms. The great Swedish-language Finnish modernist poets were Edith Södergran, Elmer Diktonius, Gunnar Björling and Hagar Ohlsson.
In Finnish-language literature, similar innovations were introduced by the Flame Bearers group, formed in the 20s. The Flame Bearers preferred free meter in poetry and abandoned rhymes at the end of lines. As interpreters of their era, they drew material from distant lands and the industrial romance of industrial cities. The slogan “Open windows to Europe!” expressed their desire to internationalize Finnish literature. The Flame Bearers group included lyric poets and famous prose writers. The most significant: the lyricists Uuno Kailas and Katri Vala and the prose writer Olavi Paavolainen (“In Search of Modernity”, 1929), who was considered the flagship of the Flame Bearers, and one of the most famous Finnish writers outside Finland, Mika Valtari (1908-1976) .). Valtari began his very diverse literary career by reflecting the flow of life of the 20s and urban society (the novel The Grand Illusion, 1928). Later, Valtari worked fruitfully in the genre of historical novel. His 1945 novel The Egyptian Sinuhe has been translated into more than 20 languages.
Literary places in Finland
The country of Suomi has many attractions that are in one way or another connected with the Finnish literary heritage. One of the most famous of them is the monument to the realist writer Alexis Kivi, which is located on Station Square in Helsinki. The writer, immersed in his thoughts, sits on a pedestal with embossed lines of his poem “Tosca.”
Of course, the Finns could not help but perpetuate the memory of the author of the national anthem in the capital: a sculpture dedicated to Johan Ludwig Runeberg is located on Esplanade Boulevard. It is curious that his name is not indicated on the monument - the implication is that this is already obvious. Below, at the pedestal where the writer stands, you can see a young barefoot maiden - this is the personification of Finland. You will also find a monument to the poet in the city of Porvoo in Runeberg Square. Here you can also visit the Runeberg House Museum, where he lived with his family from 1852 to 1877. Read more about this in our article.
In the Finnish capital you can also see a sculpture called “Topelius and the Children.” It is dedicated to the famous storyteller, historian and researcher Zacharias Topelius. You will find the monument in Koulupuisto Park.
In addition, Tove Jannson's house, located on the island of Klovharun, part of the Pellinki archipelago, can be called one of the most literary places in Finland. It was here, surrounded by the waves of the Baltic Sea, that amazing fairy tales about the Moomins were written, which later conquered the whole world. The lodge welcomes guests for one week in July and one week in August. Another interesting attraction is associated with Tove Jansson - the Morra stone, on which the writer painted eyes and a mouth. It is located on the island of Great Pellinka next to the Söderby Boden store.
If you are on vacation in Kouvola, then while walking around the city you can come across a monument depicting a short, stocky man. This is the Finnish writer Unto Seppänen, who lived on the Karelian Isthmus and described Karelian life in his works.
Sorry for the word, but it's not a curse word. The photo was taken in the center of Helsinki. I’m walking along Aleksanterinkatu Street, I see two goblins. I'm interested in the inscription POHJOLA - what does it mean?
Pohjola is the harsh country of the Sami in the Finnish epic "Kalevala". In the real world, it is part of Lapland and the ancient region of Kainuu. According to legend, Pohjola is opposed to Väinola (the land of Kalevala). It is believed that diseases originate there, cold and all sorts of hardships come from there. In this case we mean the insurance company "Pohjola". A famous building, I just didn’t know it. The house was built in the style of Finnish romanticism. Northern modern and all that. Below is the monument to Eino Leino in Esplanade Park.
Eino Leino is a Finnish poet, prose writer, playwright and translator, reformer of the Finnish literary language. Author of more than 70 books and the first Finnish translation of Dante's Divine Comedy. On the reverse side of the pedestal there is something written about Ankara. I had to do the research again. It turned out that these were lines from his poem “The Song of Väinämöinen.” The monument was opened in 1953.
Nearby is the monument to Topelius. This is a Finnish writer and poet who wrote in Swedish. The sculptural composition represents two girls: the saga is facing the South Esplanade, the truth is facing the North. On the pedestal there is a profile of Topelius. What the author wanted to say is unknown.
There is another monument in the middle of the Esplanade, but it’s difficult to go there
Lantern on Mikonkatu street. Filmed for a thematic community, there is one on LiveJournal.
Unknown crap. I would call it that. It turned out to be Fazer's rooster - Fazerin kukko! The sculpture is dedicated to the 100th anniversary of the founding of the confectionery company FAZER & Co.
So, again, uncle. Insists on getting to know each other. No I'm not going.
There are people like this scattered all over Helsinki. There are really a lot of them, in every square and on all central streets. Who is this? Military? What are they calling for, what are they collecting?
In the center of Helsinki, above the street name sign, there is a sign with different animals. Moreover, the animals are exotic.
The building is at the intersection of Kalevankatu and Yrjönkatu streets. Near .
The famous Senate Square and Helsinki Cathedral. The interior decoration is quite modest, as shown. Until 1917, the cathedral was called St. Nicholas, both in honor of St. Nicholas, the patron saint of sailors, and as a tribute to Emperor Nicholas I. The monument is not to him, as one might think, but to Alexander II. In 1863, the Russian Emperor introduced the Finnish mark into circulation, and made the Finnish language the official language along with Swedish. Around the pedestal there are sculptures: “Law”, “Peace”, “Light” and “Labor”.
The monument was erected in 1894. Because Alexander II granted autonomy to the Finns, they love him.
Let's move to the Eteläranta embankment. Sundmans is one of three Finnish restaurants to receive a Michelin star.
Animal near the Goodwin restaurant. Sits to attract attention. Similar to us.
Look how persistent he is! Still got in my way. This is the same guy from Esplanade Park.
The monument to Johan Ludwig Runeberg was erected in 1885. This is a great Finnish poet who wrote in Swedish and glorified the simple Finnish people, hardworking and not complaining about a hard life. This is what it says in Wikipedia. Some of his poems have become most famous and, along with the Kalevala, are considered part of the Finnish national epic.
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Finnish literature in Finnish before 1918
In the Middle Ages, there was rich folk art in Finland - folklore in the Finnish language, but no written monuments have survived from this era. The first literary works were published in the middle of the 16th century. Bishop of Abo Mikael Agricola (1506-1557) published a primer of the Finnish language (ABCkiria, 1542) and a number of religious books (Rucouskiria Bibliasta, 1544, etc.).
After these first editions there followed a long break. During the era of feudalism in F. l. nothing worth noting appeared. Finland was, both economically, politically and culturally, entirely under Swedish rule. In addition, the church and the feudal system put obstacles to cultural development. Only religious literature was published by the church, monasteries and nobility.
F. l. began to develop only in the 19th century, during the period of growth of capitalist relations in the country. At that time, a national movement developed in Finland, reflected in literature, which played an active role in this struggle. Literary style of F. l. first half of the 19th century there was romanticism, permeated with national liberation tendencies. Ideino F. l. this time was directed both against the Swedish nobility, which occupied a privileged position in the country, and against the barriers that were put up by tsarism. (In 1809, Finland became part of Russia.) Among romantic writers, there was a significant interest in the national past, as well as in folk art. The collection and publication of folklore material began. In the 30s and 40s. The following were published: the Karelian epic “Kalevala”, “Kanteletar”, collections of fairy tales, spells, riddles, proverbs, etc., which created both a linguistic and artistic basis for the development of fiction.
Already G. G. Porthan (Henrik Gabriel Porthan, 1739--1804) aroused interest in Finnish folk art, and Z. Topelius the Elder (Zachris Topelius, 1781--1831) published the first collection of samples of folk art. The followers of E. Lonnrot (Elias Lonnrot, 1702-1884), who published the Kalevala (1835), Kanteletar (1840-1841) and others, focused on the study of ancient philosophy. and folklore. To promote patriotic-national ideas, the calendar “Aura” (1817-1818) and the magazine “Mehiläinen” (1819-1823) began to be published, in which the demand was made to make the Finnish language the state language. However, the era of reaction, which came after the revolutionary explosion of 1848 and also swept Finland, slowed down the development of literature, which fell into the cruel grip of tsarist censorship. At that time, the tsarist government allowed the printing of books in Finnish only with religious content or on agriculture. Among the writers who sought to establish the Finnish language, we can name Jaakko Juteini (Jude), 1781-1855, a supporter of educational and patriotic ideals; lyricists Samuel Gustav Berg (Bergh S. K. Kallio (Kallio, 1803--1852)), as well as P. Korhonen (Paavo Korhonen, 1775--1840), Olli Kymäläinen, Antti Puhakka (A. Puhakka, 1816--?), who described folk life in eastern Finland.
The heyday of national-patriotic literature in Finland came in the 60s. XIX century, after some weakening of censorship restrictions. The country's best progressive literary forces were grouped around the Runeberg - Topelius - Snellman circle. Among the writers inspired by the poetic ideals of this era, we point out A. E. Ahlqvist, pen name of A. Oksanen (1826-1889), who took part in the founding of the first political newspaper in the Finnish language - “Suometar” ( Suometar, 1847). Ahlqvist traveled extensively throughout Finland and Russia, collecting Finnish runes, sagas and studying the Finnish language. Some of his travels around Russia are described in “Muistelmia matkoilta Venäjällä vuasina, 1854--1858 (1859). In his lyrical poems, published under the title “Säkenia” (1860-1868), he skillfully uses various new forms of versification in Finnish, while expressing deep sincere feelings.
J. Krohn (Julius Krohn (pseudonym Suonio), 1835--1888) - author of lyric poems and short stories “Kuun tarinoita, 1889 (“Stories of the Moon”), has great merits in the field of Finnish literary criticism. In his broadly conceived Suomalaisen kirjallisuuden historie, he carried out a detailed analysis of the Kalevala. His work was continued by his son Kaarle Krohn, who provided valuable research on the Kanteletar and revised his father's lectures on the history of literature in Finnish.
The origin of drama in Finnish dates back to this time. The first attempt in this direction was made by J. F. Lagervall (Jakob Fredrik Lagervall, 1787-1865), who in 1834 published an adaptation of Shakespeare's Macbeth, Ruunulinna and several other dramatic works. "Silmänkäääää" (1847) by Pietar Hannikainen (1813--?) is the first comedy in the Finnish language. Joseph Julius Wecksell (1838-1907), poet, author of poems in a romantic spirit, marked by the influence of Heine, published in 1863 the play “Daniel Hjort” on the theme of the struggle in Finland between Sigismund and Duke Charles; Gustav Adolf Numers (G. A. Numers, 1848-1913) is famous as the author of everyday comedies: “For Kuopio” (Kuopion takana, 1904), “Pastori Jussilainen” and the historical play “Klaus Kurki ja Elina” (1891). But the founder of drama in Finnish. is Alexis Kivi (A. Kivi) or Stenwall (1834--1872). Among his dramatic works, we can name the tragedy “Kullervo” (Kullervo, 1864), the play “Lea” (Lea, 1869) and the wonderful comedy from folk life “Nummisuutarit”, 1864 (“Village Shoemakers”). His “Seven Brothers” (“Seitsemän veljestä”, 1870) is a realistically written Finnish classic novel from folk life. Among the modern Kiwi writers and, to a certain extent, followers of Kiwi, one must include Kaarlo Juhana Bergbom (1843-1906), the founder of the Finnish theater and playwright; Shakespeare translator Paavo Cajander (Paavo Cajander, 1846--1913) and Kaarlo Kramsu (1855--1895), whose poetry is imbued with irreconcilability to the modern social system, but is not alien to nationalism.
In the 80s and 90s. the strong development of capitalism aggravates class relations and political struggle. Two new forces appear in political life - the bourgeois-democratic movement “Nuori Suomi” (“Young Finland”) and the labor movement, which is beginning to play a significant role in the life of the country. The Young Finnish movement opposed itself to the “Old Finns”, representatives of the conservative groups of the then Finnish society, putting forward in its program some liberal and bourgeois-democratic demands - universal suffrage, free-thinking in religious matters, etc. In literature, “Young Finnishness” appears in this era with realistic tendencies.
The first representatives of the ideas of “Young Finland” in F. l. there was Minna Canth (born Johnsson, 1844-1897) and Juhani Aho Brofeldt (Brofeldt, 1861-1921). With her characteristic brightness and strength, M. Kant depicted in her short stories and dramas the difficult situation of the lower classes, the life of the petty bourgeoisie. Her works reveal a number of ulcers of the existing system (oppression of workers, dependent position of women, etc.). Her dramas “Burglary” (Murtovarkaus, staged 1882, published 1883), “In the House of Roinilan talossa” (staged 1883, published 1885), “The Worker’s Wife” (Työmiehen vaimo, 1885), are very popular. “The Stepchildren of Fate” (1888), the short story “Poor People” (Ktsyhdd kansaa, 1866), etc.
Yu. Aho is a realistic artist. The best work of the early era of his work is “The Railway” (Bautatie, 1884). At the next stage of his work, Aho applies the techniques and themes of European naturalism, speaking out sharply against social vices (“Lonely”) (Rauhan erakko, written 1890). It also touches on thorny issues of love and marriage (“The Pastor’s Wife,” Papin rouv, 1893). In the 90s the element of lyricism intensifies in Aho’s work. His works are increasingly colored by subjective experiences (“Shavings”, “Lastuja”, 1891--1921). The cultural-historical novel Panu (1897) depicts the gap between paganism and Christianity in Finland. Later, Aho returns to the present: the political novel "Kevät ja takatalvi" - "Spring and the Return of the Land" - depicts the national movement in Finland; in 1911 the novel “Juha” was published, and in 1914, “Conscience” (Omatunto). During the civil war in Finland, Aho wavered between the proletariat and the White Guard (“Fragmentary reflections during the weeks of the uprising” (Hajamietteitä kapinaviikoilta, 1918-1919)), and then joined the Finnish reaction. Arvid Järnefelt (1861-1932) is known for his novels on social issues. In them he gives vivid pictures of the life of the upper and lower classes, shows the decay of bourgeois society, attacks church dogmas and rituals, essentially being a Tolstoyan preaching non-resistance to evil.
The circle “Nuori Suomi”, whose mouthpiece was the newspaper “Paivälehti” from 1890, also included Santeri Ivalo (Santeri Ivalo, b. 1866), who wrote mainly historical novels, as well as the lyricist Kasimir Leino (1866-- 1919). Teuvo Pakkala (1862-1925) depicts in his stories the life of the proletarian population of the Finnish province. A special group consists of realist writers who came from the people (self-taught writers). Of these, the first place should be taken by Pietari Päivärinta, 1827-1913, many of whose works have been translated into foreign languages. The merits of these writers are that with their works they illuminated the life of the so-called. “lower” classes of society, pointing out their important role in the economic and social life of the country. Many representatives of this school, except for Päivärint, for example. with Santeri Alkio (1862-1930) and Kauppis-Heikki (1862-1920), writing technique and artistic depiction of characters reached significant heights.
On the threshold of the 20th century. A number of new writers appear in Finland, showing a tendency partly towards the naturalistic movement, partly towards neo-romanticism. Let's name Eino Leino (1878-1926), who distinguished himself in many literary fields, but most powerfully in lyric poetry. He updated the Finnish poetic language and introduced new poetic forms into it. Johannes Linnankoski (pseud., real name Vihtori Peltonen, 1869-1913), neo-romanticist who praised the penetration of capitalism into the provinces; he is known for his novels “The Emigrants” (Pakolaiset, 1908) and “The Song of the Fiery Red Flower” (Laklu tulipuhaisesta kukasta, 1905), translated into many foreign languages. In his last novel, he idealizes the life of timber raftsmen and gives beautiful descriptions of nature. Maila Talvio (pseud. Maila Mikkola, b. 1871) has vivid descriptions of nature. Aino Kallas (b. 1878) depicts in an elegant form the life of Estonian peasants and residents of the eastern regions of Finland. The plays and short stories of Maria Jotuni (b. 1880) are distinguished by naturalism, illuminated by gentle humor. The novels of Joel Lehtonen (1881-1935) are of the same nature. His first works: the epic poem "Perm" (Perm, 1904), the novel "The Devil's Violin" (Paholaisen viulu, 1904), as well as his subsequent ones ("Villi" - "Villi", 1905; "Matalena" - "Mataleena" , 1905, etc.) are marked by extreme neo-romanticism and the strong influence of the poet E. Leino. Starting with the collection “At the Fair” (Markkinoilta, 1912), in Leino’s work there is a certain bias towards realism, and in the main work - the novel “Putkinotko” (Putki notko, 1919-1920) - neo-romanticism is replaced by purely naturalistic tendencies .
After the defeat of the revolution in Finland, Lehtonen joined the reactionary Finnish writers. The same generation of writers includes: Kyústi Vilkuna, 1879-1922, author of historical novels; Ilmari Kianto (b. 1874), who in his early works opposes the official church and hypocritical Christianity. Kianto hates the bourgeoisie and urban culture and contrasts it with the ideal of village life, in which he sees salvation for the small owner (novels “Nirvana” (Nirvana, 1907), “Holy Hatred” (Pyhd viha, 1909), “Holy Love” (Pyhd rakkaus, 1910) etc.). Sharply different from them is the realistic story “The Red Line” (Punainen viiva, 1909), which depicts the life of the poor strata of the northern region in connection with their attitude to the political struggle of the working class. In 1918, Kianto joined the ranks of the counter-revolution and called for the extermination of the revolutionary proletariat.
Voltaire Kilpi (b. 1874) is the author of symbolic stories. Among the newer writers, we will name: F. E. Sillanpää (Frans Eemil Sillanpdd, b. 1888), an expert on provincial life, who humanistically portrays agricultural workers. In his collections of stories and short stories (“Life and the Sun” (Elämä ja aurinko, 1916, “Hilda and Ragnar” (Hiltu ja Ragnar, 1923), “People see off life” (Ihmislapsia elämän ssatossa, 1917), etc.) Sillanpää gives vivid, psychologically developed images. In the novel “Pious Disaster” (Hurskas kurjuus, 1919), Sillanpää introduces the reader to the development of capitalism in agriculture at the end of the last century. The labor movement is portrayed as a transitory phenomenon; armed uprisings (in descriptions of the civil war) are condemned by Sillanpää. Sillanpää is undoubtedly a great master of language; in his manner of writing and, especially, in his depiction of pictures of nature, he resembles J. Aho. The lyricist Larin-Kyösti (b. 1873) recalls the lightness of the lyrical poems of Otto Manninen. b. 1872) - an outstanding translator of Heine and other Western European classics, the author of poems, complete in form, distinguished by gloomy individualism. On the worldview of the poet V. A. Koskenniemi (b. 1885) is influenced by French classics, as well as ancient and German writers. The works of L. Onerva (b. 1882) are worthy of mention. Konrad Lehtimäki (1883-1936) was a railway worker, then worked for several years as secretary of the district committee of the Social Democratic Party of Finland and until 1917 was a member of the Social Democratic faction of the Sejm of Finland. He made his debut in 1908 with the collection of short stories “Rotkoista” (From the Gorge). In the play “Spartakus” (Spartacus), he depicts a slave uprising in ancient Rome based on historical materials. The play “Perinto” (Inheritance) and the collection of short stories “Kuolema” (Death) are permeated with pessimism. During the years of the imperialist war, a collection of his stories “Syvyydesta” (From the Depths) was published, depicting the horrors of underwater warfare, and a fantastic-utopian novel “Jlos helvetista” (Resurrection from Hell), in which he raises the question of the need to end the war. During the proletarian revolution in Finland in 1918, Lehtimäki took part in the revolution as a newspaper editor, for which he spent some time in a concentration camp after the defeat of the revolution. After 1918, two parts of his unfinished novel “Taistelija” (Fighter) were published, which, according to the author, was supposed to depict all stages of the Finnish labor movement.
Irmari Rantamala (Algot Tistyaväinen Unhela, 1868-1918) - son of a farm laborer. He was a public school teacher, a merchant in Petrograd, a correspondent, etc. He is one of the most prominent writers in Finland.
During the proletarian revolution in Finland in 1918, he was on the side of the proletariat and in the spring of 1918 he was shot by the White Guards.
Rantamala's first literary work was the long novel Harpama, published in 1909, followed by the novel Martva, which was a continuation of the first. These novels show pictures of speculation, intrigue, forgery and deception by which the wealth of the ruling classes is achieved; Along with this, the author pays attention to the activities of Russian revolutionaries, the work of agitators of the national party, etc. At the same time, the features of anarchism, individualism, a kind of God-seeking and nationalism appear in Rantamala’s work. Over the course of 9 years, he wrote 26 works, most of them under the pseudonym Maiju Lassila; these are stories and stories from the life of peasants: “For matches in debt” (the best work of the writer), “At the crossroads of life” (1912), “Love” (1912); plays “The Love of Widows” (1912), “The Young Miller” (1912), etc. Under the pseudonym U. Vatanen, his book “Helpless” (1916) was published, which vividly depicts how capitalism in the countryside destroys the economy and family of small peasant and forces him to go to the factory.
The most outstanding literary magazines in Finland before 1918: “Kirjallinen Kuukauslehti”, 1866--1880; “Valvoja” from 1880, “Pdivd” (1907-1911), “Aika” (from 1907), then (1923) merged with “Valvoja” - “Valvoja-Aika”.
Finnish literature in Swedish
The first center of Swedish literature in Finland should be considered the monastery of St. Brigid in Nodendal. Around 1480, the monk Jens Budde (Jöns Budde, d. 1491) translated several books of religious and edifying content into Swedish. Sigfrid Aronius Forsius (approx. 1550-1624) - natural scientist, also wrote poetry in Swedish. The development of Swedish poetry in Finland began after the founding (1640) of the Academy in Åbo and, in particular, after the founding of the Åbo printing house in 1642. Professors and students of the Academy wrote many different “poems for the occasion,” imitating Swedish poetic models. J. P. Chronander wrote two plays staged by Abos students: Surge (1647) and Belesnack (1649).
The first prominent Finnish poet to write in Swedish is Jacob Frese (c. 1690-1729), who first wrote “opportunity” and love poems, and then moved on to more serious themes; in his later poems, an ardent love for his homeland, tormented by wars and civil strife, is manifested; in them he also criticizes the vices of his contemporary society - hypocrisy, hypocrisy, etc. Andreas Chydenius (Antti Chydenius, 1729-1803) acts as a fighter for liberation ideas in political and public life.
The central figure of Finnish cultural life during the Gustavian period was Henrik Gabriel Porthan (H. G. Porthan, 1739–1804), who had a profound influence on Finnish literature. He was one of the organizers of the Aurora society, the founder of the first newspaper in Finland, “Abos News” (“Tidningar, utgifna af ett Söllakap i Abo”) and the literary magazine “Allmän litteraturtidning” (1803). Portan was the first to apply scientific methods to the study of Finnish folk art. With his writings, he prepared the ground for the emergence of pre-Romantic movements in Philosophy. and with all his activities contributed to the awakening of Finnish patriotism. Of the poets who were influenced by Portan, we point out A. N. Clewberg Edelcrantz (1754--1821), J. Tengström (1755--1832). In the youthful works of F. M. Franzen (Frans Michael Franzеn, 1772-1847), Swedish pre-romantic poetry reached its apogee. He wrote lyrical works, epic poems, and historical dramas in verse. As head of the Swedish Academy, he published "33 Memorable Words"; at the same time he is the author of psalms and sermons. Among Franzen's followers, let's name Michael Choreus (1774-1806), whose poems are shrouded in quiet sadness. He also wrote edifying poems, characterized by patriotism.
After 1809, poetry in Swedish in Finland began to decline. Literary works of that time were placed mostly in the Aura calendars (Aura, 1817-1818), the Mnemosine magazine (1819-1823) and various newspapers. The poets who participated in them did not produce any original works (J. G. Linsen (Johan Gabriel Linsen, 1785--1848), A. G. Sjoström (1794--1846), A. Arvidson (Adolf Ivar Arwidsson, 1791 --1858)); they imitated Franzen, the Swedish “Goths” and “phosphorites” (see “Scandinavian literature”). But this generation of poets made a great contribution to Finnish literature by giving a clear formulation to the idea of Finnish nationality.
We find the first quite clear expression of this idea in a number of articles by I. Ya. Tengström (Johan Jakob Tengström, 1787-1858) in the “Aura” calendars, and the most radical formulation in the articles of Arvidson.
After the fire at Abos University, the cultural center of Finland was moved to Helsingfors, and the era of 1830-1863 was the heyday of Finnish-Swedish literature in Finland. Runeberg and Z. Topelius are the leaders of the Finnish national-patriotic movement. The literary upsurge of this era was reflected in the newspaper Helsingfors Morgonblad (1823-1837) published by Runeberg. The Runeberg-Topelius circle included J. J. Nörvander (Johan Jakob Nörvander, 1805-1848), Fredrik Cygnaeus (1807-1881), the first literary critic of the time who discovered artistic flair in recognizing the talent of Kiwi and Wexell , then just entering the literary arena, - then Lars Stenbeck (Lars Jakob Stanbäck, 1811-1870), Finnish patriot and pietist.
A special place is occupied by I. V. Snellman (Johan Vilhelm Snellman, 1806--1881) - the first major publicist in Finland, who published "Saima" (1844--1846) and "Litteraturblad för allmän meddborgerlig bildnining" (1847--1863). He wrote that the Swedish language would inevitably have to give way to the Finnish language in Finland, and then Finnish national identity would be established in Finland.
In the 40s XIX century this idea found support among Swedish youth. Among the poets of this time, we name Emil von Qvanten (1827--1903), author of the famous “Suomi Sang”, humorist Gabriel Leistenius (J. G. Leistenius, 1821--1858) and the Swede Frederick Berndston (G. F. Berndston, 1854-- 1895), an outstanding critic. The most significant poetic talent was possessed by J. J. Wecksell (1838--1907). Since the beginning of the 60s. The heyday of Finnish literature in Swedish ends. In the next two decades we meet only epigonal poets (W. Nordström, Theodor Lindh (1833-1904), Gabriel Lagus (1837-1896). The mouthpiece of the country's literary and cultural interests was then the magazine "Finsk Gidskrift", published by C. G. Estlander (1834--1910). Ideas of realism of the 80s. found expression in the works of Tavastsherna, the first representative of the realistic school in F. l. A representative of extreme naturalism is J. Ahrenberg (1847-1915), who truthfully depicted in his works the life of the eastern regions of Finland with its mixed population. From other writers of the 80s and 90s. Let us point out Gustav von Nymers (1848--1913), W. K. E. Wichmann, I. Reiter, novelist Helena Westermarck (b. 1857), lyricist and short story writer A. Slotte (Alexander Slotte, 1861--1927 ), short story writer Connie Zilakius, author of American Pictures and political and social writings. Of the critics, Werner Söderhjelm takes first place.
Writers of the early 20th century. took part in the political struggle of their time, rebelling ch. arr. against Russophile politics. Let's name Arvid Mörne (b. 1876), an ardent fighter against the oppression of Finland by tsarism; he sympathized with the labor movement and, according to his national sympathies, belonged to the Svenoman party. Finnish poet Bertel Grippenberg (b. 1878) shows a special talent for describing Finnish nature. Most of his works are devoted to the struggle of the Swedes in the Middle Ages against the Finns who were striving for independence. After 1918 he went over to the side of the whites and began to preach anti-Bolshevik ideas. A special place in his work is occupied by a collection of poems published under the pseudonym Ake Erikson, in which he uses the forms and motifs of expressionism for the purpose of parody. The same galaxy of poets includes: Emil Zilliakus (b. 1878), whose work is strongly influenced by ancient poetry and the French Parnassians, as well as Joel Rundt (b. 1879). Richard Malmberg (b. 1878) ironically sketches in his works images of wealthy peasants and townspeople and clearly defined types of inhabitants of eastern Bothnia. Josephine Bengt (1875-1925) depicts in her stories the life of the inhabitants of the eastern Nyland region. Hugo Ekholm (b. 1880) - peasant life in eastern Bothnia and the Nyland region. Gustaf Mattson (1873-1914) displays keen observation and fresh humor in his works. John W. Nylander (b. 1869) and Erik Hornberg (b. 1879) are authors of domestic novels from Finnish and foreign life.
Among the literary magazines published in Finland in Swedish, we point out “Finsk Tidskrift”, the magazine “Euterpe” (1902-1905), “Argus” (later renamed “Nya Argus”, from 1908), etc.
Finnish literature after 1918
The civil war of 1918 deeply affected the entire social life of Finland. Finland received its national self-determination from the Owls. power at the end of 1917, nevertheless, the Finnish bourgeoisie fought in the civil war in 1918 against the working class under the demagogic slogan “for the liberation of Finland from Russian rule.” The civil war meant for the Finnish bourgeoisie a transition to the path of open dictatorship over the broad masses of the people. A split occurred in the labor movement: a revolutionary wing took shape under the leadership of the Communist Party, while the right wing, headed by b. leaders of the Social Democratic Party, kept some of the workers from the revolutionary class struggle.
The events of 1918 had a profound impact on F.L. Some of the old writers, who took shape even before the imperialist war, were lost in the turbulent events of 1918. This is especially clearly evidenced by the works of Juhani Aho (Juhani Aho, 1861-1921) “Fragmentary reflections on the week of the uprising” (Hajamietteita kapinaviikoilta), “Do you remember? » (Muistatko?) and A. Järnefelt (Arvid Järnefelt, d. 1932), devoted to the ideals of Tolstoyism.
S. Ivalo (Santeri Ivalo) and K. Vilkuna (Kyösti Vilkuna), who for a number of years had been promoting Finnish chauvinism in their historical works, found themselves after the civil war in the forefront of ideologists of the counter-revolutionary bourgeoisie. The most bloodthirsty representative of the White Guard F. l. became I. Kianto, who during the civil war even demanded the murder of the wives of workers who give birth to fighters for the Red Guard.
Soon after the end of the Civil War, F. E. Sillanpää (F. E. Sillanpdd, b. 1888) appeared in literature - a writer who remained the most influential in Philosophy for a number of years. His work about the poor man Juha Toivola (Hurskas kurjuus, 1919) attracted particular attention. With considerable objectivity, the author talks about the events of the 60s. XIX century, when the national movement rose especially high. However, since the book portrays social movements as a kind of historical accident, it, in modern conditions, turned out to be directed against the working class and its revolutionary struggle. The basis of modern society, according to the author, is the village. Sillanpää draws themes for his works almost exclusively from rural life. He paints the everyday days of peasants, both wealthy and ordinary farm laborers. The favorite backdrop for the events described is usually quiet rural landscapes, reproduced with great subtlety. However, the ideology of the author, who is usually called a “peasant writer,” is alien to the concerns and thoughts of the broad peasant masses. In one of his last speeches, Sillanpää stated that he was against the reactionary bourgeoisie, but at the same time demanded that the workers not rebel, as in 1918.
I. Lechtonen (Joel Lechtonen, 1881-1936) belongs to the older generation of writers, but his main works were written in the post-war period. Like many others, Lehtonen wrote about the civil war ("Red Man" - Punainen mies). Ideologically he is close to Sillanpää. In his main work, the long novel Putkinotko, Lehtonen describes in detail the experiences of the family of a poor peasant tenant.
Of the old, pre-war bourgeois poets, V. A. Koskenniemi, O. Manninen and Eino Leino (d. 1926) retained their fame in the period after the Civil War. All of them are masters of form, and with Leino the cult of form often takes on a self-sufficient character. Koskenniemi in his poetry always strives to pose the big problems of life, which he often puts into symbolic forms. He is connected with Manninen by philosophical submission to fate. A number of works by these writers (Koskenniemi, Manninen, etc.) are imbued with hostility to communism and an extremely limited bourgeois understanding of “national ideals.”
The turbulent events of the civil war period also left a deep imprint on the work of Swedish poets in Finland. In the camp of the White Guards was A. Merne (Arvid Mörne, b. 1879), whose poems at one time contained radical socialist motifs, so that his poems often appeared in Finnish translations and in the workers' press. However, the transition to the reactionary camp was still not easy for the former socialist - Merne is still apparently going through a crisis, and the pessimism in his works is increasing. Another Swedish poet, B. Grippenberg (Bertel Grippenberg, b. 1888), without any hesitation, became a singer of the White Guard. In his later works he glorifies war as the highest expression of life. Grippenberg is a poet of the imperialist bourgeoisie.
The civil war temporarily united Finnish and Swedish factions of the Finnish bourgeoisie against the working class. The reactionary methods of struggle of the Finnish bourgeoisie after the civil war revived with renewed vigor demagogic agitation not only against the Russians, but also against the Swedes. So eg. J. Finne (Jalmari Finne, b. 1874), a writer who developed in the pre-war period, the author of a number of humorous and children's works, writes a novel “agitation” against Swedish mania (Sammuva valo, 1931).
Soon after the end of the civil war, the democratic strata of Finnish society began to realize that the established order was far from meeting the ideals for which they fought during the war for “national independence” of Finland. The playwright and novelist Lauri Kaarla (b. 1890) reflects these sentiments in some of his works. In the novel “War of Shadows” (Varjojen sota, 1932) he poses the problem of relationships between people after the civil war. It is characteristic that Haarla does not have the courage to radically raise the question of the civil war itself. He justifies his comrades on the white front by saying that they were inspired by “high ideals” about the independence of the Finnish people, etc., and that it is not their fault if the fruits of the war are captured by others. Haarla preaches liberation from the “shadows” - civil war, from hatred and suspicion, demands oblivion and forgiveness. Wanting to free himself from the shadows of the recent past, the author strives for an impartial portrayal of both white and red front-line soldiers. However, Haarl's attempt fails completely. Reality takes revenge on him for his spineless good-naturedness. In his latest works, Haarla again develops ideas close to the chauvinistic bourgeoisie and the Lapuans. The development of the crisis of capitalism is hitting the petty bourgeoisie and peasantry more and more crushingly, pushing them to search for a real way out of the current situation. Post-war class shifts, especially among the peasantry and petty-bourgeois strata of the city, were reflected in relief in the literary and artistic group known as the “fire bearers” (tulenkantajat). This group was formed by ch. arr. from young people who, due to their age, did not take part in the civil war. These youth began by renouncing responsibility for everything accomplished by the older generation. The group members saw their task as connecting the entire younger generation, giving everyone the opportunity to speak out; it was necessary, they believed, to open a window to Europe - to re-establish cultural ties with the world that had been severed by the war, and also to re-evaluate all values. They saw their primary task in the renewal of cultural life, on which, in their opinion, the material well-being of the people depended. The movement of the “fire bearers” falls around the years 1924-1930. The most prominent representatives of the group at that time were M. Valtari, E. Vala, O. Paavolainen.
The group had its own magazine - “Tulenkantajat”. Members of the group of “fire bearers” wrote poetry, novels, travel essays, and literary and artistic articles. Despite, however, the abundance of literary production, only a few of their works can lay claim to genuine artistic significance. Nevertheless, the movement of the “fire bearers” was important for the cultural and political life of Finland. The group disbanded when a more openly reactionary course was taken in the country's politics in 1930. Part of the group openly closed ranks with the Lapuans. However, if part of the “fire bearers” went over to the reaction camp, then the other part is trying to find a way out in a different direction. This is how a left-wing group of intellectuals was formed, which set itself a number of cultural and even political tasks. Part of this group strives to find ways to the struggling class, popularizes the Soviet Union and its literature, as well as international revolutionary literature. The organs of this group are the weekly newspaper published under the old name “Tulenkantajat” (headed by E. Vala) and the literary-critical “Literary Journal” (Kirjallisuuslehti), headed by J. Pennanen (Jarno Pennanen).
From among these left-wing progressive groups of intellectuals a number of young writers and critics emerged. These are the critics: J. Pennanen, R. Palmgren and Kapeu Miram Rydberg (K. M. Rutberg), poets Katri Vala, Viljo Kajava, Arvo Turtiainen, Elvi Sinervo; talented peasant prose writer Pentti Haanpää and others.
Haanpää's first collection of short stories, “The Wind Goes Through Them” (Tuuli kдy heidanylitseen), attracted a lot of attention not only in Finland, but also in the Scandinavian countries, where his works soon appeared in translation. Haanpää describes his native nature with great skill; Haanpää's next book - "Field and Barracks" (Kenttid ja kasarmi) - caused a storm in public circles in Finland; The bourgeois press began to persecute the author. In his book, Haanpää showed a piece of the true life of Finnish soldiers in the army, while depicting the hidden but persistent struggle that is waged in the bourgeois army between command and rank and file. The book appeared as a protest and call for struggle and revealed the basic sentiments of the peasant masses. In addition to the above-mentioned books, Haanpää also wrote “The Story of the Three Losers” (Kolmen Ttsdpddn tarina), “Son of Hota-Leni” (Hota Leenan poika) and others, of which the novel “Isändt ja isäntien varjot” (Masters and Shadows of the Masters, 1935), where Haanpää shows how banks, during the economic crisis, auctioned off peasant farms and peasants turned into proletarians. The nature of the book is so distinctly anti-capitalist that not a single bourgeois publishing house was willing to publish the book. In the novel “Syntyyko uusi suku” (Is a new generation being born?, 1937) and the collection of short stories “Laume” (The Herd), he depicts the needs of the toiling peasantry and rural poor of northern Finland; In Haanpää's short stories, denunciations of the capitalist system increasingly begin to appear.
Katri Vala in her first poems acts as a master of style, paying primary attention to issues of form. When the general economic crisis deeply shook the foundations of the country, and the reactionary bourgeoisie, together with the organization of the Lapuans, launched an open attack on the working people, socio-political motives began to sound louder and louder in Val’s poems, he spoke out in them against the obscurantism of the reactionaries (from Val’s poems published: “Kaukainen puutarina” (Far Garden, 1924), “Maan laitun” (Pier of the Earth, 1930), “Paluu” (Return, 1934), etc.).
The poet Viljo Kajava is close to Val's poetry. Kajava devotes his collections of poems “Rakentajat” (Builders, 1936) and “Murrosvuodet” (Years of Turning Point, 1937) entirely to episodes from the life of workers, reflecting, especially in the last collection of poems, the views of revolutionary workers. The collection of poems by Arvo Turtiainen “Muutos” (Change, 1936) is a collection of proletarian songs and lyrics.
Elvi Sinervo in her collection of short stories “Runo Scörndisistä” (Poem from Sernäinen, 1937) truthfully depicts the fate of the inhabitants of the working-class mountain region. Helsinki. One should also point out the “Literary Journal” and the so-called. “Kirjailijaryhmä Kiilan albumissa” (album of the Kiilan literary group, 1937), in which a number of young talented left-wing writers collaborate.
In conclusion, we should dwell on the work of writers ideologically associated with Finnish reformism. Their most famous representative at present is Taivo Pekkanen, who reflects the worldview of those layers of workers who are greatly influenced by social democratic leaders (the novel “Under the Shadow of the Factory” - Tehnaan varjossa, 1933, etc.). During the crisis of capitalism, Pekkanen moved noticeably to the left and maintained contact with the aforementioned progressive group, but yet his last novels “Kauppiaitten lapset” (Children of Merchants, 1935) and “Isänmaan ranta” (The Shore of the Motherland, 1937) indicate that this shift is not particularly significant. So eg. In the novel "The Shore of the Motherland", depicting the course of the strike, Pekkanen shows how radical elements of the workers eliminate the reformist leadership, but the author's sympathies still lean towards the side of the former leader.
In connection with the civil war, some working writers emigrated abroad and continue their literary activities there. In Finland after the civil war, works by Kaarlo Valli and other writers appeared, whose activities were in one way or another connected with the revolutionary movement of the working class (Ludvig Kosonen, died 1933 in the USSR, etc.).
Listliterature
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2. Lillja J. W., Bibliographia hodierna fenniae, 3 vls, Abo, 1846--1859
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4. Elmgren S. G., Цfversigt af Finlands Litteratur ifran 1542 till 1863, Helsingissд, 1861--1865
5. Palmen E. G., L "Oeuvre demi-séculaire de la Suamalaisen Kirjallisuuden Seura, 1831--1881, Helsingfors, 1882
6. 19: lla vuasisadalla, Suomalaisten kirjailijain ja taiteilijain esittämä sanoin ja kuvin, Helsingissä, 1893
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Swedish (native speakers of the latter, the so-called “Finnish Swedes,” make up about 7% of the country’s population). Literature in Finnish is a product of a relatively late period. Although the oral tradition existed back in the Middle Ages (runes Kalevalas, telling about the mythology of pre-Christian Finland, and a huge layer of folk songs), the first written monuments date back only to the era of the Reformation. This ABC(1542) by Bishop M. Agricola (c. 1508 or 1510-1557) and his translation of the New Testament (1548). Literature in Finnish remained rather fragmented until 1831, when the Finnish Literary Society was created in Helsinki, which set itself the task of collecting folklore and promoting the development of literature in Finnish. Until then, the language of literature, as well as the language of administration and trade, was Swedish, the first monument of which in Finland is considered Book of Yonsa Buddha(14871491) a collection of translations of Latin religious treatises compiled by a certain monk from the monastery of Naantali (Nodendal) near Turku (Abo), the Finnish capital during the long Swedish rule. The country came under Swedish rule as a result of the “crusade” (c. 1155), undertaken with the aim of Christianizing the pagan Finns.
In the 17th-18th centuries. works of an imitative nature were published “Renaissance” poem Physics(1611) pastor and astronomer S.A. Forsius (15501624); baroque erotic poems by the professor from Abo T. Ruden (16611729); elegies by J. Frese (c. 16901729). Like Frese, such figures as the diplomat and author of rococo idylls G.F. Kreutz (17311785), P. Kalm (17161779), who left notes on a trip to North America (17531761), and a talented poet era of pre-romanticism F.M. Franzen (1772-1847), equally belong to the culture of Sweden and Finland. Pre-Romanticism favored an active interest in preserving the Finnish oral heritage, having as its center the Academy in Åbo (founded in 1640), then the center of the country's intellectual life; the treatise of H.G. Portan (17391804) remains fundamental About Finnish poetry(17661778).
The annexation of Finland to Russia after the war of 1808-1809 only accelerated the formation of national identity and truly national literature.
For many decades, Russian power in Finland was completely liberal. Within certain limits, Finnish nationalism was encouraged as a counterbalance to the Swedish tradition; the kings supported the construction of a new capital of the autonomy, the city of Helsinki (Helsingfors), where the university was transferred in 1828. A brilliant galaxy of students and teachers appeared: E. Lönrot (1802-1884), the future collector of folk tales and songs of the famous Kalevalas(first published in 1835–1836, in an expanded edition in 1849; Russian translation 1888), who also published a collection of folk lyrical runes Kanteletar(18401841); ardent defender of the Finnish language J.V. Snellman (1806–1881); physicist, poet and philosopher J. J. Nervander (18051848). But the name of Yu.L. Runeberg (1804–1877) shone brightest of all. Runeberg's concise, laconic lyrics, an epic poem Elk hunters(1832) and rural idylls, a poem in the Ossian spirit King Fjalar(1844) and praising the heroism of the Finns in the Russian-Swedish war of 18081809 Tales of Ensign Stol(1848, part 1; 1860, part 2), all this earned him fame as the national poet of Finland, although he wrote in his native Swedish language. The younger generation included the religious poet L. Stenbeck (1811–1870), the orientalist G.A. Wallin (1811–1851), and the researcher of Finno-Ugric languages M.A. Kastren (1813–1852) (the last two were the authors of excellent travel guides essays), as well as C. Topelius (1818–1898). The "Runeberg era" ended tragically. The extremism of Snellman and his followers, who wanted to make Finland a monolingual country, led to a split in national identity and endless disputes over language, which only subsided with the “Winter War” of 1939–1940. In addition, Finland early lost two of its greatest talents: the Swedish poet and playwright J. J. Weksell (1838-1907) and Alexis Kivi (real name: Alexis Stenvall, 1834-1872). Kiwi true genius of Finnish literature, creator of the brilliant first-born Finnish novel Seven brothers(1870), the first Finnish tragedy Kullervo(1864), the first Finnish comedy Shoemakers Nummi(1864); Kiwi's small poetic legacy reflects the daring impulse and humility characteristic of his work.
Kiwi opened the way for a whole stream of literature in Finnish, which, however, was strongly influenced by foreign models. Thus, in the plays of Minna Kant (1844-1897) Ibsenian motifs are clearly visible; the stories of Juhani Aho (real name: Johannes Brufeldt, 1861–1921) with their harsh style resemble the short stories of G. Maupassant; A. Järnefelt (1861-1932) in his first novels imitates the student chronicle of the Norwegian A. Garborg, later he falls under the influence of Tolstoyism; S. Ivalo (1866–1937) comes from idealism in the spirit of Topelius to the realism of Strindberg’s historical stories; T. Pakkala (1862-1925), depicting everyday life in the village, was clearly influenced by the Norwegians Y. Li, and then K. Hamsun. Again, focusing on foreign models, Swedish-language writers in Finland diversified the social geography of their novels. K.A. Tavastsherna (1860-1898) set himself the most difficult task, drawing in his novels a wide panorama of life from Helsinki and the Finnish province to continental Europe; in poetry, Tavaststjerna was at first a singer of the sea, and later the main theme of his poems was the hopeless situation of the Swedish-speaking minority. J. Arenberg (18471914) focused on the problems of southeastern Finland, where Karelian, Russian, Swedish and Baltic cultures interacted. M. Lübeck (18641925) spoke about the unenviable fate of small towns, secluded summer villas and dying estates.
Neo-romanticism was a driving force in Finnish-language literature at the turn of the century and in the first decades of the 20th century. The largest representative of the era E. Leino (1878–1926), the most profound lyric poet of Finland. Leino's circle included many talented poets: the author of historical ballads, L. Kiesti (1873–1948); academic poet O. Manninen (1872-1950), who sought to translate all the world classics into Finnish; V. Koskenniemi (1885-1962), whose verse increasingly gravitated toward classical archaism. Closely associated with Leino were the authors of exquisite prose, in particular A. Callas (1878–1956) and L. Onerva (1882–1972). During the same period, Maila Talvio (1871–1951), a prolific novelist with a penchant for moralizing, and J. Linnankoski (1869–1913) shone on the literary horizon. Their penchant for melodrama somewhat reduced their importance, while some of their contemporaries, on the contrary, rose to a higher level, not least due to their consistency of style. Let us note the bitter laconicism of the stories of Maria Jotuni (1880-1943) and the equally bitter grotesque of I. Kianto (1874-1970), the looseness of J. Lehtonen (1881-1934) and the linguistic searches of V. Kilpi (1874-1939).
Swedish-language literature in Finland has also undergone a thorough critical reappraisal. Bright poets, such as J. Prokope (1868-1927), B. Gripenberg (1878-1947) and J. Hemmer (1893-1944), with all their formal perfection, were already perceived as old-fashioned, but the journalistically sharp A. Merne (1876 1946) became famous thanks to his mature, sarcastic lyrics, equally castigating both Finland and Europe. The mood of the pre-war years (when both Russian despotism and “anti-Swedish” Finnish nationalism acquired a particularly oppressive character) was best expressed in prose in the short stories of R. Schild (1888-1925) and the polemical speeches of G. Mattsson (1873-1914), sustained in in the spirit of J.B. Shaw. The disadvantaged Finnish Swedes are the heroes of Schild's stories about the villages of Eastern Nyland and the stories of G. Alm (1877-1944), who wrote about hunters and fishermen.
The first decade after the restoration of Finnish independence in 1917 was marked in Swedish-language literature by the emergence of a group of “modernist” writers. The founder and later idol of this group, which adopted much from German expressionism, Russian symbolism, French Dadaism and American Imagism, was the poetess Edith Södergran (1892-1923). The ideological leader of the group was playwright and short story writer Hagar Ohlsson (1893-1978), the most radical position was occupied by E. Diktunius (1896-1961), author of poetry, music-critical articles, short stories and an experimental novel Janne Kube(1932). In the field of language, G. Björling (1887–1960) proved himself to be a bold reformer; the master of dispassionate irony was G. Parland (1908-1930), the tastemaker R. Enkell (1903-1974). The Finnish group of “flame bearers” (“torch bearers”) sought to compete with the modernists, and two of its representatives, the poets U. Kailas (1901–1933) and Katri Vala (1901–1944), thanks to the translations of Diktunius and his associates, gained fame in Sweden. Other members of the group or adjacent to it, including the nature singer A. Hellaakoski (18931952), the melancholy P. Mustapää (18991973), the ultra-refined K. Sarkia (19021945), the antique imitator Elina Vaaru (b. 1903) and the intellectual A. Tyuni (b. 1913), were more popular in Finland itself, since they were more likely to fall into the general tone rather than the extreme in their emotions of Kailash and Vala, with its civic pathos. Of the representatives of this group, the essayist and author of travel sketches O. Paavolainen (1903-1964) wrote most clearly. Two novelists of those years, alien to stylistic and other experiments, gained worldwide fame: Nobel laureate (1939) F.E. Sillanpä (1888–1964) and M. Valtari (1908–1980), whose books formed a gallery of pictures from the distant past and from life modern Helsinki.
The end of the “protracted war” (1941–1944) with the USSR contributed to the fact that literature turned more towards the reader. Sillanpää was by no means alone in turning to rural themes: the tradition started by Kivi was continued by H. Toppila (1885-1963), V. Kojo (1891-1966) and U. Seppänen (1904-1955). Now many books appear about the life of industrial workers: novels by T. Pekkanen (1902-1957) about the factory-port city of Kotka and Moraine(1950) L. Viity (1916-1965), chronicle of Pispala, a poor suburb of Tampere. Neither Pekkanen nor Viita professed any political doctrine; like the unusually brilliant novelist and storyteller P. Haapnyaya (1905-1955), their interest was focused primarily on the fate of individuals and families. In this they were strikingly different from the playwright Hella Vuolijoki (1886-1954), a champion of Marxism, or from the writers of the left group “Kiila” (Finnish “Wedge”) A. Turtiainen (1904-1980), J. Pennanen (1906-1969) and Elvi Sinervo (19121986). Tampere has generally turned into a literary rival of Helsinki. A novel was written about him Troubled childhood(1942) O. Paloheimo (19101973); V. Kayava (b. 1909) sang him in his poems; the largest writer of post-war Finland, V. Linna (b. 1920), author of the classic novel, lives there Unknown Soldier(1954) about the “winter war” of 1939-1940.
The civil war and conflicts with the Soviet Union became an inexhaustible source of creativity for Finnish novelists; the prolific J. Talvi (b. 1920), the master of “black humor” V. Meri (b. 1928), and P., beloved by the mass reader, wrote about them. Rintala (b. 1930), and the authors of the politicized adventure novel A. Ruut (b. 1943) and others. With the exception of Mary, the creators of epic paintings about the recent past cared primarily about the content, and not about style and composition. A group of prose writers concerned with creative problems emerged in the 1950s; a kind of experimental wing is represented in it by A. Hyuryu (b. 1931) and P. Holappa (b. 1927). More traditional, although not stylistically impersonal, are the works of Eila Pennanen (b. 1916), Eva Joenpelto (b. 1921) and Maria-Liisa Vartio (1924–1966): the authors do not forget that their duty is to tell “the story.” " As for poetry, after the conclusion of peace it announced itself with the sensational debut of Aili Meriluoto (b. 1921), who introduced Finland to R. M. Rilke; it was soon eclipsed by poets who managed to find their own, original voice: Eva-Liisa Manner (b. 1921), T. Anhava (b. 1927), P. Haavikko (b. 1931) and P. Saarikoski (b. 1937). It can be assumed that Saarikoski's popularity is partly due to the skill with which he publicizes his bohemian life. Times have not changed much since the 1930s, when the shocking frankness of Iris Urto (b. 1905) titillated the reading public. Indeed, a number of acclaimed contemporary novels Midsummer Dance(1964) Hannu Salama (b. 1936), Earth sinful song(1964) T. Mukki (19441973), Song of Solveig(1971) and Solveig and Jussi(1973) by L. Sinkonen (19371976), showing the poor quality of life in a society of abundance, lost its sharpness, being distracted by discussions about the boundaries of decentness in literature.
Swedish-language literature seemed to have exhausted itself in modernism. However, the 1950s and 1960s saw a resurgence of talent across the board. Among the older generation of writers, the novelist and playwright V. Korell (b. 1912) demonstrated a fecundity unique to the Swedish-language literature of Finland. T. Colliander (b. 1904) and Sulvey von Schultz (b. 1907), who gained fame back in the 1930s (the former with novels of a religious and mystical nature, the latter as a follower of the modernists), acted in a new capacity: Colliander as a memoirist , von Schulz as an author of first-rate short stories. Tove Jansson (b. 1914) became famous throughout the world primarily for her children's books about the Moomins. In poetry, a prominent place was occupied by Bou Carpelan (b. 1926), who made his debut in 1946, whose unique elegiac style adopted the legacy of modernism. The works of the virtuoso pun master L. Hulden (b. 1926) are permeated with sparkling humor, certainly no less bright than that of K. Andersson (b. 1937), the poet of the “new simplicity” and public figure. Among novelists, the leading role is played by K. Chilman (b. 1930). An incisive, thoughtful author, he reflected particularly on the decadent trends in the Swedish-speaking society of Finland. Karpelan and Chilman, autobiographer H. Tikkanen (b. 1924), literary “jack of all trades” J. Donner (b. 1933) and satirist J. Bargum (b. 1943) are representatives of the Swedish-language literary establishment of Helsinki.
Provincial literature also flourished. If previously, for example, Österbotten produced only a few talented writers, of whom we can name the poet R.R. Eklund (1894–1946) and the novelist Anna Bundestam (b. 1907), then in the 1950s the Finnish province became a truly fertile field, which nurtured a whole galaxy of authors, starting with E. Hulden (1895-1968), a peasant poet who made his debut at the age of 56; he was followed, in particular, by the feminist Vava Stürmer (b. 1929), the philosophical poet Inga-Britt Wieck (b. 1930) and the noisy agitator J. Ögren (b. 1936). Notebooks by the artist J. Pettersson (1892–1937), published (1971) by the novelist and historian V. Nyman (b. 1904), were found on the Åland Islands. The most popular of the Åland authors was Anni Blomkvist (b. 1909), who published a novel about life in the skerries in 1966.
Josef Julius Wecksell is a Finnish poet whose fate is one of the most tragic in the history of Finnish literature. Weksell's small-scale work remained misunderstood and underestimated by his contemporaries.
Weksell became, in fact, the first professional Finnish poet: literary creativity was his main and only craft. This was not accepted and, moreover, impossible in Finland in the mid-19th century, when even such famous writers as J. L. Runeberg and S. Topelius made a living from teaching and journalism.
Julius Wexell's first collection of poetry was published in 1860, when he was 22 years old. They immediately started talking about him as an extraordinary talent. But the poet managed to only partially justify the hopes placed on him.
Two years later, the premiere of the drama “Daniel Yurt” took place, which played a big role in the development of Finnish drama. But the poet was already suffering from an incurable mental illness. He spent the rest of his life, almost 45 years, in a mental hospital.
Julius Wexell was born in Abo into the family of hatmaker Johan Wexell. The family had 11 children, many of whom had creative abilities. But there was also severe heredity - a tendency to mental illness.
Julius began writing poetry from childhood, collecting them in special notebooks. In high school, Weksell was already called a skald. At the age of sixteen, he wrote his first play, the comedy “Three Grooms,” which was staged by the Abos Theater troupe, and a century later, adapted into a radio play.
In 1858, Wexell entered the university and plunged into student life. He became a member of the so-called West Finnish student association, which published a newspaper and organized literary readings. Topical issues about the future of Finland and language were also discussed there.
Weksell did not support statements about the end of the era of the Swedish language, but believed that although “the era of Swedish nationality has passed, there will always be a Finnish national literature in Swedish.”
The young poet’s poem “Swedish and Finnish” became famous, where he for the first time touches on the problem of the dispute between languages, but in an idealized form, showing only the noble traits of each of the rivals in their long dialogue. The language struggle in those years was just beginning.
In 1860, Weksell's first poetry collection, “Selected Youth Poems,” was published. It includes poems that differ in style and imagery: patriotic, filled with love for the motherland (“Happy New Year”, “Rocks of the Gulf of Finland”, “Christmas of a Finnish Soldier”), sentimental-romantic (“Bird”, “Diamond on the March snow"), written in the folklore tradition ("Dried Linden").
The young poet's lyrics were largely imitative; he was inspired by the poetry of Heine and Byron, Runeberg and Topelius. But some poems were later set to music by Jean Sibelius and gained fame for many years.
Beginning in 1861, tragic motifs appeared in Wexell’s lyrics: the terrible power of gold over man (“Revenge of the Dwarf”), themes of misfortune and death (“Don Juan’s Farewell to Life”). At this time, the writer begins work on his main work - the tragedy “Daniel Yurt”.
First, the tragedy “Revenge of Shadows” was written, which the author destroyed, sensing its imperfection. Wexell felt a lack of knowledge and devoured books on history, philosophy, aesthetics, and reread Shakespeare, who became his main artistic reference point.
At this time, Wexell’s nerves were already upset, and symptoms of mental illness began to appear. As if anticipating a catastrophe, the writer worked a lot, practically not giving himself a break. This further undermined his health, and he completed the last act of the play while already completely ill.
The bill hoped to finalize it later, but did not have time. In the spring of 1862, the play was completed, in November its premiere took place at the New Theater in Helsingfors, and a few months later at the Great Royal Theater in Stockholm. The play was a great success. Critics wrote that it was the first time a historical national drama had been staged on the Finnish stage.
In 1907, the Finnish poet Eino Leino wrote: “Performed countless times both on our and on the Swedish stage, Wexell’s drama has revealed greater vitality than any other tragedy created in Finland.” These words are still true today. “Daniel Yurt” has not left the theater stage in Finland to this day.
Shortly after the play's premiere, Wexell began hallucinating and was sent for treatment to the Endenich psychiatric clinic in Germany, near Bonn. It was probably in Bonn that Wexell's last poem was written, which stands apart in his work.
The poem “You ascended with a cloud” is a poetic revelation given to Vexkel in the last months or even days before the years of madness. The lyrical hero, like biblical vice, experiences the desire to get closer to God, to know his invisible breath and the tragic feeling of his own loneliness and the imminent end of earthly life.
It's hard to believe that it was written in the early 1860s of the 19th century. During the same period, but a little earlier, in 1862, the poem “Empty Hands” was written, in which the author mourns the death of the word.
It was these last works of Julius Wexell that turned out to be interesting today. And the seemingly forgotten author appears before us again, and in the images of visual art.
Thus, the modern Swedish artist Jan-Anders Eriksson, inspired by the poem “You ascended with a cloud,” created a painting of the same name. And the teacher of Swedish poetry and director Jörgen Erkius presented in February 2009 in Vasa in Finland a short film about Julius Wexell “Empty Hands”, made in the tradition of symbolic realism.
Treatment in Germany did not produce results, and Wexell was sent home to Helsingfors. There was still some hope that the disease could be stopped. In 1865, the play “Daniel Yurt” was submitted for the Finnish State Prize (the competition was announced by the Finnish Literary Society).
The competition also included the plays “Kings on Salamis” by J. L. Runeberg and “The Shoemakers of Nummi” by A. Kiwi. The Kiwi play won.
In September of the same year, Weksell was sent for treatment to a clinic in the Finnish city of Lappvik, where he remained in a hopeless condition until his death in August 1907.
Such was the short but bright creative path of the talented Finnish poet Julius Weksell. He died in 1907 after many years spent in a mental hospital. Wexell's lyrics have taken their place in Finnish literary history and continue to arouse interest today.