Uzbekistan state world languages university philology faculty department of practical disciplines

The theoretical significance of the work lies in revealing the meaning of the category of freedom in the historical and literary process of the 20th century and its manifestation in a literary text, in particular, in the early work of Margaret Drabble.
Practical significance of course work. The ideas, approaches and effectiveness of the course work will be used in the preparation of reports on pedagogical disciplines, the creation of manuals, as well as the creation of methodological recommendations, the dissemination of work experience.
The structure and scope of the course work: introduction to the work, 3 sections, general conclusions and recommendations, a list of references.

1. 
   Symbolism in American Literature. Creativity Nathaniel Hawthorne
   

According to Soter, symbolism “is not a closed system, it is a dialectical, historical process; its initial function consists in the negation of the previous aesthetic theory, the further function is the creation of a new ”, and “the awareness of the personality of its active role in the social process becomes new here”.
For this study, we have chosen a working definition of symbolism, from which we will build. Symbolism (French romantisme) is an ideological and artistic trend in European and American spiritual culture of the late 18th - first half of the 19th centuries. French romantisme is descended from Spanish romance (as Spanish romances were called in the Middle Ages, and then a knightly romance) through English romantic (romantic), transmitted in French romanesque, and then romantique and meaning in the 18th century. “strange”, “fantastic”, “picturesque”. At the beginning of the 19th century the word "Symbolism" becomes a term for a new literary movement, the opposite of classicism².
In his book, Viktor Maksimovich Zhirmunsky names the work of M. Deutschbein “The Essence of the Romantic”, in which the latter discusses symbolism: “not every phenomenon of the romantic era equally expresses the idea of ​​symbolism. For example, Byron and Walter Scott are not romantics, French symbolism is a secondary, imitative phenomenon. The most striking expression of the idea of ​​symbolism Deutschbein finds in Germany in Novalis, Fr. Schlegel, Schelling, Schleiermacher, in England - at Wordsworth, Coleridge, Shelley. Zhirmunsky writes about Deutschbein: “In his characterization of the “creative intuition” of the romantics and the romantic synthesis of the infinite and finite in the human self, in nature, in art, in historical life, one can clearly feel the sympathetic immersion of modern neo-symbolism into the atmosphere of a romantic worldview that is intimately related to it.”
As I. Sheter wrote, “Symbolism should be considered in parallel with other contemporary literary phenomena, i.e. taking into account the interweaving of various phenomena and processes of this era. Irina Neupokoeva was of the same opinion, she highlights the following features of European symbolism:
its interaction with realism;
the relation of symbolism to the classical heritage;
links between symbolism and folk poetry.
The relationship between symbolism and realism. “Most often, this interaction was observed from one of its sides - as the use of many methods of romantic imagery by the greatest realists of the century - Pushkin, Gogol, Stendhal, Balzac, Dickens, Dostoevsky, Flaubert, who passed in their creative evolution, as it were, through the "school" of symbolism. On the one hand, certain discoveries of romantic art were not “removed” by the development of realism, but continued to function in its artistic system in an “untransformed” form. On the other hand, Romantic art itself actively perceived the "lessons of realism", above all, what critical realism asserted itself at that time as a new type of art. It is also important to note that “the problem of the interaction of symbolism and realism has its own distinct zonal aspect,
The relation of symbolism to the classical heritage. “A comparative examination shows a fundamentally similar attitude of romantics (who are close to each other in their ideological and aesthetic positions) to past eras of the national and pan-European artistic heritage. Typologically characteristic will also be the difference in attitude towards this or that material among romantics of different ideological positions. Therefore, the problem of European literary development arises. “We see how stable the selectivity is, from which romantics of different directions turn to certain periods or the largest figures of world art.” For example, some romantics (revolutionary) gravitated towards the great tradition of active humanism of the artists of the past, others did not. "While the romantics, associated with the progressive forces of historical development, distinguished by a serious interest in the great satirists of the past (to Aristophanes, Juvenal, Lucian, Swift, Voltaire, Fielding), romantic writers, whose work was associated with a protective ideology in relation to feudal or bourgeois orders, treated their satire either openly negatively or not noticed its role in the development of the spiritual union of mankind. This attitude changes at different stages. "At an early stage in the development of symbolism, the main attention of romantics is attracted by the legacy of the classicists and enlighteners." Sauter adds: “we can talk about deep differences in the attitude of romantics of different directions to the world classical heritage: some emphasized moral stamina, fortitude, greatness of passions in the personality, others saw sufferers marked by the sadness of fate.” Fielding), romantic writers, whose work was associated with a protective ideology in relation to the feudal or bourgeois orders, treated their satire either openly negatively, or did not notice its role in the development of the spiritual union of mankind. This attitude changes at different stages. 
"At an early stage in the development of symbolism, the main attention of romantics is attracted by the legacy of the classicists and enlighteners." Sauter adds: “we can talk about deep differences in the attitude of romantics of different directions to the world classical heritage: some emphasized moral stamina, fortitude, greatness of passions in the personality, others saw sufferers marked by the sadness of fate.” Fielding), romantic writers, whose work was associated with a protective ideology in relation to the feudal or bourgeois orders, treated their satire either openly negatively, or did not notice its role in the development of the spiritual union of mankind. This attitude changes at different stages. "At an early stage in the development of symbolism, the main attention of romantics is attracted by the legacy of the classicists and enlighteners." Sauter adds: “we can talk about deep differences in the attitude of romantics of different directions to the world classical heritage: some emphasized moral stamina, fortitude, greatness of passions in the personality, others saw sufferers marked by the sadness of fate.” treated their satire either openly negatively, or did not notice its role in the development of the spiritual union of mankind. 
This attitude changes at different stages. "At an early stage in the development of symbolism, the main attention of romantics is attracted by the legacy of the classicists and enlighteners." Sauter adds: “we can talk about deep differences in the attitude of romantics of different directions to the world classical heritage: some emphasized moral stamina, fortitude, greatness of passions in the personality, others saw sufferers marked by the sadness of fate.” treated their satire either openly negatively, or did not notice its role in the development of the spiritual union of mankind. This attitude changes at different stages. "At an early stage in the development of symbolism, the main attention of romantics is attracted by the legacy of the classicists and enlighteners." Sauter adds: “we can talk about deep differences in the attitude of romantics of different directions to the world classical heritage: some emphasized moral stamina, fortitude, greatness of passions in the personality, others saw sufferers marked by the sadness of fate.”
Connections of symbolism with folk poetry. There is a “typological commonality of the very fact of the widespread interest of romantics in the folk poetic work of both their own and other peoples. In countries where folk epic poetry continued to play an active and independent role in the spiritual life of the epoch, many works of romantics are directly adjacent in their poetics to folklore forms. A common feature of the relationship between romantic poetry and folklore was the free "permeability" of a number of poetic genres characteristic of symbolism for the influence of folk poetry, for the creative development of its images, themes, its very rhythmic structure. What they had in common was that in the folk poetry of the romantics, they were attracted primarily by the basic principles of the poetics of works of folklore genres. 
At an early stage, they were perceived as a force, capable of resisting the influence of the regulating poetics of classicism. Soter also points out that “the desire to rely on the traditions of folk art culture in the development of national literatures caused here, already at an early stage of the romantic movement, serious theoretical speeches in defense of the folk language as the basis of modern art. In this romantic literature, they are especially attracted to those artists whose work (Aeschylus, Dante, Shakespeare, Milton) or whose personal biography (Dante, Tasso, Michelangelo) most fully revealed the tragedy of a person’s position in conditions of lack of freedom. At this time, the problem of the tragic fate of man in the conditions of bourgeois reality arose in reality. Returning to Neupokoeva, let's say about the mature stage of symbolism: "folk poetic creativity was already perceived in its genre differentiation, in an interested desire to draw from it new opportunities for enriching one's own art." This interest of the Romantics "was freely combined with their attention to all national and world artistic experience." Also "an important point of the typological commonality of the romantics' attitude to folklore was the ever-deepening differentiation of their attitude to the folklore tradition³."
In no Western European country did symbolism play such a role as American: a whole literature was created within the direction. Early American symbolism is characterized by historical optimism, the pathos of affirmation. The mature stage of American symbolism is characterized by criticism of the direction itself, of the core of the romantic dual world. It is here that the interaction of symbolism with realism, which Neupokoeva spoke about, is nurtured. There are 3 stages in the development of American Symbolism:
Early American Symbolism (1820s-1830s). His immediate predecessor was pre-symbolism, which developed even within the framework of enlightenment literature (W. Irving, D.F. Cooper, W.K. Brinet, D.P. Kennedy, etc.). With the manifestation of their works, American literature for the first time received international recognition. There is a process of interaction between American and European symbolism. An intensive search for national artistic traditions is underway, the main themes and problems are outlined (the War of Independence, the development of the continent, the life of the Indians, etc.). The worldview of the leading writers of this period is painted in optimistic tones associated with the heroic time. There is a close continuity with the ideology of the American Enlightenment, which ideologically prepared the American Revolution. At the same time, critical trends are maturing at this stage, which are a reaction to the negative consequences of the strengthening of capitalism in all spheres of life in American society. Early American Romantics are repulsed by the rising tide of corruption, selfishness, moral and spiritual impoverishment. They are looking for an alternative to the bourgeois way of life and find it in the romantically idealized life of the American West, the heroism of the War of Independence, the free sea, the patriarchal past of the country, in the rich colorful European history.
Mature American Symbolism (1840s-1850s). This period includes the work of N. Hawthorne, E.A. Poe, G. Melville, G.W. Longfellow, W.G. Simms, R.W. Emerson and G.D. Toro. There were noticeable differences in the attitude and aesthetic position of the romantics of the 1940s and 1950s. Most writers are deeply dissatisfied with the course of the country's development (the barbaric destruction of the indigenous population of the mainland, the predatory plunder of natural resources, the economic crisis of the 1830s, government corruption, foreign and domestic political conflicts). The gap between reality and the romantic ideal deepens, turns into an abyss. 
Mature American symbolism is dominated by dramatic, tragic tones, a sense of the imperfection of the world and man (N. Hawthorne), moods of sorrow, longing (E. Poe), consciousness of the tragedy of human existence (G. Melville). A hero with a split psyche appears, bearing the stamp of doom in his soul. At this stage, American symbolism is moving from the artistic development of national reality to the study of the universal problems of man and the world on the basis of national material, and acquires philosophical depth. At the same time, he relies on the modern idealistic philosophy of Europe, on the German idealistic school of Kant, Schelling, Fichte. Contemporaries are confronted with questions of a global nature - about the essence of man, about the relationship between man and nature, man and society, about the ways of moral self-improvement. Poe, Melville, and Hawthorne created symbolic images of great depth and generalizing power in their writings.