Uzbekistan state world languages university philology faculty department of practical disciplines

2. Semantic opposition and the level of the novel "The Scarlet letter"
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 Symbolism⁴:
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. Supernatural forces begin to play a noticeable role in their creations, mystical motifs intensify. bearing in his soul the stamp of doom. 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. Supernatural forces begin to play a noticeable role in their creations, mystical motifs intensify. bearing in his soul the stamp of doom. 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. Supernatural forces begin to play a noticeable role in their creations, mystical motifs intensify. 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. Supernatural forces begin to play a noticeable role in their creations, mystical motifs intensify. 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. Supernatural forces begin to play a noticeable role in their creations, mystical motifs intensify.
Late American Symbolism (60s). This is a period of crisis phenomena in the symbolism of the United States. Symbolism as a method is increasingly unable to reflect the new reality. There is a sharp division within symbolism, caused by the civil war between the North and the South. On the one hand, the literature of abolitionism comes forward, protesting against slavery from ethical, general humanistic positions within the framework of romantic aesthetics. On the other hand, the literature of the South, romanticizing and idealizing "southern chivalry", stands up in defense of a historically doomed wrong cause and a reactionary way of life. The romantic trend in US literature was not immediately replaced by realism after the end of the Civil War. At the turn of these two directions is the work of the American poet Walt Whitman,
National features of American symbolism:
The assertion of national identity and independence, the search for national identity and national character run through all the art of American symbolism. In world symbolism, nature always acts as an alternative to inhumane civilization. In the work of romantics in the United States, this motif is reinforced by the fact that the untouched by civilization nature begins in Americans literally beyond the threshold of the house.
In the New World there were no picturesque ruins, ancient monuments, ancient legends, legends. Gradually, in the books of Irving and Cooper, Longfellow and Melville, Hawthorne and Thoreau, phenomena and facts of American nature, history, and geography acquire a romantic flavor.
Symbolism in the United States is consistently anti-capitalist and expresses the sentiments of democratic America. Also, for American symbolism, the Indian theme became a cross-cutting one. The undoubted merit of the American romantics was a sincere interest and deep respect for the Indian people, their unique worldview, culture, and folklore.
Within American Symbolism, within a single creative method, there were notable regional differences. The main literary regions are New England (northeastern states), the middle states, the South. Symbolism in New England (Hawthorne, Emerson, Thoreau, and others) is characterized primarily by the desire for a philosophical understanding of the American experience, for an analysis of the national past, its ideological and artistic heritage, and for the study of complex ethical problems. New Uzbek Symbolism has a strong tradition of moral and philosophical prose, rooted in America's Puritan colonial past. The work of Irving, Cooper, and later Melville is associated with the middle states. The main themes in the work of the romantics of the middle states are the search for a national hero, interest in social issues, reflections on the lessons of the path traveled, juxtaposition of America's past and present. The work of E. Poe is associated with the special atmosphere of the American South, but it goes beyond the regional "southern" literature. Southern writers often sharply and justly criticize the vices of America's capitalist development, but glorify the advantages of the slave system.
For readers of the 20th century, E. Poe (January 19, 1809 - October 7, 1849) is primarily a novelist and poet. Contemporaries knew him primarily as a journalist and critic. Poe is one of the most tragic figures in the history of American literature.
He was left without parents early (Elizabeth Arnold and David Poe - actors, talented people) and grew up an orphan, brought up in a strange house (the Allan couple are childless, rich people). As a child, Edgar was not a happy child, he constantly felt like an adopted child, it was then that he already experienced a feeling of loneliness, which then did not leave him all his life. From childhood, Edgar Allan Poe was gifted with increased susceptibility and powerful imagination (he lived in his own fantastic reality). As a teenager, Edgar was an active and capable boy, but other guys from the "Richmond society" tried to suppress the personality in him.
One of Poe's best early poems, "To Helena," is dedicated to Jane Stanard, the mother of Edgar's school friend. She became the first beautiful woman in Poe's poetic mind. (Prior to this, Mrs. Allan (idealized in the boy's fantasies) took her place). Edgar had to say goodbye rather quickly to Jane Stanard and Mrs. Allan, then to his future wife Virginia (she died at 25), so the idea of ​​a beautiful woman in Poe's creative mind took on an elegiac, sad tone⁵.
Edgar Allan Poe was enrolled at the University of Virginia in Charlottesville at the age of 17. During this period, he wrote his first collection of poems in 1827 ("Tamerlane and other poems of a Bostonian"). Soon Allan took his stepson home due to non-payment for the university, as a result of which Edgar had a psychological strain. He left Richmond and traveled to Boston in the hope of getting his poems published. In the summer of 1827, his first collection of poetry, Tamerlane and Other Poems of a Bostonian, was published. Poe rose to the rank of sergeant major in the army under a false name, at which time Mrs. Allan died.
Edgar Poe was a son of his time, his state (Virginia), the spirit of Virginian aristocracy surrounded him in his childhood, in his school and student years. It is with him that Poe's early reflections on human and his own exclusivity, on the right to it, are connected. In the house of the Allans, a different atmosphere reigned (merchants, merchants, entrepreneurs) - bourgeois, so the young Poe must have felt the discrepancy between the two systems. There was another environment that also played a big role in Poe's life - the environment of poor Americans, who own nothing and are at various levels of poverty. When he began to look for paternal relatives in the hope of help, he found the same poor and hard workers as himself.
Edgar Allan Poe considered himself a poet, he felt in himself the creative forces sufficient to fulfill a high destiny. He shared the romantic concept of the poet-prophet, who reveals new truths to mankind. A year after the service and before entering the military academy, Edgar read Uzbek and German romantics, worked and wrote poetry, published the second collection Al Aaraaf in 1829.
In Baltimore, Poe met such people as William Worth (former US Attorney General), John Neal (popular writer and critic). Edgar was enrolled in the academy, but did not last long there, and he was expelled. Then he went to New York, where he published his third collection of poems in 1831, which, like the second ("Al Aaraaf"), included not only newly written poems, but also works published earlier. Poe did not consider the publication of the poem to be the final act and constantly returned to the printed things, continuing to work on them. Edgar Poe began writing prose in 1831.
After New York, Poe returned to Baltimore and settled with his aunt, Maria Clemm, for four years. These years played a decisive role in shaping him as a literary figure. Poe met Kennedy, who helped him and got him a job at the Southern Literary Herald. Poe repeatedly participated in competitions for the best story, but only "Colosseum" and six stories from the "Eleven Arabesques" series were triumphs, and Poe also received a prize for the story "Manuscript Found in a Bottle." Over the years, he developed a professionalism in himself, got used to looking at the general tasks and goals of literature in a new way, taking into account the needs of the readership. He finally came to the realization that he was an American poet, prose writer and critic, and that the struggle to create an American national literature should be the guiding principle of his work. In 1835
In the summer of 1835 Thomas White invited Poe to come to Richmond and take the place of his assistant. Poe turned the unknown Southern Literary Gazette into a profitable magazine with a national reputation. Poe gave preference to artistic creativity, but was forced to periodically return to journalism. Such a combination led to a monstrous overstrain of forces, nervous exhaustion, and psychological breakdowns. He moved to Richmond, where Allan died in 1834. Po fell into a deep depression, his whole being possessed by a feeling of bottomless unhappiness. Po was afraid to become crazy, he got more and more tired, more and more sick, but continued to work. In 1845, the collection "The Raven" was published. In 1847 his wife Virginia died, it was for Poe a blow from which he never recovered until the end of his days. The circumstances of his death are not entirely clear. The best stories, poems,