Above the dust of solar lakes

There beckons with scarlet fingers

And summer residents worry in vain

Over dusty train stations

unattainable dawn

Where I miss so painfully

Comes to me sometimes

She is shamelessly delightful

And humiliatingly proud.

For thick beer mugs

Behind the sleep of the usual bustle

Through the veil covered with flies,

Eyes and small features

What am I waiting for, enchanted

My lucky star

And deafened and excited

Wine, dawn and you?

Sighing with ancient beliefs,

Noisy with black silks,

Under a helmet with mourning feathers

And you're stunned with wine?

In the midst of this mysterious vulgarity,

Tell me what to do with you -

unattainable and unique

How is the evening smoky blue?

There is no maiden camp, there is only a veil; behind the veil, not “the enchanted shore” and not “bottomless blue eyes”, but “eyes and small features”. She is "shamelessly ravishing And humiliatingly proud." Beauty is vulgarized. And yet the heroine of the poem remains "unattainable and the only one" - she is opposed to "mysterious vulgarity", is interpreted as its victim. The poem “There ladies flaunt fashion” was written simultaneously with “The Stranger”, but Blok completed it 5 years later.

The symbolism of Blok's sound images developed under the sign of the incessant deepening of the semantic sphere of poetry. The mysterious world of sounds, incomprehensible and fatal, opened its circle over the years, approaching living life and people, until it merged with them in one indissoluble unity, becoming part of the indivisible whole "sound - living life".

In the evolution of the symbolism of sound in the figurative structure of Blok, a movement from the particular, concrete, random to the generalized typological, all-encompassing meaning of sounds, to the elements of sound pressure and from it to universal sound harmony is clearly noticeable.

Conclusion.

In a 1902 poem entitled Religio, Blok wrote:

I loved tender words

I was looking for mysterious inflorescences.

In fact, it is color symbolism and visual imagery in general that is the main feature of the poetic model of the world created by Blok. But Blok was not only looking for mysterious color correspondences: he also listened to the mysterious sound correspondences of the surrounding world. In 1919, in the preface to the poem "Retribution", he says: "I am used to comparing facts from all areas of life that are accessible to my vision at a given time, and I am sure that all of them together create a single musical pressure." The musical sensation of phenomena finds expression in Blok both through repetitive images, similar to the leitmotifs of his lyrical cycles and poems, and through a fine study of the sound fabric and the rhythmic diversity of his verse. Rhythm and sound in his poetry very often carry very specific information that the reader catches synesthetically, on a subconscious level.

Explain the concept of synesthesia.

The word "synesthesia" comes from the Greek synaisthesis and means a mixed sensation (as opposed to "anesthesia" - the absence of sensations). Synesthesia is a phenomenon of perception when, when one sense organ is irritated, along with sensations specific to it, sensations corresponding to another sense organ arise, in other words, the signals emanating from different sense organs are mixed and synthesized. A person not only hears sounds, but also sees them, not only touches an object, but also feels its taste.

First of all, intersensory connections in the psyche, as well as the results of their manifestations in specific areas, are called synesthesia - poetic paths of intersensory content; color and spatial images caused by music; and even interactions between the arts (visual and auditory) (according to B.M. Galeev).

What is the essence of the concept of "intersensory communication" (synesthesia), its functions in art? We are talking about interactions in the polysensory system of sensory reflection, arising on the principle of association. The simplest connections, as you know, are "associations by contiguity", and the most significant for art are "associations by similarity". The similarity can be a similarity in form, structure, gestalt (form / appearance) of auditory and visual images (for example, an analogy is built on this: a melody-drawing). The similarity can be both in content and in emotional impact (for example, the synesthetic analogies "timbre-color", tonality-color are based on this). , in the formation of synesthesia, one can see the participation mental operation(Although they are carried out most often on a subconscious level). In this regard, synesthesia should be attributed to complex specific forms of non-verbal thinking that arise in the form of "co-representation", "sympathy", but by no means "compassion", as it is interpreted according to the etymology of this word.

Thus, being a specific form of interaction in an integral system of human sensibility, synesthesia is a manifestation of the essential forces of a person, but by no means an epiphenomenon, and of course, not an anomaly, but a norm - although due to the possible "hiddenness" of its origin in each specific case, it inaccessible to superficial scientific study. Moreover, synesthesia can be characterized as a concentrated and simultaneous actualization of the sensual in a wide range of its manifestations: firstly, "multiplied" sensory and, secondly, emotions that mediate this "multiplication".

We did not set the goal of the work to dwell on the personality of Blok as a typical synesthete, however, we consider it our duty to note how the tonality of the sound images of A. Blok's lyrics is reflected in the perception of his poems. Alexander Blok, being one of the brightest representatives of symbolism, possessing a synesthetically developed mental structure, was a true singer of the colors of the era, its “voice” in world history.

Blok's poetic images cannot be regarded as mere reflections of real objects or as ordinary metaphors and metonymies, simply loaded with some kind of abstract meaning. His images always retain both concrete and abstract meaning, that is, they are symbols. Blue visions, pink horizons, white temples over the river in his early poems - and the yellow Petersburg sunset, purple dusk, night, street, lantern, pharmacy in his later poems - all this equally resists interpretation at the level of meaning alone, because everything it is loaded with complex polysemic information.

The central image of Blok's early lyrics (1901-1902), the image of the Beautiful Lady, sometimes embodies the real features of Lyubov Dmitrievna Mendeleeva, the future bride and wife of the poet, but more often it is an exalted symbol of Eternal Femininity. The name "Beautiful Lady" itself contains two compact "a" sounds in its stressed syllables. The distinctive feature of compactness is usually associated with a feeling of spaciousness, fullness, completeness, grandeur, balance, strength and power. All these and similar sensations can be reduced to the concept of sustainability. Therefore, it is not surprising that in some poems about the Beautiful Lady, these shock "a" dominate in the very first lines: "She was young and beautiful".", "She grew up behind the distant mountains.", "She is slender and tall.", "You went into the fields without a return."

Let us turn to one of the most important poems in the cycle "City" - the poem "Peter", written in 1904. The poem created a symbolic image of the city of Petra - " Bronze Horseman". The images of the rider and the snake in the real monument are opposed to each other, the horse tramples the snake with its hoof. In the poem, the antithesis "rider - snake" is absent, on the contrary, they seem to be merged. (By the way, in Blok's text the word "snake" is replaced by the word "serpent ", which is perceived in the Biblical sense - as a symbol of sin, vice, temptation, the devil). In the "deaf evenings" the snake, turning into fog, "swirls over the houses", and from the torch in the king's hand, "threads of lanterns", "showcases and pavements" will sparkle with chains of lights, and the city will be filled with voices, "loud and stringed." The poet creates a picture of vice and debauchery in bold, expressive images: innocence from the corner pleads for mercy." The king and the serpent bring evil and death to the city. And therefore, in the rays of sunrise, it seems that a terrible fiery sword, the sword of Antichrist, sparkles in the hands of the king. This symbolic image of the city is sinister and terrible.

But the city of vice is portrayed by the poet in different ways. In the poem "Stranger" from the cycle "City", it would seem that the city is drawn outside the mystical context. He is vulgar and ordinary. It is a city of restaurants, lanes, ditches, country cottages, dust, stuffiness, a city of "ladies" and "tried wits", "sleepy lackeys", and "drunks with rabbit eyes". The sound background of the poem is no less ugly than the visible images. These are drunken shouts, a woman's squeal, the creak of oarlocks in boats floating on the lake, children's crying. Instead of the gold of the stars or the sun, a "bakery pretzel" is golden over this world - a symbol of everyday life. This is a world without poetry, without beauty, without music.

In general, Blok, as it were, destroys lyrical stereotypes. Spring air, which in lyrical poems always breathes cool freshness, aromas of flowers and herbs, love and rebirth, is called "pernicious" in the poem, i.e. deadly, "creating decay" (the word "decay" is connected with the words "death", "debauchery"). This air "rules drunken shouts", it seems to generate dirt. About the moon it is said: "And in the sky, accustomed to everything, the disk is meaninglessly twisted." In this image - and the vulgarity of everyday life, and flat ugliness.

The lyrical hero of the poem feels endless loneliness in this world. But even in the abode of wretched vulgarity, beauty can appear. And she appears in the form of a mysterious Stranger. Everything about her is beautiful and mysterious. The elastic silks of her dress "breathe with ancient beliefs", "a hat with mourning feathers" creates an indistinct aftertaste of sadness, "a narrow hand in rings" breathes grace. Her perfume wafts with mist and mystery, and her gaze "through a dark veil" catches not a face, but "a shore enchanted and enchanted by the distance." And in relation to this mysterious and mysterious woman, the hero feels a “strange closeness” that binds the soul. His state is a state of intoxication - with wine or the proximity of a mysterious beauty. And already the picture loses its reality: the hero sees swaying "ostrich feathers bowed" and "blue eyes, bottomless", similar to exotic flowers from distant shores. Who is she - a beautiful vision, inspired by "tart wine", or a restaurant prostitute, whose appearance is ennobled by the hero's own fantasies? It does not matter. Important. That in the world of vulgarity there is still beauty left. And if it is generated by wine, then long live wine!

Strange as it may seem, however blasphemous it may seem, the distant features of the Beautiful Lady suddenly shine through in the image of the Stranger. Her appearance has changed, she is no longer a Radiant Deity, but not an ordinary earthly woman either. From the Beautiful Lady in her remained a mystery, beauty, harmony and a sense of non-participation in this world. It's just that the unattainable ideal of romance has now been embodied in a different form, but the essence, the nature of the image has remained the same.

There is one circumstantial evidence for this idea. Blok, as you know, paid great attention to the placement of his poems in books. Next to "The Stranger" he put a poem that is very similar to "The Stranger" both in composition, in rhythmic structure, and in figurative system. This poem is "There the ladies flaunt their fashions ...".

If you compare both poems, then the first feeling is that these are variations on the same theme. The same vulgar world, the same "ladies", and "tried wits" fully correspond to lyceum students, of which each is "witty". The same lakes, the same dust, the same boredom. And the same destruction of the lyrical stereotype in the image of the "unattainable dawn" that arises over the "dusty railway stations" and "dacha residents worry in vain." And she appears, beautiful, graceful. And the same black silks and rings. But she is completely down to earth. Earthly, because its appearance is devoid of that ghostly mystery and mystery, it is more definite, concrete. She is not just wearing a hat, but a very specific hat of a fashionable style - a "helmet". And not just a veil, but a “veil covered with flies” (how much vulgarity is in these “flies”!) And a glance thrown through the veil catches not the mysterious images of the “enchanted distance”, but “eyes and small features”. How indicative are these ordinary eyes, without any defining word, and small features seem to reduce, to earth the image.

And if everything in the Stranger breathes mystery, there are no earthly feelings in it, then the heroine of the second poem is "shamelessly intoxicating and humiliatingly proud." How much sick, broken, unnatural in these epithets!

And if the Stranger remains indifferent to the drunken world, then in another poem the image of the heroine is drawn against the background of beer mugs, and in the finale she is “stunned by wine”, that is, drunk just like everyone around, like the hero himself.

The stranger is out of the world, the heroine of the poem "There ladies flaunt fashions ..." - part of this world. She is beautiful as usual female beauty, there is both depravity and charm in it, but there is no mystery. And against the background of this heroine, the mystical nature of the image of the Stranger is even more acutely felt.

LYRICAL HERO AND THE THEME OF FEMININENESS. Block believed in new world, to the fact that “the expectation of the future” is the meaning of being. The idea of ​​the female soul was connected with the belief in the coming harmony. He believed that the female soul also possessed extraordinary power in the lyrics of F. Tyutchev, but only the symbolists felt the catastrophic nature of the world and the possibility of its salvation through the feminine principle.

In love with L.D. Mendeleev Blok saw in his chosen one the earthly embodiment of Eternal Femininity. She became the heroine of "Poems about a Beautiful Lady". The Beautiful Lady “sees distant worlds”, she is the “queen of purity”, the bearer of the “source of light”, the Sunset Mysterious Maiden, the Mistress of the Universe, Kupina. Blok treated his beloved, then his wife, mystically, with a religious feeling, he saw in her a Christian symbol: “I am in the rays of your nebula / I understood the young Christ.” The poems were given the character of prayers.

However, the lyrical hero of the cycle is bifurcated: in the Eternal Femininity, he also feels the earthly woman. Blok wrote to L.D. Mendeleeva that she cannot “go away into complete abstraction”, that she is his “earthly being”. Already in the mystical world of his early poetry enters the reality that the poet expressed in the theme of earthly love: the hero wants to hug his girlfriend “in rapture”, overtake her “in the tower”, the “desired girlfriend” goes up to him on the porch, promises to unlock the door for him “ at dusk winter day". In an elegy “We met with you at sunset...” (1902) The feeling of the lyrical hero is conveyed not to the Platonic Beautiful Lady, not to the symbol, but to the earthly woman: “I loved your white dress, / I fell out of love with the Refinement of the dream ...” Their meeting is a reality, not an illusion; the imagery is specific (“You oared through the bay”, a sandy spit, “ripples and reeds near the shore”), although it is inscribed in the landscape and emotional context of “azure silence”, “evening fog”, thoughts about “pale beauty." Blok expressed some sensual fatigue: “No longing, no love, no resentment, / Everything faded, passed, departed ...”, but such an emotional state reflected not only the intimate experience of the poet, but also the experience of any person, which distinguishes the poem from the romantic elegiac tradition. Subsequently, in the love lyrics of Blok, whether it be the cycles “Snow Mask”, “Faina” or “Carmen”, the theme of earthly love will acquire an independent, full-fledged sound. In the poem "We met with you at sunset ..." the poet expressed the idea of ​​the symbolists about the rapprochement, attraction of the ideal and reality.

Blok believed that the secrets of life are wider than aesthetic concepts, that logic or the desires of people cannot replace providence. AT 1905 he wrote a poem “The girl sang in the church choir...”. The atmosphere of the church service is depicted, the imagery of liturgical petitions (litanies) about floating, traveling, suffering is used. In the church, the girl sings “about all the tired ones in a foreign land, / About all the ships that have gone to sea, / About everyone who has forgotten their joy”, and thanks to her song, the parishioners gain hope: “That in a quiet backwater all ships, / That in a foreign land tired people / have found a bright life for themselves. In the artistic system of the poem, the opposition of white and black, light and darkness, enlightenment and ignorance, characteristic of Blok's further works, was outlined: the white shoulder, the white dress of the girl contrast with the darkness of the temple in which people pray. The poem is built on the opposition: after the song of the girl and the faith of the parishioners in the grace of all those who are floating, traveling, the turn of fate, God's mystery comes: “no one will come back”; human self-deception, self-consolation is opposed by a difficult, even tragic reality. The child feels the truth (“And only high, at the Royal Doors, / Participated in the Mysteries, - the child cried / About the fact that no one will come back”). In the romantic motifs of the unattainability of the desired, doom, the inability to connect with kindred spirits, Blok expressed not only the theme of providence, but also his attitude to modernity as a tragedy.

There is also a hidden meaning in the poem. Let's pay attention to the fact that the girl's voice is turned to God, “to the dome”, she herself is in the illumination of the heavenly ray; the poem uses the image of a ship - the religious symbol of the church; The Royal Doors, located in the middle of the iconostasis, also have religious symbols: the Lord comes through them to nourish the suffering with His Body and Blood. The full truth, therefore, is that no one will return to those who pray in the temple, but everyone who is prayed for has found a “bright life” in another, extraterrestrial world. Like the image of the ship, the second, symbolic meaning is given to the motif of "foreign land" - not a geographical concept, but a mystical one. Therefore, the symbolic foreign land is opposed to the earthly, literal meaning of the word “back” from the cry of a child.

The size of the work is also complex, it is written in dolnik.

Note: if earlier Blok's lyrics were focused on the poet's feelings, now they are turned to the world. His poetry was filled with images of his contemporaries. This is not only a girl from the church choir or parishioners listening to her; these are peasant workers (“It was hard for us under the blizzards ...”), sailors (“Her arrival”), the people who clashed with the troops in January 1905 (“They went to attack. Right in the chest ...”). If in “Poems about the Beautiful Lady” the idea of ​​the catastrophic nature of the world was rather conditional, now the concept of the tragic has gained certainty and is expressed in concrete manifestations of earthly existence, including urban life. The city in Blok's mind became an image of sin. On June 25, 1905, he wrote: "Petersburg is a gigantic brothel, I feel."

In the poems of 1904-1908, united in the cycle "City", the traditions of "Nevsky Prospekt", "Portrait" by Gogol, "Crime and Punishment" by Dostoevsky are traced. Blokovsky Petersburg is inhabited by beggars, workers, harlots. Among the common people, “female faces”, “cheerful and drunken”, there lives a lyrical hero, to whom the Stranger appears. It is a city of factory horns and restaurants, hungry and full. Blok introduced the image of the city into a biblical context; in the poem “The Invisible Woman” (1905), an image of a harlot riding a scarlet beast appeared: “With a spilled cup of wine / On the Scarlet Beast - Wife” - Blok’s version of the apocalyptic mother of harlots sitting on a scarlet beast with a cup filled with the impurity of fornication. The features of the urban landscape are the bloody tongue of the bell, the “graves of houses”, the tin sunset, the dark gray fog, the “gray-stone body” of the city, the bloody sun.

The lyrical hero lives, "drowning despair in wine." He, who once believed in his union with the mystical Beautiful Lady, in future harmony, is now experiencing the collapse of astral illusions: “For a long time the star has sunk into my glass.” So the image of the Stranger was included in the lyrics of Blok; she personified not only astral secrets, but also the temptations of earthly life. The new incarnation of the feminine was no longer a symbol of absolute harmony. She appeared to the lyrical hero either in restaurants or at “unlit gates”; there was quite a lot of earth in her portrait; she was a star, either fallen to earth from heaven, or fallen. The poem “Your face is paler than it was...” (1906) expresses the tragedy of the fall: “Believe me, we both knew the sky: / You flowed like a bloody star, / I measured your path in sorrow, / When you started to fall.”

One of the most famous poems in the cycle - "Stranger" (1906). The heroine is a lonely mystical maiden, in the form of which there are quite recognizable features of an urban beauty: silk, “a hat with mourning feathers”, perfume, “a narrow hand in rings”. The atmosphere of her meeting with the lyrical hero is also banal: “hot air is wild and deaf”, “pernicious spirit”, alley dust, the boredom of dachas, the sham brilliance of a bakery pretzel, ladies and “tried wits”, etc.

At the same time, the Stranger is the messenger of other worlds, the distant shore. Behind her dark veil, the lyrical hero sees "the enchanted coast and the enchanted distance." Since the time of romantic lyrics, the image of the coast has meant a harmonious, free, but unattainable world. In the artistic system of “Poems about the Beautiful Lady”, the image of the shore was also symbolic, it symbolized the drama of the separation of the poet and his mystical chosen one: the lyrical hero “cannot find his native shores”, and on the other shore “a lonely soul cries”, and she “on that laughs at the shore." In “The Stranger”, the astral maiden brought the mystical world closer to reality, with her the unreal world of “ancient beliefs” penetrates into restaurant life.

Now she is not only the chosen one, but also the lyrical hero - the chosen one. Both of them are alone. Not only to her, but also to him, “deaf secrets” are entrusted. Despite this, the romantic theme of the unfulfilled connection of kindred souls sounded in the poem. However, in The Stranger, the tragic solution to this theme acquired an additional tone of self-irony: the hero suggests whether the Stranger is not just a game of a “drunken monster”. Irony allowed the lyrical hero to solve the riddle, to find a kind of compromise between reality and illusion. Compromise, however, is impossible between the Stranger and suburban life, the wonderful maiden leaves him. She and reality are two poles between which the lyrical hero resides.

In the poem, not only the artistic details of everyday life and “deep secrets” constitute an antithesis, not only the plot of the Stranger is based on the opposition of her appearance and disappearance, but the phonetic series of the poem is built on the principle of contrast of assonances and alliterations. The harmony of the vowels, consonant with the image of the Stranger, contrasts with the dissonant, harsh combinations of consonants, thanks to which the image of reality is created. The phonetics of the poem expresses the plasticity of the image of the Stranger: the hissing ones convey the penetration of the heroine dressed in silk into the hustle and bustle of everyday life.

Duality as a principle of the poetics of the poem was also expressed in the methods of presenting what is happening. In "The Stranger" there is a descriptive beginning, consistency, slowness in building artistic details; there is a semblance of plot, which allowed researchers to consider the poem as a ballad. At the same time, "The Stranger" is impressionistic. The heroine is the fruit of the imagination of the lyrical hero to the extent that for the impressionist the world is adequate to his sensual sensations and expectations, emotional states, the flow of smells and color images. Suburban wits, ladies, drunkards are clear, typical, their actions are definite, purposeful, understandable, which does not happen with the Stranger. The poetics of impressionism is characterized by inertia: the lyrical hero is simply led by his imagination, no further development of the action, no initiative will follow.

The theme of “The Stranger” is also developed in the poem “There ladies flaunt fashion ...”, however, in it Blok, having strengthened the realistic beginning, “unattainable and the only one”, which enchanted the lyrical hero, gives the star not only external, as it was in “The Stranger”, but also the inner features of an urban beauty. She became akin to vulgar reality: she was “stunned by wine”, the once full of secrets veil became just a veil in front sights, small features appeared in her portrait, earthly contradictions of Dostoevsky’s heroines are guessed in her character: “She is shamelessly intoxicating / And humiliatingly proud.” The stranger appeared in poems

1906 “Years have passed, but you are still the same...”, “A train spattered with stars...” This image accompanied Blok's imagination for more than one year. In February 1908, he wrote the poems “I passed the crimson sunset...”, “May is cruel with white nights! ..”, which depicts “a woman with crazy eyes, / With an eternally crumpled rose on her chest”. In 1909, Blok created the poem “From the Crystal Fog...”, its heroine is a maiden who came to the restaurant from an “unknown dream” with a “burning blue gaze”.

A poem was written the following year “In the restaurant”, in which the once mystical maiden of the “Stranger” was transformed into a restaurant seductress with an arrogant look: “But from the depths of the mirrors you cast your eyes at me / And, throwing, shouted: Catch! ..” There is no impressionism in this image. The adaptation of both the lyrical hero and the woman to bohemian life has taken place, mysticism has given way to the prose of life, astral relations to flirting. There is no harmony in the heroine, in her soul there is the same cacophony, randomness as in the restaurant world: the gypsy “screamed the dawn of love”, her monisto “strummed”, the strings “burst”, the bows sang “frantically”, but the chosen one also said “ intentionally abruptly”, she “rushed with the movement of a frightened bird”, her silks “whispered anxiously”, she “thrown her eyes”.

In "The Stranger", doubts about the reality of the meeting between the lyrical hero and the maiden were not resolved. In the poem “In a restaurant”, the meeting took place, and in the same banal setting: lanterns, which in the “City” cycle were associated with vice, bows sing about love, attributes of gypsyism, romantic in the days of Pushkin’s “Gypsies” and romances by Y. Polonsky, Ap . Grigoriev, but in Blok's poem it lost its romantic sound and became a sign of the idle life of the beginning of the century. Restaurant ethics also manifested itself in the action of the hero: “I sent you a black rose in a glass / Golden as the sky, ai.” If “The Stranger” is written in iambic tetrameter, then “In the Restaurant” is written in multi-foot anapaest.

In parallel, in the lyrics of Blok at the end of 1906, the heroine of the poetic cycles “Snow Mask” and “Faina” appeared, for which the lyrical hero had a passion. The poems were dedicated to the actress N.N. Volokhova. The new incarnation of femininity expressed Blok's further retreat from the ideal of the Beautiful Lady. Of course, in the heroine of "The Snow Mask" and "Faina" there was some continuity from the Stranger. This is evidenced by the figurative series. Beloved, “sparkling from the cup of wine”, snaked “in the cup of gold”, appeared “through the wine crystal”; the lyrical hero turned to the chosen one: “You strangle with black silks, / You flung open the sable ...”, “Your dark silk teased me.” The line “A girl’s body, seized by silks” was transformed into the line “My thin body is seized by silk”; repeated and gave images, veils: “As behind a dark veil / For a moment the distance opened up to me ...” In one of his poems, he called her the Stranger.

The cycles capture the transition of the lyrical hero from contemplation to a blizzard, according to Blok - blizzards, i.e. anxiety, from dreams to initiative, from statics to dynamics. Blok sang “earthly beauty”: “I know the weakness of these hands, / And this whispering speech, / And the languor of a slender waist, / And the dullness of sloping shoulders.” Not a dream of a meeting with a Beautiful Lady, not a hint of a possible meeting with a Stranger, but a love meeting with the heroine of “Faina” becomes the theme of poetry: “And, as if into the abyss, into the bosom of the night / We enter ... Rise our steep ... / And nonsense. And darkness. Eyes shine. / Hair flows over the shoulders / A wave of lead is blacker than darkness... / Oh, the night of a painful marriage!..”

Such a motive of love-passion expressed a new Blok's worldview. Openness to the world, readiness to accept it as it is, became the theme of the poem. 1907 “Oh, spring without end and without edge...”. The word “I accept” dominates in the figurative system of the poem. The lyrical hero is in harmony with life, there is no opposition of the individual to the world, characteristic of romantics, and the contrasts that are insoluble in The Stranger are now consonant. The compatibility of opposites has become a sign of harmony. Therefore, success and failure, weeping and laughter, nightly disputes and morning, “desert villages” and “wells of earthly cities”, “the expanse of heaven and the languor of slave labors” are accepted. The intimate motif of the poem confirms the philosophical theme of the fullness and diversity of life: the last four stanzas are about a “hostile meeting”, about love relationships “hating, cursing and loving”.

Absolute tragedy is alien to Blok's consciousness: in the same years, a lyrical hero appeared in his work, inclined to perceive life both as the embodiment of earthly vulgarity and as world harmony. The poem was included in the cycle "Spell by fire and darkness." The epigraph to the cycle was the lines from Lermontov's “Gratitude”, which expressed the theme of gratitude close to Blok for life not only with joys, but also with “secret torments of passions”, “kiss poison”, “revenge of enemies”.

The theme of accepting earthly trials was expressed in Blok's love lyrics, in the motives of gratitude for fading and unfaithful love, forgiveness of betrayal, which go back to Pushkin's poem "How God grant you be loved to be different." AT 1908 Block wrote a poem “About valor, about exploits, about glory...”, which tells about the dramatic relationship between the poet and L.D. Block. The poem is written in the genre of a message. The lyrical hero addresses his beloved with a confessional monologue about his feelings. The woman who left him is “sweet”, “tender”, she is the inspirer of his poetry, she is the highest truth, next to which other ideals of the “sorrowful land” were forgotten - valor, exploits, glory. She is the personification of his youth. After parting with her, he parted with his symbolist illusions: his beloved left, wrapped in a cloak, the color of which, blue, was a landmark in the poetry of the symbolists. The poem is included in the cycle "Retribution". The loss of a beloved woman is retribution for illusions, for the symbolist aestheticization of living life.

In six stanzas, a love story is described, compositionally framed by the image of the beloved (“Your face in its simple frame”). Each stanza of the poem, as if repeating the compositional principle of Pushkin's poem “k ***” (“I remember a wonderful moment ...”), is plot and emotionally independent and expresses a certain period in the life of the lyrical hero after the betrayal of his beloved: oblivion, the desire to find other supports in life (“Wine and passion tormented my life”), the desire to return her love, then the torment gives way to a different state - life becomes a “strong dream” about her, about her departure and, finally, humility, recognition of the impossibility of returning love. However, the dramatic finale distinguishes the problems of Blok's poem from "K***".

AT 1914 a cycle of 10 poems was created "Carmen", in which the main theme was the power of love, passion, inspiring to "creative dreams". The poems are dedicated to the performer of the part of Carmen in the opera by L.A. Bizet. Andreeva-Delmas. “I lost my head, everything in me is confused ...” - the poet, carried away by the singer, noted in his notebook.

Blok saw in his contemporary the character of a seductive, unknowing gypsy woman. This combination of female natures gave the result - "the delirium of my passions in vain." The plot about the Spanish gypsy is related to the life of St. Petersburg, where "March brings wet snow." Blok created a syncretic image in which the female nature, the conventionality of the scene, and the perception of P. Merimee's text are not dissected. Blok spoke about this synthesis in the poems “The snowy spring is raging...”, “The angry gaze of colorless eyes...”, “Oh yes, love is free like a bird...”, etc.

In the description of Carmen, there are features of Delmas: her “gentle shoulders”, perfume, “frightening sensitivity” of “nervous arms and shoulders”, contempt in her eyes, leonine “in the movements of a proud head”. Ho Delmas or Carmen is jealous of Escamillo: “Will you not take up the braid, / To dim the unnecessary light, / And the row of pearls will not shine / Teeth to the unfortunate one”? This scenic, conditional situation of the poem “The Angry Look of Colorless Eyes...” is, as it were, transferred to St. hero: "And in quiet time night, like a flame, / Flashing for a moment, / Flashing white teeth to me / Your relentless face.

Such a synthesis of fiction and reality, the deliberate inclusion of stage and literary conventions in the fate of the lyrical hero create a feeling of transparency of the boundaries of the poetic text and life, the free movement of the image into reality and reality into the artistic space.

Carmen's love and hate are extraordinary, as are the feelings of the lyrical hero. Such maximalism is also a characteristic feature of the “masses of love”, “masses of hatred” of the lyrical hero V. Mayakovsky. In Russian literature, this feature dates back to the romantic tradition.

In Blok's lyrics, love is associated with the elements of nature. The window of the chosen one of the “tender month”, “the sunset dawns above”, her voice is filled with the “rumble of forgotten storms”, “red-red” appears in the gold of the curls, just as “azure shines through the darkness of the night”, in her braids - “red night” , and the heart of the lyrical hero is like the ocean.

The emotionality and intimacy of the cycle corresponds to the genre of the message, in which some of his poems are created. The last of them, “No, never mine, and you will not be anyone's...”, is written in iambic six-foot, traditional for the message. Comparisons and parallelisms became frequent artistic devices of the cycle. One of the means of depicting feelings in “Carmen” is a combination of contrasting meanings: love is manifested in delight and fear, “dumb creepiness”, the characters of Carmen and the lyrical hero are expressed in the line “Sadness and joy sound like a melody”, the hero is “sad and marvelous” because that I had a dream about my beloved, etc.

Thus, the theme of femininity reflected the poet's profound worldview changes on the path of "incarnation" - from contemplation of earthly life to immersion in living life. Over time, the embodiment of femininity appeared in his poetry in the image of Russia.

LYRICAL HERO AND THE THEME OF RUSSIA. One of the main themes of Blok's poetry, which expressed the poet's democratic moods, his transition to an active perception of life, his sense of time, was the theme of Russia. In a letter to K.S. Stanislavsky on December 9, 1908, Blok wrote that he devoted his life to the topic of Russia, that this topic is “the first question, the most vital, the most real.”

In the context of this theme, the poet also perceived the problems of the relationship between the people and the intelligentsia. In 1907, his correspondence began with the Olonets Old Believer and at the same time close to sectarian movements poet Nikolai Klyuev, in whose letters he heard a reproach to himself as a representative of the nobility, the intelligentsia, for indifference to the fate of the people. Blok included thoughts and quotations from Klyuev's letters both in the 1908 dramatic poem Song of Fate and in the article Literary Results of 1907. Blok was close to Tolstoy's hero - Nekhlyudov, tormented by conscience from the novel "Resurrection", a nobleman, at first indifferent to the people's world, and later peering into this world and through comprehending its troubles, solving the spiritual task of overcoming evil, which was first for himself, through admitting himself guilty before God, through fulfillment of Christ's commandments. In the article “The People and the Intelligentsia” (1909), the poet wrote: “Since Catherine’s time, love for the people has awakened in the Russian intelligentsia and has not been impoverished since then.” The poet, not without the influence of Klyuev, came to the idea that in due time the people would sweep away the intelligentsia, including him, Blok. Perceiving such a course of events as a just retribution, he wrote to Stanislavsky: the people "will trample us holy." Later, the justification of people's anger and the feeling of guilt before people's Russia will take shape in an independent topic in the poem "The Twelve".

To Stanislavsky, Blok outlined his concept of national self-consciousness, his special return to Slavophilism, but without Orthodoxy and autocracy. He was not inclined to connect the mission of Russia with the fate of the Slavic world as a whole, with the Slavs. Russia was perceived by him as something valuable and exclusive.

The theme of Russia in the work of Blok has undergone a rather complex evolution. In "Poems about the Beautiful Lady" Blok created an image of a space in which Russia as such did not yet exist. In Crossroads, symbolist conventional images like the “enchanting and rare” fog gave way to prosaisms: “A rooster crows in the distance”, “Alder branches darkened, / A light flickered across the river”, sad fields, gray branches, etc.

With “Bubbles of the Earth”, the image of Russia-myth entered into Blok’s lyrics, accompanied by pantheistic, pre-Christian mysticism. Blok wrote about the field Christ as God for every creature - both man and the undead: swamp imps, dwarfs, mermaids, nymphs ... Therefore, in his lyrics, the devil asks for holy places, and the swamp priest loves everyone and prays for everyone. The idea of ​​the unity of all things has become central to the understanding of Russia. Note: in the poem "The Twelve" the image of Russia will already be presented as a split, warring world. Even sadness in Bubbles of the Earth was not the antonym of joy. The poet created oxymoron images: “sadness smiled”, “I meet spring in sad fun”.

The lyrical hero felt his involvement in such a Russia. He discovered for himself the field home of the “tree orgiasm”, in which “juices just walked in the forests and fields”, and came to the conclusion that “it is humiliating not to be one of these elements”, as he wrote in 1905.

At the same time, social motives were also identified in the Blok version of Russia. In the 1900s peasants, sailors, workers appeared among Blok's images. The January events of 1905 caused the image of the revolutionary people to appear in Blok's lyrics. So, in the poem “We went to the attack. Right in the chest...” sounded the motive of blood, “they gave bloody”.

Blok was looking for his own image of Russia. Ultimately, in his work, the idea of ​​​​a Russia of many faces took shape - folk, meek, robbery, epic, intimate, striving, boundless in the steppe, free ... The traditions of Russian literature of the previous century, primarily Pushkin, Lermontov, Gogol. In the desire to be useful to people's Russia, the influence of Nekrasov's poetry affected. Blok is close to Tyutchev’s concept “Russia cannot be understood with the mind”, his belief in the “world destiny” of the motherland, which Gogol also prophesied in the eleventh chapter “ dead souls”.

Blok, having adopted from his predecessors a lyrical, intimate interpretation of the theme of Russia, in his own way interpreted Pushkin's and Gogol's images of "reckless revelry" and melancholy, a troika, a road, unknown plains, Lermontov's images of "overflowing rivers", "sad villages". Thus, in Blok’s motifs of the “gray huts” that took care of the “poor” Russia, with its “robber beauty”, the cautious longing of the coachman’s song, “wind songs” ( "Russia", 1908) or in “I will listen to the voice of Russia drunk, / Rest under the roof of a tavern” (“Autumn Will”, 1905), an echo of Lermontov’s love for the motherland is heard: the lyrical hero of “Motherland”, accepting Russia of straw-covered huts, looked “at the dance with stomping and whistling / Under the call of drunken peasants”, which in turn is perceived as a reminiscence from Onegin’s Journey, where Pushkin also showed the peasant homeland: “Heaps of straw in front of the threshing floor”, “Yes, the drunken tramp of a trepak / Before the threshold of a tavern”. Lermontov wrote about his “strange” love for the common people of Russia, Blok, like Nekrasov, does not see anything “strange” in his feeling for such a homeland, and in the poem “Russia” he definitely writes both about “tears of first love” and about love as about his cross (“And I carefully bear my cross”). The motives of Pushkin's "Winter Road" and Nekrasov's "Troika" are also obvious in the poem. Reminiscence is the main compositional device of “Russia”.

Already in the very first stanza of the poem "Russia" a reminiscence from "Dead Souls" is given:

Again, as in the golden years,
Three worn out harnesses fray,
And painted knitting needles
In loose ruts...

Speaking not about pity (“I don’t know how to pity you”), but about love for Russia, Blok writes about love for Russia, unpredictable, spontaneous, impulsive, in which there is a “sharp melancholy”, “robber beauty”. The fate of Russia is such that she can give her beauty to the “sorcerer”, he will “lure and deceive” her, but she will come out of these trials wise and healthy, showing her vitality: “And only care will cloud / Your beautiful features.”

The block focuses on feminine essence Russia (“robbery beauty”, “beautiful features”, “patterned headscarf up to the eyebrows”, “instant glance from under the headscarf”), and in this he sees her vitality, salvation. Thus, the saving essence of the ideal of the Eternal Femininity was concretized in Blok's ideas about the homeland.

If the beginning of the poem does not portend hopes for overcoming the difficult path (“erased”, “blabber”, “stuck”, “loose”), then the last two stanzas are in major, in the spirit of the lyrical digression of the eleventh chapter of “Dead Souls”. They are dominated by the motive of Russia's striving forward: "And the impossible is possible, / The long road is easy." The theme of overcoming, elemental strength, vitality is also expressed rhythmically, the poem is written in iambic tetrameter. Remember what Belinsky wrote about the iambic “Mtsyri”: this size is elastic, it falls like a blow of a sword.

AT 1908 Blok created a cycle of five poems “On the Kulikovo field”, which was accompanied by a note that the Battle of Kulikovo is a symbol of Russian history, the solution of which lies ahead. The idea of ​​the historical connection between the Battle of Kulikovo and the present is also expressed in the article “The People and the Intelligentsia”: “There is a rumble over the cities, which was over the Tatar camp on the night before the Battle of Kulikovo, as the legend says”; the Tatar camp was compared in the article with the modern intelligentsia, its “hurried fermentation” and “change of battle colors”, the camp of Dmitry Donskoy - with the state of the people of the early 20th century, when under the external silence a real life unknown to the intelligentsia was hidden.

Historical realities are concretized: “Khan's saber

steel”, Nepryadva, Don, “Mamai lay down with the Horde”, “prince's army”, “trumpet cries of the Tatars”. The lyrical hero is one of the medieval warriors. Russian troops "stood over the steppe at midnight", a friend urges him to "sharpen his sword". Ho Russia is eternal and indivisible in time, therefore the lyrical hero is a contemporary of two eras, he is experiencing the anxious eve of the Kulikovo battle and the eve of new, 20th century, “wild passions”. Already “the thunder of the wonderful battle is not heard”, but “high and rebellious days” are coming, the lyrical hero hears “above the enemy camp, as it used to be, / And the splash, and the trumpets of swans”.

The patriotic feeling of the lyrical hero is personal, intimate, it expresses the need of a person to feel his unity with his homeland: “Sunset in blood! Blood flows from the heart! Cry, heart, cry...”

Blok’s concept of the fate of Russia, reflected in the cycle, is in many ways similar to Pushkin’s and Gogol’s perception of the homeland: in the boundlessness of the steppes, in “boundless longing”, in the “long journey”, in the eternal overcoming of historical trials, the idea of ​​Russia’s endless striving forward is expressed. She is destined, according to Blok, to remain forever in restlessness, in a state of overcoming, of battle. Therefore, the symbol of Russia is a racing steppe mare: “And eternal battle! Rest only in our dreams. / Through the blood and dust... / The steppe mare flies, flies / And the feather grass rumples...”

The image of swans serves as a symbol of anxiety extended in time: “The swans screamed for Nepryadva, / And again, again they scream ...” Nature is a participant in events, a harbinger of Russian and Tatar tragedies: “An eagle scream over the Tatar camp / Threatened with disaster.” The final poem of the cycle “Again over the Kulikov field...” is preceded by an epigraph from the poem by Vl. Solovyov's “Dragon”: “And the mist of irresistible troubles / The coming day shrouded”, which expressed the theme of the all-time trials of Russia. Blok writes: "The homeland will be sick for a long time."

But the fate of Russia is guarded by an intercessor. In the image of the Eternal Feminine, Ta appears, who was with the soldiers in the “dark field”, refreshed the chain mail on the shoulder of the lyrical hero, Whose voice he heard in the cry of the swans, Whose face flashed on the friend’s sword. Blok writes: “And with the fog over Nepryadva sleeping, / Directly at me / You came down in clothes, streaming light, / Without frightening the horse.” Her miraculous bright face was on the warrior's shield. Most likely, “You”, “You”, “Your” is a paraphrase of the image of the Virgin. So, the “eternal battle” of Russia, the eternal restlessness in the heart, the militancy of the Russians are considered by Blok as a holy mission: the lyrical hero, his friend, the Russian regiments opposing the “filthy horde” are doing a “holy deed”, and “the holy banner will flash in the steppe smoke ". The image of the Virgin is culminating in the theme of femininity; in the cycle, a “bright wife” is mentioned, who will remember the lyrical hero “at an early mass”, there is also an image of a mother (“And in the distance, in the distance she fought against the stirrup, / The mother voiced”).

The imagery, including phonetics, rhythm, and intonation of the verse, contributes to the development of the motive of Russian restlessness. In the poem “The river spread. It flows, lazily sad...” The image of a lazy river corresponds to an extended stream of vowels. The second stanza, breaking the calm intonation, begins with the sonorous exclamation “Oh, my Russia!” and introduces the motif of the path into the poem. The fourth stanza begins with short phrases that give the rhythm of the poem swiftness, and the emotional content - a feeling of anxiety: “Let the night. Let's go home. Illuminate with bonfires / Steppe distance. Further, the image of movement - a steppe mare - was introduced into the artistic system. The seventh, final, stanza reveals the theme of tragedies and their overcoming: “Sunset in blood! Blood flows from the heart! / Cry, heart, cry... / There is no rest! Steppe mare / Rushing galloping!” Thus, the poem is dynamic and due to the change of motives, and thanks to specific artistic techniques. Such an emotional construction of lyrical speech is called emphasis.

The cycle uses various poetic meters: iambic, trochee, amphibrach. Important in terms of meaning are the verbs of movement, corresponding to the theme of the historically conditioned aspiration of Russia (“Our path is an arrow of the Tatar ancient will / Pierced our chest”): “flies, flies”, “go, go”, “rushes gallop”, “a cloud ascended ”, “rushed away”, etc. A frequent method of the cycle is a metaphor: “the river is spread out”, “haystacks are sad”, “frightened clouds”, “Nepryadva got out of the fog”, etc. Blok resorts to lexical repetitions, for example, in the poem “Again with the age-old longing...”, which gives expression to the cycle: “Wild passions are unleashed / Under the yoke of a flawed moon” at the end of the second stanza and “And I, with age-old longing, / Like a wolf under a flawed moon” at the beginning of the third stanza. Direct speech is introduced into poetic texts. Important for revealing the content of the cycle are reminiscences from the chronicle "The Tale of the Battle of Mamaev".

In the first poem of the cycle “On the Kulikovo Field”, the poet addressed Russia: “My wife!”. In a poem "On the railway...” (1910) the motherland was associated with the image of a girl “in a colored scarf, thrown on her braids”. We saw the same motive in “Russia”. The idea of ​​a feminine mentality in Russia is quite traditional; it is expressed in the works of the Slavophiles, developed in the concepts of the philosophers Silver Age- Vl. Solovyov, V. Rozanova, N. Berdyaev. In the poem “Rus” (1906), the lyrical hero perceived his homeland as a woman: “You are extraordinary even in a dream. / I will not touch your clothes.” In the poem “In the thick grass you will disappear with your head ...” (1907), the homeland again appeared in the image of a woman: “He will hug him with his arm, braid him with a scythe / And, stately, he will say:“ Hello, prince ””. In "Autumn Day" (1909), the lyrical hero said to a poor country: "Oh, my poor wife."

In Blok's mind, this tradition was strengthened by the attitude to the feminine as salvific. However, in the poem “On the Railroad” the theme of a person’s responsibility for the homeland, for its salvation sounds rather. The dominant motif of the poem is conscience, the lyrical hero’s guilt for carefree youth, for indifference to people’s Russia: “So the useless youth rushed, / Exhausted in empty dreams ...” glances are thrown / Into the deserted eyes of the wagons.

Such generalizations contribute to the symbolization of a specific situation - the first stanza represents a genre picture:

Under the embankment, in the unmowed ditch,
Lies and looks, as if alive,
In a colored scarf, thrown on braids,
Beautiful and young.

The next two stanzas contain a story about the girl’s habitual path through the forest to the railway platform, about how she met the rushing trains, symbolizing someone else’s and alluring life in the poem: “Perhaps one of the travelers / Will look more closely from the windows.” In Blok's poem, a reminiscence from Nekrasov's "Troika" is recognizable: a young peasant woman "eagerly" looks at the road along which the cornet raced. In both poems, in a realistically described everyday situation, the theme of incoherence, alienation of two worlds - peasant Russia and Russia of enlightened classes - is hidden. The block reinforces textual associations with the sixth stanza:

Only once a hussar, with a careless hand
Lean on scarlet velvet,
He glided over her with a tender smile ...
Slipped - and the train rushed off into the distance.

The same fragments of Blok's poem reveal another reminiscence - from L. Tolstoy's "Resurrection". This refers to the episode in which the maid Katyusha Maslova, greedily peering into the window of the car, sees the young gentleman Nekhlyudov who seduced her there. Compare: "Katyusha<...>covered herself with a handkerchief, got up and ran to the station.<...>Katyusha, although she knew the road well, lost her way in the forest and reached a small station.<...>Running out onto the platform, Katyusha immediately saw him in the window of the first-class carriage. There was a particularly bright light in this carriage. On velvet armchairs two officers without coats sat opposite each other and played cards.<...>One of the players stood up with cards in his hands and began to look out the window.<...>"The train will pass - under the car, and it's over," thought Katyusha meanwhile ... ". Both texts are brought together by the theme of love: “Love, mud or wheels / She is crushed - everything hurts.”

The poem uses such techniques as repetition (the situation described in the first stanza is repeated in the fifth stanza: “She, the gendarme is next to her ...”), metonymy (“The yellow and blue were silent; / In the green they cried and sang”), metaphor (anguish “whistled”, “desert eyes of carriages”), ellipse, i.e. omission in the phrase of a word (“We got up sleepy behind the glasses”), a comparison (of a rushing train and rushing youth).

Closely related to the theme of Russia is the theme life attitudes lyrical hero. The lyrical hero of the third book of poems (1907-1916) was demanding of himself, dissatisfaction with his life grew in him, which was expressed in the theme of an idle soul and its responsibility. She received special understanding in works with an elegiac tradition, which correspond to intimacy, reflections on the meanings of being, about one's own life, about loneliness, etc.

In his poetry, the idea of ​​the intrinsic value of the moments of life was developed. Theme of the poem “I am nailed to the tavern counter...” (1908)- the irretrievability of moments, nostalgia for the rushing happiness: it was “carried away into the silvery smoke” on the troika, drowned “in the snow of times, in the distance of centuries”. The motif of a flashing life was expressed in characteristic artistic details: the sound of bells, “silvery smoke”, a trio of “sparks tossing”, etc. Happiness is changeable, after him in the fate of the lyrical hero there came a period of apathy, lack of will: “I have been drunk for a long time. I don't care"; he is in the grip of a spiritual crisis.

The antithesis of the states of joy and apathy is expressed in the opposition of phonetic rows, the sonorous sounds of the words “silver”, “happiness”, “carried away”, “in the snow”, “sparks”, “golden stream” contrast with the deaf ones: “And you, soul .. Deaf soul... / Drunk drunk... Drunk drunk...” To reveal the theme of happiness, verbs of motion were used: “carried away”, “flies”, “overwhelmed”, “mosque”; the static image of despondency is expressed in verbless phrases.

These sentiments are reflected in the elegy “Night, street, lamp, pharmacy...” (1912). The urban “meaningless and dim light” in addition to its literal meaning also has an associative one: the existence of a lyrical hero is meaningless, being is meaningless. Thirsty for the conjugation of his inner world and the spontaneous, social movements of Russia, Blok acutely experienced the state of static, which in his understanding was akin to death. Therefore, in the poem there is a line: “Everything will be so. There is no exit”; therefore the last verse is a free repetition of the first verse: "Pharmacy, street, lamp." Even death will not change the eternal repetitiveness (“And everything will be repeated as of old”) of the images of the world. The life described in this poem is eventless, and the motive of movement is presented in a reduced version, expressed in an emotionally negative image of the “ice ripple of the canal”. The poem is included in the cycle "Dance of Death".

Participating in the fate of the motherland, the lyrical hero experiences periods of both despair and spiritual, emotional rebirth. In 1913, the modern life of the country seemed absurd to the poet. He tried to restore his “courageous will”, “creative will” to his state, about which he wrote in his diary: “To conquer at least a small space of air that you breathe of your own free will ...”, “How tormenting conscience! Lord, give me strength, help me.” The inconsistency of the poet with the era, the unjustified hopes for the harmony of the soul of the poet and the music of the era were perceived by him tragically.

Blok's sense of Russian modernity as timeless was also tragic. In a dactyl-written poem "Artist" (1913) world boredom, becoming a sign of the times, doomed the poet to creative dissatisfaction. The theme of the poet and the crowd is now interpreted in its own way: the poet sings to please the crowd, without inspiration (“The wings are clipped, the songs are memorized”). The lyrical hero, striving to overcome the "boredom of death", is trying to see the new; and although its outlines are indefinite: either “an angel is flying”, or a song is sung by “paradise sirens”, or an apple blossom is crumbling, “is it a whirlwind from the sea”, - for some time a passionate attitude to life returns to the poet, no longer monotonous, but multidimensional: "Sounds, movement and light are expanding." Ho wins the boredom of life. Antithesis is used in the composition of the poem, hope is opposed by the doom of "unknown forces" and the creative doom of the poet, his mind is his soul. Blok introduced a tragic symbol of poetic creativity into the artistic system of the poem: the bird “flying to save the soul” is enclosed in a cage, now it “shakes the hoop, sings at the window”.

However, the life of the country prompted the poet to inspiration, both poetic and civil, which we see in the poems of the Yamba cycle (1907-1914). “Oh, I want to live crazy...” (1914) testifies to Blok's faith in his own strength. The poet overcame the pessimism expressed in The Artist. He wants to live with the cares of the age. Now he is not only a singer of the saving feminine principle, the task of his poetry is “to perpetuate everything that exists, / to humanize the Impersonal, / to embody the Unfulfilled”. We see that the lyrical hero, living his "trilogy of incarnation", is able to live in harmony with his time, to take responsibility for it. In his poetry there is no romantic removal of the lyrical hero from worldly fuss, and “life is a heavy dream” is not a burden for him.

The cycle "Yamba" also includes a poem “The earthly heart freezes again...” (1914), in which peace, “beautiful comforts” are opposed by the love of the lyrical hero for people, the desire to actively interfere in life, readiness for self-sacrifice: “Ho I meet the cold with my chest”, “No! It is better to perish in the fierce cold!” Written in the genre of stanzas with four verses characteristic of each stanza, iambic tetrameter, strophic isolation, it expressed the civilian version of the theme of the appointment of the poet and poetry, in which pathos is combined with a dramatic, conflict mood. The poet with anger is ready to read in the eyes of people “the seal of oblivion, or election”, but he also feels for them “ unrequited love”, which distinguishes Blok’s solution to the theme of the poet and the crowd from its interpretations by Pushkin in the poems “To the Poet”, “The Poet and the Crowd” and Lermontov in the “Prophet”. The “Yamba” cycle captured the lyrical hero as a person whom Blok in one of his letters to Andrei Bely called “public”, “courageously looking into the face of the world ... at the cost of losing part of the soul.” He expressed the same idea about the synthesis of public and personal in the poem Nightingale Garden (1915).

The work of the great Russian poet A.A. Blok, like the work of any great poet, is inextricably linked with the events of his personal life and the time in which he lived. During the years of Blok's life, there is a period of the greatest upheavals that have ever happened in human history. Also, when considering his work, one should take into account the fact that this is mainly the work of a young man. That is why the image of the Muse, the Eternal Maiden, the Maiden-Dawn-Kupina, the Majestic Eternal Wife, the Beautiful Lady, the Stranger, the Motherland-Wife is central in his work. (Blok died at 40, last years he ceases to write poetry, the last works, in particular "The Twelve", are knocked out of the general structure of his work).

Blok himself, adhering, in general, to the chronological sequence, divided his lyrics into three books. The first book included poems from 1898-1904, the second - from 1904-1908, and the third - from 1907-1916. However, the chronology in this case has a deeper meaning, each book marks not just a segment of the path, but a certain stage of its internal development, colored in its own color. The same can be said about the image of the Muse. In the verses of the first book, the Muse appears as an abstract image of a medieval, almost alchemical Beautiful Lady, then becomes a more mundane Stranger, or rather an ideal image, immersed in the dark colors of reality, and, finally, when turbulent historical events finally pull the poet out of the world of lyrical, abstract images , the Muse appears in her third incarnation - in the image of the Motherland.

The first hypostasis of Blok's Muse, inspired on the one hand with the aesthetics of symbolism and with the philosophy and poetry of Vl. Solovyov (the doctrine of the World Soul or Eternal Femininity, designed to renew and revive the world), on the other - love for his wife Lyubov Dmitrievna Mendeleeva. “Poems about the Beautiful Lady” is, of course, autobiographical, as far as this word can be applied to a poetic work. Blok embodied in them the intimate and lyrical experiences of his youth. The Muse is a real young woman (the image of the Muse is based on the image of the beloved woman), and more precisely, it is what the beloved personifies in the mind of the lover, something unearthly, alluring, promising something unimaginable and unattainable. The beloved girl becomes in verse the Holy, Most Pure Virgin, a symbol of femininity and beauty.

The entire cycle of poems about the Beautiful Lady is permeated with the pathos of chaste love for a woman, chivalrous service to her and admiration for him, as the personification of the ideal of spiritual beauty, a symbol of everything sublimely beautiful. There is no image of a specific woman. His Muse appears in the form of eternal femininity, tenderness, purity. The beautiful Lady of Blok personifies an ordinary earthly woman, something sublime, combining the best female features:

Transparent, unknown shadows

They swim to you, and you swim with them,

In the arms of azure dreams,

Incomprehensible to us - You give Yourself.

Oh, Holy One, how gentle are the candles,

How pleasing are Your features!

I hear neither sighs nor speeches,

But I believe: Honey - You.

("I enter dark temples")

But it is inaccessible to the hero, because he is just a man, earthly, sinful, mortal:

And here, below, in the dust, in humiliation,

Seeing for a moment immortal features,

Unknown slave, filled with inspiration,

Sings you. You don't know him...

("Transparent, unknown shadows")

A knight, a kneeling monk, a slave, he performs his service to the beautiful queen, the Blessed Virgin:

I enter dark temples

I perform a poor rite

There I am waiting for the Beautiful Lady

In the flickering of red lamps.

("I enter dark temples")

At the same time, the heroine is almost ethereal, incorporeal, her image does not imply anything concrete, “tangible”, because everything earthly is alien to her:

There, in the howling cold of the night

In the field of stars I found a ring.

Here's a face emerging from lace,

Emerges from the lace face.

Here float her blizzard trills,

The stars are bright with a train dragging.

("There, in the howling cold of the night")

To describe the object of his worship, the author uses epithets such as "radiant", "mysterious", "indescribable", "illumined", "pleasant". But in some verses about the Beautiful Lady, her image takes on more concrete, earthly features, devoid of a touch of mysticism:

I'll get up in the foggy morning,

The sun hits your face.

Are you a desirable friend?

Are you coming up to my porch?

("I'll get up in the foggy morning")

Before us is no longer an abstract image, but an earthly woman; it should be noted that, speaking of her, the poet refuses capital letters. Undoubtedly, one thing, in his early poems, Blok is based on his experiences, feelings, he opens his soul, and is who he really is - a dreamy young man in love.

AT early youth Blok, in his own words, was still “protected from a rough life” both by an abstract idealistic turn of mind, and by a hothouse upbringing in the bosom of a noble, highly cultured, but very closed family, by the nature of his emotional experiences. But here comes the inevitable crisis of youthful daydreaming, which gives way to awareness of reality. It has to do with biographical details. With his young wife, Blok moved in 1903 to St. Petersburg. Here, after some time, relations between Blok and his wife become complicated, in the winter of 1906-1907 she is fond of the poet A. Bely, he is fond of the actress N.N. Volokhova, to whom he dedicates a collection of poems.

Peaceful rural landscapes, against which the poet's romance with his Beautiful Lady develops, are replaced by sharply defined, often phantasmagoric pictures of the big city, the imperial capital. He perceives and portrays the lush Northern Palmyra as the scene of "strange and terrible" incidents. The city is "creepy", "demonic", inhabited by silent "black men", "drunk red dwarfs", laughing "invisibles", apocalyptic characters. Under the yoke of disappointment, unrealizability, a person inevitably grows up and it is no longer possible to ignore reality, with its rudeness, dirt, and vulgarity. But this man is a poet, and he cannot surrender to reality without ceasing to be himself. The very everydayness and vulgarity of everyday life becomes "mysterious" in Blok's verses. The high image of the Muse is alive, the poet continues to believe in the high, in his Muse and inevitably, it no longer depends on him whether to place it or not to place it in reality. The maiden finds herself in a tavern, but this does not make her ordinary, does not become corrupted, but, on the contrary, gives reality itself a reflection of the best.

Star Maiden suddenly falls to the ground:

You flowed like a bloody star

I measured your path in sorrow

When you started to fall

poet block muse creativity

The metaphysical fall of the Virgin disturbs and saddens the hero, but then he realizes, having found his beloved on the unconsecrated ground, in the “unlit gate”, that:

And this look is no less bright,

Than was in the misty heights.

("Your face is paler than it was")

Having descended from "heaven", the heroine has not lost her beauty, charm, charm. So the Stranger is born - an angel descended to earth. In the poem “A Train Spattered with Stars”, the heroine is compared with a comet falling down, connecting heaven and earth with this fall:

A train splattered with stars

Blue, blue, blue eyes.

Between earth and heaven

Whirlwind raised fire.

Inevitably, the image of the mystical "Eternal Femininity" is transformed into the image of the Stranger living on earth. And then there is another conflict:

In the midst of this mysterious vulgarity,

Tell me what to do with you -

unattainable and unique

How is the evening smoky blue?

("Where the ladies flaunt fashion")

The heroine is doomed to stay in a world of vulgarity and dirt. How is it possible for the coexistence of the beautiful and the ugly, the sublime and the mundane? There is only one condition: understatement, the existence of a secret, the comprehension of which will give answers to all painful questions and abolish vulgarity and dirt. Thus, a new hypostasis of the Muse arises - the Stranger.

The Beautiful Lady acquires certain features, becomes more earthly. In The Stranger, Blok, depicting his new Muse, transfers her from the sublime environment to the usual, characteristic of every simple woman:

In the evenings above the restaurants

Hot air is wild and deaf

And rules drunken shouts

Spring and pernicious spirit.

She is still beautiful, proud, rises above the monotony and vulgarity. However, there have been some changes:

And every evening, at the appointed hour

(Is this just a dream?)

Maiden's camp, seized by silks,

In the foggy window moves.

And slowly, passing between the drunks.

Always without companions, alone,

Breathing spirits and mists.

She sits by the window.

And breathe ancient beliefs

Her elastic silks

And a hat with mourning feathers.

And in the rings a narrow hand.

("Stranger")

This description leads us to think about her aristocratic, noble origin. Her face is covered with a veil, which symbolizes some kind of mystery. We still don’t know everything about the new Beautiful Lady, it seems that there is something unknown behind her wonderful appearance:

And chained by a strange closeness,

I look behind the dark veil.

And I see the enchanted shore

And the enchanted distance.

Deaf mysteries entrusted to me.

Someone's sun has been handed to me,

And all the souls of my bend

The tart wine pierced.

("Stranger")

Perhaps it was this mystery that formed the basis of the title of the poem.

The first two lines of lyrical creativity ("The Beautiful Lady" and "The Stranger") reach the highest point of development in the cycle "Snow Mask" (January 1907). The metaphorical style, the musical verbal flow, the bewitching "magic of sounds" reign supreme here. The themes and motifs of The Snow Mask are tragic passion, suffering, despair, doom and death unfolding against the background of snow blizzards, blizzard flights and chases. "Snow Mask", in essence, ends the love-lyrical stage of Blok's work. It already contains a sense of change.

And entering the new world, I know

That there are people and there are things ...

("Second Baptism")

The cycle "Snow Mask" Block described as "subjective to the last degree." And he, in fact, more and more confidently entered the world of "people and affairs", began a direct conversation about life and man, boldly expanded the boundaries of his work and asserted the new nature of the "lyrical element" itself.

Finally, external events, a whirlwind of changes capture the poet, and the image of the Muse moves further and further away from the image of the Beautiful Lady and the Stranger. During this period, Blok dedicated most of his creations to the Motherland. Many poets represented the Motherland in their works as a mother. Blok spoke of her as a wife, as a lover:

Oh, my Russia! My wife! To pain

We have a long way to go!

This is how Blok writes about Russia in the cycle “On the Kulikovo Field”. In the poem "Autumn Day" Blok again presents his homeland as his wife:

Oh my poor country

What do you mean to the heart?

Oh my poor wife

What are you crying about?

Thus, Blok was constantly changing, and with him the image of his Muse was constantly changing. These poems, filled with great love for femininity, the Motherland:

The whole horizon is on fire, and the appearance is near,

But I'm scared - you will change your appearance,

And daringly arouse suspicion,

Replacing the usual features at the end.

("I anticipate you")

A lesson in the development of speech in literature in grade 11.

Analysis of the lyrical text on the example of A. Blok's poem "The Stranger"

Goals:

educational : to consolidate the basic knowledge, skills, skills of analyzing a work of art in the unity of content and form; to teach a holistic perception of a work of art; to teach students to analyze the text, draw conclusions and generalizations.

developing : develop oral speech and emotional-figurative, analytical thinking;

educational : educate interest and instill love for Blok's poetry; the study of his poems should be a discovery for students, the comprehension of higher spirituality.

Forms of work: frontal, individual, group.

Equipment: computer, multimedia projector, interactive whiteboard.

The lesson is accompanied by a PowerPoint presentation.

Every poem is a veil stretched out on the points of a few words. These words shine like stars. Because of them, there is a poem.

From "Notebooks" by A.A. Blok

During the classes

Introduction by the teacher.

Blok's lyrics are a unique phenomenon in Russian poetic culture. With all the diversity of its problems and artistic solutions, with all the difference between the early poems and the latest ones, it acts as a single whole, as one work unfolded in time, as a reflection of the “path” traveled by the poet.

The poet himself called the combination of his lyrics "the trilogy of incarnation" and perceived it as a three-volume "novel in verse", and not just as a collection of his most significant poems.

The poetry of A. Blok is the poetry of hints that the reader must understand, decipher on their own and, in accordance with them, complete the picture of reality, or fantasy, or, relatively speaking, the “spiritual landscape” - the poet’s experience or worldview. And in order to understand the secrets of poetry, let us recall Blok's passion for Solovyov's philosophy about the ideal of eternal femininity. We do not forget the time of the life and work of the poet. Genuine life, with its sharpness of social contradictions, gradually enters Blok's work. "A Terrible World"... This is the name of the central cycle (second book) of Blok's poems. This is how Blok called the world he came to at the beginning of the 20th century. The feeling of life's troubles, its tragic contradictions, the "deaf darkness" generated by them is the prerequisite for all of Blok's work.

2. Checking homework.

Name the main types of literature.

Let's remember what the lyrics are?

List the main genres of poetry.

What is the purpose of the lyric?

What means of expression are used to create an image and mood

lyrical hero?

3. Designation of the objectives of the lesson.

Today we will turn to a poem inspired by all sorts of images - symbols, “The Stranger”. Analyzing the poem, we will try to see behind the outer row of images the second row, which cannot be unambiguously interpreted, to hear the music of the verse, to comprehend its deep essence, its invisible secret, and through this to understand, to feel the inner world of the lyrical hero, his feelings and mood.

To do this, we will work according to the following plan:

the time of writing the poem, the history of creation;

composition;

keywords - images - symbols (associations);

theme, (micro-themes);

how expressive means help to reveal the theme (micro-themes) (be sure to pay attention to the sound writing, color symbolism of the poem);

images of lyrical heroes;

the mood of the lyrical hero;

to connect this poem with all the work of the poet, to reveal the idea of ​​​​the work to comprehend his worldview.

4. Work according to plan.

- Describe the timing of the poem.

Individual report on the history of the creation of the poem (homework implementation).

In 1903, Blok married Lyubov Dmitrievna Mendeleeva and in many poems began to combine the ideal features of an invented image with the features of a specific, real woman. In "Poems about the Beautiful Lady" Blok was looking for his ideal, longed for unearthly love, and his beloved did not have a single real feature. It was an unearthly creature. "The Stranger" was written later, in 1906. During this period, the poet breaks with his symbolist friends. The relationship of the spouses was difficult, they soon broke up. L.D. Mendeleev left, went to his close friend - the poet Andrei Bely. On the other hand, the pre-revolutionary and revolutionary reality of the beginning of the century persistently and from different sides broke into the life and work of Blok. This poem belongs to the period of writing the "Terrible World". By this time, significant changes had taken place both in the life of Blok and in Russia. In the mind of the poet there was a conflict between the sublime dream and reality. He is still looking for the eternally feminine, but now, unfortunately, in taverns and in the alleys of dusty country towns. Cruel reality, social contradictions - one of the themes of the "City" cycle, where "The Stranger" entered. The poem can be attributed to symbolism, but its beginning is a completely realistic picture. A similar picture is also found in other works: “In a restaurant”, “There ladies flaunt fashion ...”

The poem was born from wanderings around the St. Petersburg suburbs, from the impressions of a trip to Ozerki, a holiday village near the station of the Finnish Railway. Blok had long chosen this provincial suburb of St. Petersburg, located along the Primorskaya railway, which began at Bolshaya Nevka, opposite Kamenny Island. There was a small wooden station here.

Once upon a time, in the 80s, Ozerki began to flourish. Dachas grew up on the banks of the Suzdal lakes covered with pine trees, theater and concert halls, a restaurant, and a tower for viewing the surroundings were built. By the time Blok began to come here, only the decrepit theater building "Chantecleer" was reminiscent of its former splendor.

Unpretentious dachas stretched along the dusty streets, where an average audience gathered for the summer. Shabby front gardens, petty shops, cheap taverns. There was a modest railway buffet where local drunkards gathered. Blok fell in love with dropping in and, aloofly sitting over a bottle of wine, surprised with his posture, habit, costume, with his whole appearance of a "noble foreigner" and waiters, and visitors, and the station gendarme.

The poet sat down in his favorite place at the wide Venetian window overlooking the station platform. The sight was dull: stunted bushes, rails, arrows, semaphores. The streets of the village were visible to the side.

Then Blok brought a young writer Yevgeny Ivanov to Ozerki, who on May 9, 1906 wrote in his diary a story about a trip with Blok out of town. The poet showed him everything that is mentioned in his poems, and told in detail how the Stranger appeared in the window from the steam of a flying locomotive.

5. A.A. Blok’s poem “The Stranger”. The stage that reveals the perception of a lyrical work.

Let's go with the poet to the country restaurant.

Expressive reading by the teacher of the poem by heart. Students follow the text.

Try to talk about what you saw, heard, felt while listening to the poem?

What impression did you see, hear, feel?

What seemed strange, what attracted attention, what remained incomprehensible?

Teacher's word.

K. Chukovsky recalled the impression The Stranger made on the poet's contemporaries:

“I remember the night before dawn when he first read The Stranger, I think shortly after it was written by him. He read it on the roof of the famous tower of Vyacheslav Ivanov, the symbolist poet, at whose place every Wednesday all aristocratic Petersburg gathered for an all-night vigil. From the tower there was an exit to the roof, and on a white St. Petersburg night, we, artists, poets, artists, excited by poetry and wine - and we were intoxicated with poetry then, like wine - went out under a whitish sky, and Blok, slow, outwardly calm, young, tanned (he always sunbathed already in early spring), climbed onto a large iron frame that connected the wires of telephones, and at our persistent plea for the third, fourth time he read this immortal ballad in his restrained, deaf, monotonous, weak-willed, tragic voice. And we, absorbing her ingenious sound recording, already suffered in advance that now her charm would end, and we wanted it to last for hours, and suddenly, as soon as he uttered the last word, from the Tauride Garden, which was right there, below, a many-voiced nightingale's singing reached us like an air wave. At that time in our distant youth, Blok's poetry acted on us like the moon on lunatics.

6. Analysis of the poem.

Group work, with leading, guiding questions of the teacher, leading to certain reflections of students.

As the work progresses, students complete the table in groups.

1 group

Word, image, symbol, detail

2 group

Means of artistic

expressive

3 group

Associations, conclusions, mood of the lyrical hero

Step by step commentary reading of the poem.

Composition.

How is the poem structured, what is its composition? How many parts can a poem be divided into?

Student responses: The poem can be divided into 2 parts. The first half of the poem paints a picture of self-satisfied and unbridled vulgarity, in the second part a contrasting image of the Stranger appears.

Generalizations and teacher additions: The poem has two parts, and the main literary device is antithesis, opposition. In the first part - the dirt and vulgarity of the surrounding world, and in the second - the beautiful Stranger; this composition makes it possible to convey the main idea of ​​Blok: the image of the Stranger transforms the poet, his poems and thoughts change.

Features of the composition of the poem: consists of 13 quatrains, the work itself is divided into two parts: a description of the real situation (1-6 stanzas) and a part associated with the appearance of the Stranger (7-12 chapters). Both parts are united by feelings, the relationship of the lyrical hero to the depicted. The poem is built on the contrast of pictures and images, opposed and reflected in each other.

Vocabulary work.

Quatrain - quatrain.

The first part of the poem paints a picture of self-satisfied, unbridled vulgarity, the signs of which are artistic details. The beginning conveys the general atmosphere and its perception by the lyrical hero:

In the evenings above the restaurants

Hot air is wild and deaf

And rules drunken shouts

Spring and pernicious spirit.

What artistic details depict a picture of vulgarity? Determine the key images of the real world and the author's attitude towards them.

Students answer:

A) restaurants, hot air, the shouts of drunkards, the spirit of spring and pernicious;
B) dust, boredom, pretzel, children's crying;
C) evening, barriers, ditches, experienced wits with ladies;
D) a lake, oarlocks, a female squeal, a disk in the sky;
D) evening, glass-friend, tart and mysterious moisture;
E) neighboring tables, sleepy lackeys, drunkards with rabbit eyes.

– What can be said about this world and the author’s attitude towards it?

Before us is a picture of unbridled vulgarity that infects everything around.

Keywords- images - symbols of 1 stanza. Associations.

Where and when does the poem take place?

Students answer: in the evening in the spring.

We find ourselves out of town on a beautiful spring evening. However, we do not feel the joy of nature's renewal. Everything is saturated with a "pernicious" spirit. The artist would need the most gray and boring colors to depict "lane dust", ditches and barriers.

Let us note the oxymoronism of the image: epithets opposite in meaning are combined - “spring” and “pernicious”.

- "Perilious" air, that is, what kind? Maybe the air is pernicious in spring? Why does Block have such air?

Vocabulary work.

Pernicious - harmful, decaying.

Spring cannot be associated with decay. This is an oxymoron.

And every evening, behind the barriers,

Breaking pots,

Among the ditches they walk with the ladies

Proven wits.

Oarlocks creak above the lake,

And a woman screams...

Vulgarity infects everything around with its pernicious spirit. Even the moon, the eternal symbol of love, the companion of mystery, the romantic image becomes a soulless disk, becomes flat, like the jokes of "tried wits."

How do poetic vocabulary and syntax emphasize the monotony, familiarity, and repetition of such a picture?

Student response: using a metaphor

And in the sky, accustomed to everything,

The disk is pointlessly twisted.

and anaphoras: “And rules”, “And every evening”, “And it is distributed”.

The situation is pumped up with the help of cutting sounds. Let's trace the phonetic structure of the poem.

Find these cutting sounds in the poem.

The ear perceives the disharmony of sounds: “baby crying”, “shouts of drunkards”, creaking of oarlocks, “female screeching”. The accumulation of sharp consonants, squealing and scraping (the unique Blok alliteration) helps the reader to feel the disharmony of life itself (creaking, screeching, disk, deaf, wild, dust). Blok's sound painting loses here its tenderness, smoothness, and musicality. The words used by the poet to evaluate the Russian outback convey the ugliness, rudeness, primitiveness of this very outback (either geographical or spiritual): barriers, oarlocks, lanes, lackeys, drunkards, rabbits, etc. In “Poems about the Beautiful Lady They would simply be impossible.

And suddenly the eye notices something golden. What? It turns out that here they mistake for gold a shiny sign above the door of the store - "bakery pretzel." But what about the moon, the patroness of lovers, sung by poets? But in this world there is not even a celestial body, there is simply a disk that "meaninglessly curves." Well, in a world where only signs play with gold, and the moon looks bored at the human flickering, and lovers are a match: "among the ditches, experienced wits walk with ladies." There is no lofty feeling, no lofty relations, and, consequently, Poetry disappears. If earlier in "Poems about the Beautiful Lady" Blok did not notice the signs of the outside world at all, now he is painfully wounded by them. There is no escape from this world, it spreads its miasma, and these miasma penetrate even into poems about a woman, a mysterious Stranger. In a terrible spiritless world, even nature loses its beauty: it is defiled by everyday life. There is nothing to breathe here: "the hot air is wild and deaf."

Key words - images - symbols of the 2nd stanza. Associations.

Student responses:"... over the dust of the lane, Over the boredom of country cottages", a bakery pretzel. The theme of gray everyday life continues, which is invaded by “a bakery pretzel that is a little golden”.

.

Student response: at kinship "terrible world" showsymbolically, color plays a special role here. Withgray and black color - the personification of some kind of spiritual crisis, stagnation, everyday life, they inspire feelings of hopelessness, mortification of the soul. The pretzel is golden - perhaps some kind of gap in the distance, hope, the yellow color changes to golden.In the symbolism of color at Bloka yellow means wilting, smoldering; black - disturbing, disastrous,catastrophic.

Who inhabits this vulgar, soulless world?

Students answer: vulgar women and men playing at love, "rabbit-eyed drunkards," "drowsy lackeys," weeping children, and squealing women. The only entertainment for the inhabitants of this town is boating on the lake and visiting the local "spiritual" center - a restaurant.

Key words - images - symbols 3-4 stanzas. Associations.(16 slide)

Student responses: among the ditches, experienced wits, oarlocks creak, a woman's squeal. Vulgar routine is depicted ironically. The barrier is a symbol of an obstacle. Blocking the way for people, he does not let them out of this vulgar circle of restaurant amusements.

by sound writing.

In the paired lines of the third stanza, only two sounds are given in a strong position: a-s, u-s. In the same lines, multi-syllable words make reading difficult, and this well reflects the vulgar, painful situation that is described here. Alliterations in the description of a dirty street, heaps of rough consonant sounds.

Key words - images - symbols of 5-6 stanzas. Associations.

The next two stanzas are a continuation of the picture and, at the same time, a transition to the second part.

Reading 5.6 stanzas.

What is the image of the lyrical hero before us?

In these lines, the main thing is the despair from the loneliness of the lyrical hero. This motive sounds in a humble and bitter confession:

And every evening the only friend
Reflected in my glass
And moisture tart and mysterious,
Like me, humble and deaf.

Who is this "friend only"?

The student's answer: this "only friend" is a reflection, the second "I" of the hero. The lyrical hero is lonely surrounded by drunkards, he rejects this world that terrifies his soul, similar to a booth, in which there is no place for anything beautiful and holy.

Let's look at the vocabulary of these two stanzas. What are its features?

The vocabulary of the first stanza (“And every evening is the only friend ...”) is high, similar to the vocabulary of the second part of the poem. The vocabulary of the second stanza (“And next to the neighboring tables ...”) is low (“lackeys”, “stick out”, “drunkards”, “shout”), gravitates towards the vocabulary of the first part. Thus, these two stanzas, as it were, hold together parts of the poem, penetrating into the fabric of the lyrical narrative.

Analysis of the second part of the poem.

Images are symbols of the second part of the poem.

What image appears in the second part of the poem?

In the second part, the image of the Stranger appears.

How is the title character of the poem portrayed? What is the reason for the appearance of the image of the Stranger?

Student's answer: the appearance of the Stranger is somehow connected with those around her " scary world"- her arrival is also accompanied by the formula" And every evening. The third time the line begins with these words. This is an anaphora. Here everything is sublime and beautiful, mysterious and very conditional.

What expressive means help to emphasize the features of the heroine's beautiful appearance, convey the mystery of the image of the Stranger?

Student's answer: a number of epithets call us to the mysterious, fabulous world of love and beauty: "foggy window", "ancient beliefs", "elastic silk", "mourning feathers", "dark veil", "enchanted distance", "blue eyes , bottomless"; metaphors: "a girl's camp, seized by silks."

What embodies the image of the Stranger?

The student's answer: the heroine is devoid of realistic features, she is all shrouded in silks, perfumes, fogs, mystery. This image is full of poetic charm, fenced off from the dirty reality by the sublime perception of the lyrical hero:

And breathe ancient beliefs

Her elastic silks

And a hat with mourning feathers

And in the rings a narrow hand.

How does the image of the Stranger compare with the image of the lyrical hero?

The student's answer: the world that the Stranger brought with her is the only world in which a lyrical hero can live. There is an undoubted mysterious connection between the lyrical hero and the heroine: she comes “at the appointed hour”, and she, too, is “always without companions, alone”. The surrounding vulgarity does not concern her - "And slowly, passing between the drunks ...". She is depicted by the poet against the backdrop of light and open space, "she sits by the window." The hero feels a “strange intimacy” with her, like a knight, the lady entrusts him with some “deep secrets”, hands over the “sun”, her feathers “swing” in his brain, the key to the treasure is handed over only to him. She brought with her peace, the only thing needed by the hero. The loneliness of the heroes distinguishes them from the crowd, attracts them to each other:

And chained by a strange closeness

I look behind the dark veil

And I see the enchanted shore

And the enchanted distance.

What is the significance for the lyrical hero of the appearance of the image of the heroine?

The student's answer: the appearance or vision of the Stranger for the hero is a secret for everyone, he carefully keeps it: "Deaf secrets are entrusted to me, Someone's sun has been entrusted to me ...". The sun is a symbol of femininity, happiness, love, light. The hero imagines "the enchanted coast and the enchanted distance." He rises with his thoughts above the “boredom of country cottages” and rushes to the “far shore” of hope, love, dreams. The coast is a symbol for the Block, the meaning of which is - new life, new discoveries, a new understanding of life and poetry. This association acquires the meaning of a real-life opportunity to sail to the other side of life, to go into the “enchanted distance” from vulgarity, which a minute ago seemed invincible.

Individual task at the blackboardthe symbolism of the poem. (The student works with the interactive whiteboard)

Blok explained where he saw the Stranger - it turns out, in the paintings of Vrubel: “Finally, what I (personally) call “The Stranger” arose in front of me: a beautiful doll, a blue ghost, an earthly miracle ... The Stranger is not at all simple lady in a black dress with ostrich feathers on her hat. It is a diabolical fusion of many worlds, predominantly blue and purple. If I had Vrubel's means, I would have created a Demon, but everyone does what is assigned to him ... ". The blue color means for Blok the starry, high, unattainable; lilac - disturbing.

The lyrical hero feels his dedication to the "deaf mysteries", his mind is filled with a magical image:

And ostrich feathers bowed

In my brain they sway

And blue eyes, bottomless

Blooming on the far shore.

Now he is different from all the regulars of the restaurant. He has a secret in his soul that is beyond their control. But what is this secret? The last stanza completes the revolution in the soul of the lyrical hero, speaks of his chosenness, of the imperishability of the beautiful ideal:

There is a treasure in my soul

And the key is entrusted only to me!

You're right, drunk monster!

I know: the truth is in wine.

What is the meaning of the rhyme "treasure" - "monster"?

The student's answer: this is the collapse of hope, the recognition of the reality and unattainability of beauty. And the fact that the hero repeats in Russian the phrase that drunkards shouted in delight in Latin (“In vino veritas”) is especially bitter, because this is a sentence to himself. The phrase "truth in wine" is now devoid of vulgarity, it is a formula of discovery - the true world can be seen through wine.

What is the meaning of the last sentence of the poem? What does wine symbolize?

Wine is also a symbol of revelation, the key to the secrets of beauty, newly acquired faith and hope. Beauty, truth and poetry find themselves in an inseparable unity. The lyrical hero discovered a new beautiful world, poetry, truth. It is important that the human soul for a moment came into contact with the world of beauty.

So was this woman? Did the hero see it, or is it really the truth at the bottom of the glass?

The vision suddenly disappears. The stranger was just an illusion. Therefore, the final stanza is so sad and ironic at the same time. This is not a real Stranger, but only the poet's vision, an image created by his imagination. A guessed secret that opened up the possibility of another, wonderful life"on the far shore", far from the vulgarity of reality, is accepted as a "treasure" found.

The main compositional device of this poem is the antithesis. What did Blok want to convey to us by choosing such a construction?

Student's answer: in the first part of the poem, the dirt, vulgarity of the world around is depicted, and in the second - the beautiful Stranger. Such a composition makes it possible to convey the main idea of ​​Blok: the image of the Stranger transforms the poet, his poems and thoughts change. Artistic means are also subordinated to this technique: epithets, metaphors, comparisons, sound writing.

Quite right. The opposition of the parts of the poem finds expression both in images, and in vocabulary, and, especially, in the sound organization of the verse. Let's find more examples of sound writing in the poem.

Student's individual taskby sound writing.

In the first part - a pronounced alliteration, the repetition of difficult-to-pronounce consonant combinations: Ch, X, T, G, D, K. The vocabulary of this part is negative.

Since the main compositional device of this poem is an antithesis, alliterations in the description of a dirty street, heaps of rough consonant sounds are further replaced by assonances and alliterations of sonorous sounds - [p], [l], [n]. Thanks to this, the most beautiful melody of the sounding verse is created.

The second part is the harmony of sounds.The appearance of the heroine is accompanied by a sound recording of rare beauty(assonances and alliterations), creating a feeling of airiness of the image:“And every evening, appointed at the hour ...”; "Girlish camp, silkscaught, / In the fog (A) m moves (A) about (A) kne ... ". Assonansy on "y" give refinement to the image of the Stranger: "And I wind (U) t ancientaccording to my beliefs / Her elastic silks, / And a hat with mourning feathers, / And inrings narrow hand.

Blok’s ingenious assonance: “Breathing in spirits and mists, she sits down by the window” (s-a-u-a-i-i-u-a-a-i ...), “and her elastic silks breathe ancient beliefs” (and -e-u-e-i-i-a-e-a-i ....) conveys the element of femininity that dawned on this country restaurant, makes the lines musical, light, weightless. The poet minimizes unpronounceable consonants, turning to sonorous sonorants, which he sets off with hissing and whistling sounds, reminiscent of the rustling of silk.

Innokenty Annensky wrote about the poem "The Stranger":

“Oh, read Blok’s The Stranger as many times as you like, but if you are anything but a Petersburger, your heart cannot but ache sweetly every time when the Beautiful Lady dissipates and answers from you, finally, all this now definitely pernicious spirit. And in an instant all these ridiculous frills seem to change. For a minute, but the city - worse, the dacha - becomes the only valuable and beautiful thing for you, because of which it is worth living. The chest expands, you want to breathe freely, say A:

And slowly passing between the drunks,

Always without satellites, alone,

Breathing perfumes and fogs... (do not find fault, for God's sake, do not ask why fogs - and not, for example, too spicy, fogs are better - it is impossible otherwise than fogs)

She sits at the window.

Her narrow hand is the first thing that the poet discerned in the lady. And now the wide A is inferior to the narrow E and U. Behind the wide A, only the dignity of masculine rhymes has been preserved.

And they breathe ancient beliefs

Her elastic silks,

And a hat with mourning feathers,

And in the rings a narrow hand.

The dream blooms so powerfully, so inexorably - that you are really afraid to cry. You almost feel sorry for someone. And now only lips whisper, only lips, and verses can only rely on O and U:

And ostrich feathers bowed

In my brain they sway (yes, brain, brain - a thousand times the brain, unfortunate pedants, only dancing from the stove!)

And the eyes are blue, bottomless

Bloom on the far shore.

I do not know from Blok another, more coquettish, but also more masculine poem.

7. The word of the teacher.

In the course of the conversation, analysis of the poem, you filled out a table in which all the important details were noted for a complete understanding of the poem.

Let's highlight these key points:

What is the theme of the poem? (The theme of this poem can be defined as follows: the ideal, the need for beauty comes into contact with a repulsive reality, the poet reflected this duality in the composition of the work.)

The basic principle of construction? (Antithesis - opposition)

What are the symbols - images in the poem?

How do expressive means help to reveal the theme of the poem?

What is the place of the lyrical hero in the work? (In this poem, a subtle psychologism is manifested in revealing the image of the lyrical hero, it is his condition that is very important for Blok. Therefore, the inseparable connection between the lyrical hero and the poet himself becomes clear.)

How is this poem related to all the work of the poet?

8. The result of the lesson.

This poem does not leave anyone indifferent, it cannot be forgotten once read, and a beautiful image excites us. These verses touch to the depths of the soul with their melodiousness; they are like pure, magnificent music flowing from the very heart. After all, it cannot be that there is no love, there is no beauty, if there are such beautiful verses.

Let's listen to this poem again and watch the video to really enjoy its meaning and "music".

9. View video.

What do you feel now?

Can you tell how your feelings differ from the initial sensations?

What new things have you discovered for yourself?

So, the lyrical hero of Blok goes through everything that the poet himself experienced. This is a thirst for life and despondency, ups and downs, faith and emptiness ... He finds faith in his homeland.

10. Giving and commenting on grades for work in the lesson.

11. Homework.

Read the poems “Russia”, “The river spreads, flows widely”, “By the railroad”, learn one by heart (optional), prepare a message “The theme of the Motherland in Blok’s lyrics”, an individual task - the history of the creation of poems.