G. Moore’s creative activity, his role in development of English Naturalism.
Naturalism arose as a trend in European literature and art in the 70s of the 19th century and reached its peak in the 80-90s. The features of this trend were first theoretically substantiated and sought to be embodied in his own work by the French writer Emile Zola (1840-1902); He became the founder of naturalism, understood as a creative method and system of principles of artistic understanding of reality, based on a certain worldview, which are realized in the poetics and style of the work.
Meanwhile, although naturalism in England never acquired the significance of a defining direction in literature, it was nonetheless one of the factors for its development.
Perhaps the main role in its formation in England was played by George Moore. Consideration of his naturalistic works is devoted to the main part of the proposed work. Since, however, naturalism was only a stage in the formation of Moore the writer, the work also traces its further evolution, characterizes his mature works created at the turn of the century.
Undoubtedly, at the beginning of his writing activity, Moore experienced a great influence of Zola and sought to follow the principles of naturalistic theory in his artistic endeavors. However, it is important to keep in mind that this influence was mainly reflected in the early works of the 1980s, primarily in the novel The Wife of the Comedian (1885); but already in the novel “Kisseynaya drama” (1886) and even more in the novel “Just an Accident” (1887) Moore noticeably departs from the principles of naturalism, which is confirmed by his growing interest in the in-depth psychological analysis of the spiritual world of the heroes. In the biographical novel "Confession of a Young Man" (1888), Moore declares that in the future he intends to attach great importance to psychologism, and sees the main task of the artist in creating good, that is, artistically perfect prose. He finds examples of such prose in the works of Turgenev, Flaubert, Goncurov and blames Zola for the lack of work on style.
Creativity Moore is really very controversial, it developed under the influence of a variety of impulses and hobbies; naturalism was one of the ways in which he rose, that he understood his own essence and his own way. He also entered the path of symbolism, decadence, aesthetics, etc., but this does not give grounds to assert that at the same time he turned into a symbolist or decadent. If some general principles of these areas in some periods became close to him, this does not mean that he changed his way; it was simply his way of comprehending art and the world, his way of perfecting as an artist.
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Already in the 90s, Moore recognized his naturalistic novels as unsuccessful, but, conscious of their shortcomings, he understood their importance for his own creative growth, because in them he followed a course that broke old attitudes and was already close to him. In his opinion, the writer should influence the art of his era, contribute to its improvement. Moore's passion for naturalism, as a “new art,” is due in particular to the desire to overcome the stagnation in English literature of the 1980s, which he felt particularly strongly because he spent eight years in France, where the literary process developed much more lively and freer. Moore wanted to make the property of art and literature of England the best that he saw in the work of the writers of new trends. The literary controversies in France, the theoretical works of Zola, the controversy surrounding naturalism, the works of Goncurov, Maupassant, and Zola himself — all of this was vividly reflected in Moore’s artistic evolution. He forced his receptivity to the most important trends of thought and art and his versatility to serve the development of national literature.
The main periods of William Thackeray’s creative activity, his manner of character’s portrayal.
Thackeray’s writing can be divided into 3 distinct periods.
1) The first, from 1837 to 1843:
was a period in which he exercised an almost passionate vigor to point out where society had gone wrong. He places himself outside his writing through his superior attitude toward his characters, lower-class subjects whom he treats in the most disparaging manner conceivable.
Thackeray was unsure about his own place in the rigid English social system. He thus adopted a jauntily unpretentious persona in his social fictions. He developed a talent for the burlesque and began to attack other writers, ridiculing military adventure novels, satirically attacking the Newgate School, and portraying his fascination with the Europe of that time.
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