He is all a child of goodness and light,
He is all - freedom triumph!
K. Chukovsky
The literary heritage of Alexander Blok is extensive and diverse. It has become a part of our culture and life, helping to understand the origins of the spiritual quest and insight of the artist, to understand the past. Blok is an outstanding poet " silver age”, his work is inextricably linked with the history of Russia, with its most tragic moments. October Revolution, Civil War, famine and devastation befell such a wonderful poet. Living and creating at the turn of the century, he was, perhaps, the last poet of the old pre-October Russia. But at the same time, his name opens the first page of the history of poetry of the Soviet period.
The first book of poems by Alexander Blok was created under the influence and influence of the ideas of Vladimir Solovyov. In the ideas of the philosopher, he is attracted by ideas about the ideal as the spiritual essence of the world, about striving for it as the embodiment of the Eternal Femininity. To this ideal image of light Blok gave the name Beautiful Lady. She is the bearer of the fullness of life, vitality, but she is also death, because the path to it is in a break with the earthly. Blok calls "Poems about the Beautiful Lady" a closed book of being.
The verses of the second book take us to the era of the first Russian revolution. In Blok's poetry of this time, another theme arises, which he defines as "the mysticism of everyday life." Now his poems inhabit the "bubbles of the earth." That is how the new cycle is titled. This is nature with good-natured and dumb creatures. The titles of the poems speak for themselves: “Swamp devils”, “Swamp priest”, “The old woman and the little devils”. The image of the swamp acts as a generalized symbol of the unity of being with all its contradictions:
Here we are sitting with you on the moss
In the middle of the marshes.
Third - month above -
He twisted his mouth.
I, like you, the child of the oak forest
My face is also erased.
Quieter than waters and lower than grasses -
Wicked damn.
Image big city gives rise to a variety of poems included in the cycle "City" with their high lyricism and impenetrable horror of life. Here there is a collision of the sublime and the vulgar, the stratification into the past and the future:
And every evening, at the appointed hour
(Is it just a dream to me?).
Maiden's camp, seized by silks,
In the foggy window moves.
And chained by a strange closeness,
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance.
In the ghostly light of the poems of this cycle, the reader sees gloomy streets, houses, courtyards, a rally in the square, and the image of Blok himself appears to carry a tragic contradiction - low and high. The poet also describes the suffering of people crushed by work and poverty; their experiences and dreams are not alien to him:
No! Happiness is an idle concern
After all, youth is long gone.
We pass the age of work,
I - a hammer, you - a needle.
Sit back and look out the window
People are driven everywhere by work,
And those who are a little more difficult,
Those songs are long sung.
Blok's lyrics are almost intimate, he is close to the reader in his manner of narration. Most of the poems are written in the first person, and this is captivating. You begin to have unlimited faith in a person who loves so selflessly and wants to help. The poet does not separate himself from the environment, he is either an active participant in events, or an attentive observer, not missing anything, seeing everything and experiencing the injustice that reigns in the world.
In the neighboring house, the windows are yellow.
In the evenings - in the evenings
Thoughtful bolts creak,
People come to the gate.
And the gates are closed,
And on the wall - and on the wall
Motionless someone, black someone
He counts people in silence.
I hear everything from my top:
He calls with a copper voice.
To bend tormented backs
The people gathered below.
They will enter and scatter
Coolies will be piled on their backs.
And in the yellow windows they will laugh,
What these beggars spent.
Gradually, Blok outgrows the framework of symbolism. Before him lies a huge world that he wants to see, understand and display in his poetry. So there are poems about Russia and its history. They sound proud of the country that managed to rise from oblivion, to defend its independence. Alexander Blok feels like a poet of this vast country, he is happy with his involvement great era shocks:
// eternal fight! Rest only in our dreams
Through blood and dust...
Flying, flying steppe mare
And crushes the feather grass ...
And there is no end! Miles are flashing, steep ...
Stop!
Frightened clouds are coming,
Sunset in blood!
Sunset in blood! Blood flows from the heart!
Cry, heart, cry...
There is no rest. steppe mare
Rushing jump!
Is it not this patriotism and pathos that Blok is close to us today? From his "far" he teaches us to love and hate, to be tolerant and content with what we have. The poems of this wonderful poet awaken the best, most intimate feelings. The heart does not remain indifferent to his amazing poems about nature, friendship, love and Russia.
A special place in Russian literature of the XX century is occupied by love lyrics. Each writer in his own way described the magical feeling of love, created special female images, found their embodiment in various objects and phenomena. In my opinion, one of the most outstanding poets who turned in their work to love lyrics, is A.A. Block. He had his own, different, unique, perception of love, sought to find an ideal.
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The creative path of this poet is unusually complex and contradictory. At first glance, the different stages of his work are in no way similar to each other, they have different plans and ideas. However, having studied the biography of Blok, I understood the integrity, inseparability of his creative way- from "Poems about the Beautiful Lady" to the poem "The Twelve". Blok himself defined his life and creative path as a "trilogy of incarnation", investing in this concept the search for an earthly embodiment of all great truths and ideals. He considered his works in its unity and indissoluble integrity, which is confirmed by the words of A. Bely.
The creative fate of the poet has always been inextricably linked with his personal life. The main and only woman who inspired him all the way was L.D. Mendeleeva. At the first stage of his work, he dedicated the collection “Poems about the Beautiful Lady” to his beloved, the plot of which is the plot of a passionate expectation and an exciting meeting. The young poet, inspired by the feeling of unearthly love, saw something unearthly in ordinary things. The space of the cycle "Poems about the Beautiful Lady" is a world of concrete-sensual phenomena, filled with a different mystery of content. In it, the author created the image of an ideal, unattainable woman, calling her differently: the Mistress of the Universe, the Soul of the World, the Incomprehensible, the Beautiful Lady, the Queen of Heaven. The strength of the poet's feelings is evidenced by equating his love with something mystical, endowing his beloved with the signs of a real deity. The poet calls himself a kneeling monk, a slave, a knight. The lyrical hero does not experience the joy of finding happiness, he thinks of his life only as a prayer service to his beloved. Creating the SPD cycle, Blok renounced reality, went into the world he created. Way forward his work was accompanied by the Beautiful Lady in other images. It is the initial period of Blok's work that is called the "thesis", as evidenced by the poet's belief in the unreal, unearthly.
Growing older, A.A. Blok overestimated life values, his attitude to what was happening. The events of the beginning of the 20th century affected the writer, now he was already moving away from his former ideals, in search of a new meaning. At the second stage of creativity, the theme of Blok's poems changes: the theme of sublime love turns into the theme of struggle - love. It is opposed to the first stage, therefore it was called "antithesis". The main poem characterizing this life period is "The Stranger". The image of the Beautiful Lady in the new work acquires real features. It is difficult to understand whether the girl exists in reality or is only a dream of the hero in a dream, but the features of the Beautiful Lady are clearly visible in her. In my opinion, in this poem A.A. The block showed the collision of a beautiful dream and reality. The second period of his work is filled with such images as a blizzard, fire, a comet, which speaks of the unrest in the soul of the poet. He was confused by reality, trying to find his new ideal, but love for a beautiful lady still lived in his heart.
The poem "The Twelve" became the finale in Blok's work. It would seem that she has nothing to do with the beautiful female image of her beloved. But even here, Blok finds the embodiment of the Beautiful Lady. Two images of a real and unearthly woman are reflected in the image of Katya, a fallen woman, and in the symbol of purity - "a white halo of roses." In the death of Katya, the poet finds a solution to the issue of "Eternal Femininity". The author made me understand that at the end of everything, only the highest, otherworldly ideal will remain. The central symbol of the poem is 12 soldier-apostles who go from the old world to the new one in the darkness of night. In my opinion, in this symbolism, Blok embodied his own state of mind that haunted him throughout his life. The poet lived not waiting for an ideal future, but looking for ideals in the present. Probably, at the end of his life, he was disappointed in his beliefs, he realized that the revolution is inevitable in order to achieve the beautiful.
This stage of the poet's work, like the rest, is filled with various images, colors, rhythm and is called "synthesis".
Analyzing Blok's creative path, I understood the meaning of A. Bely's statement. Indeed, this writer carried his life convictions all the way, embodying them in creativity. All works various stages his life is connected by the symbolism of images, colors, mystery, the search for an ideal, the image of the Beautiful Lady. A distinctive feature of a woman in the works of Blok is unreality, nebula, mystery. All of them are connected by one thing - the attitude of the author to the heroine. The reason for this was the uniqueness of the inspirer of the poet with the heroines of the works. After all, it was Mendeleva who was the Beautiful Lady, the Stranger and Katya in the works of Blok.
The beginning of the life of Alexander Blok (1880-1921) did not foreshadow the dramatic tension that it would be performed in his mature years. The poet subsequently wrote in one article about the “music of old Russian families”, these words sounded a grateful memory of the atmosphere of the house where he himself grew up, of the “bright” grandfather on the maternal side - Andrei Nikolaevich Beketov, the famous botanist and liberal rector of St. Petersburg University, like the whole family, who did not look for a soul in his grandson. The Beketovs were not indifferent to literature, not only read a lot, but also wrote poetry and prose themselves, or, in any case, were engaged in translations.
One of the first poems the boy learned by heart is Yakov Polonsky's Rolling in a Storm. It may have attracted him because some of the stanzas seemed to reflect the carefree atmosphere of his own childhood:
The light of the lamp on the pillows;
On the curtains the light of the moon ...
About some toys
Golden dreams.
It was fun for a child to recite expressive lines about a squall that had flown in:
Thunder and noise. The ship is rocking;
The dark sea boils;
The wind breaks the sail
And whistles in gear.
As an adult, Blok witnessed huge and formidable historical storms that either inspired his poetry or took its breath away.
At first, he wrote lyrical poems, where the influence of Zhukovsky, Polonsky, Fet, and Apukhtin was tangible - poets far from the "topics of the day." But in the summer of 1901, as a student at St. Petersburg University, Blok got acquainted with the lyrics of the original philosopher Vladimir Solovyov and felt in it something close to that “restless and indefinite excitement” that he himself began to experience. Close to the poets whom the young man imitated, Solovyov, however, differed sharply from them in a vague, mystically colored, but intense and formidable foreboding of some approaching world upheavals. “O Rus', forget the past glory. The double-headed eagle is crushed…” he prophesied back in the “quiet” reign of Alexander III, although he saw the reason for the death of the empire in the coming invasion of Asian tribes.
The poet-philosopher turned out to be the forerunner of Russian symbolism, which believed that the reality surrounding life is just a kind of cover behind which something immeasurably more significant is hidden. “... Everything we see is only a reflection, only shadows from the invisible with our eyes,” Solovyov wrote. Real events and phenomena were interpreted as symbols - signs, signals given about what is happening in another, ideal world.
Under the influence of Solovyov's poems and theories, Blok's infatuation with the daughter of the famous scientist, Lyubov Dmitrievna Mendeleeva, who lived next door to Beketov's Shakhmatovo estate near Moscow, takes on a mystical, mysterious, exalted character. The “stately girl in a pink dress, with a heavy golden braid” herself, as she appeared before the poet, and all the surrounding Central Russian nature, the nearby forest and hills, behind which Mendeleev’s Boblovo was located, are fabulously transformed, mythologized:
You are burning above a high mountain,
Unavailable in Her Terem…
It seems to the enthusiastic lover that the girl, familiar from childhood (and soon, in 1903, who became his wife), is mysteriously connected with the Eternal Feminine, Sophia, the World Soul, sung by Solovyov, coming into the world to miraculously transform it. Meetings with a beloved, their agonizing expectation, quarrels and reconciliations are interpreted mystically and take on unexpected shapes, sharply dramatized and filled with dull anxiety generated by various contacts with reality.
Blok, as it is said in his poems of this period, “is excited by life, noisy, discordantly excited.” Here is a vaguely felt discord in the previously peaceful Becket family, and a tense, difficult relationship with his father, a professor at Warsaw University, A. L. Blok, a talented scientist, but an extremely unbalanced person. And most importantly, no matter how the young poet eschews politics, stormy student gatherings, no matter how far peasant life is from him and sometimes unrest that arises somewhere in nearby villages, no matter how arrogant the tone of his poems is that “the people are all about gold and bread the noisy ones are screaming,” – this “noise” still to some extent affects the pictures of the end of the world and history drawn by Blok, the approach of the Last Judgment.
There will be a day, and the doors will open,
The white string will pass.
They will be terrible, they will be unspeakable
Unearthly face masks...
In Blok's later poem, the image of the Madonna, created in the icon painter's cell, is covered with "fiery-red" reflections of an approaching thunderstorm. Something similar happens in the first book of the poet "Poems about the Beautiful Lady", where "the whole horizon is on fire" and the image of the heroine undergoes a variety of metamorphoses, either illuminating with an unearthly light, or alarming and frightening:
I run away into the past
I close my eyes in fear
On the sheets of a cold book -
Golden maiden hair.
Above me the sky is already low,
A dark dream weighs on my chest.
My destined end is near
Both war and fire are ahead.
A specific portrait dash, which in other verses made the image of the beloved especially captivating (“Young, with a golden braid, with a clear, open soul ...”), here turns into an anxious vision, a sensual temptation that threatens spiritual darkness, a “dark dream”, and a series of catastrophic events.
Speaking about the natural rapprochement of the author of "Poems about the Beautiful Lady" with the so-called young symbolists (unlike the older ones - K. Balmont, V. Bryusov, Z. Gippius, V. Ivanov, D. Merezhkovsky, F. Sologub), Boris Pasternak wrote that at that time, at the turn of the 19th and 20th centuries, “the symbolist was reality, which was all in transitions and fermentation; everything meant rather than constituted something, and rather served as a symptom and a sign than satisfied. And Blok himself, already at the end of his life, argued that the Symbolists "turned out to be predominantly bearers of the spirit of the times."
However, unlike other "young" ones - Andrei Bely (Boris Nikolaevich Bugaev) and Sergei Solovyov (nephew of the poet-philosopher) - Blok was less bound by the speculative constructions of V. Solovyov. Rereading "Poems about the Beautiful Lady", Pasternak noted in them "a strong penetration of life into the scheme." Already in the verses of 1901, “I wander within the walls of the monastery…” it was said:
The cold of these walls is strange to me
And poverty is incomprehensible to life.
Sleepy captivity scares me
And brothers deathly pallor.
While Blok's book was perceived as one of the programmatic works of symbolism, the author himself began, in his own words, to look "on the other side" and at times even sharply, defiantly dissociated himself from the "brothers". The “monastic” mores of the symbolist circle, the imitation of religious exaltation, false significance (or, in Blok’s expression, “hysterical choking with “depths”, which quickly become shallow, and a literary wink”) were caustically ridiculed by the poet in the sensational play “Balaganchik”.
Alexander Blok claimed that all his poetry is a single work, a kind of novel in verse, a lyrical "trilogy dedicated to one circle of feelings and thoughts." It is no coincidence that shortly before his death he "lined up", collected his lyrics in three volumes and insisted on strict observance of the order he proposed. The three volumes of lyrics correspond to the three stages of fate, or, in Blok's own definition, "the path".
Book one: 1898-1904: "ANTE LUCEM" (before the light), "Poems about the Beautiful Lady", "Crossroads".
Book two: 1904-1908: "Bubbles of the Earth", "Night Violet", various poems, "City", "Snow Mask", "Faina" and "Free Thoughts".
Book Three: 1907-1916: "A Terrible World", "Retribution", "Iambas", "Italian Poems", various poems, "Harps and Violins", "Carmen", " nightingale garden”, “Motherland” and “What the wind sings about”.
In addition, the main collection did not include the cycles "Beyond the Past Days", various poems, the poems "Retribution" and "The Twelve".
Speaking about Blok's lyrics, it is necessary to consider not individual poems in themselves, but a number of poems as a kind of unity (single-element lyrical system). The simplest genre form here is the LYRICAL DIARY, in which the verses are connected only by a chronological sequence, with which young poets usually begin. M.Yu. started with this. Lermontov, Blok began with this. The unity of a higher level is a LYRICAL CYCLE, united by a cross-cutting theme and dedicated to a common idea.
In the verses of the first volume there are three characters - a lyrical hero and his two lovers, one of which is passion, the second is sublime love. The real prototypes are Ksenia Mikhailovna Sadovskaya and Lyubov Dmitrievna Mendeleeva.
The cycle "Poems about the Beautiful Lady" is dedicated to LYUBOV DMITRIEVNA MENDELEEVA. Mood changes lyrical hero- not fatigue from life, but the expectation of bright happiness. There is an immersion in dreams and fogs, the language is full of mysterious allusions and allegories (symbolism). The early Blok was practically indifferent in what country, in what environment his Beautiful Lady lives. However, the icy breath scary world”, above all the revolution of 1905, made him literally and figuratively feel the ground under his feet. At the beginning of the second volume, Blok put a poem written a little later, in April 1905: “You went into the fields without returning ...”, which is directly related to the previous cycle and continues the theme of farewell to Eternal Femininity. But this poem is addressed not to LYUBOV DMITRIEVNA MENDELEEVA, but to the idea itself. The essence of this period is the collapse of the old concept of the world and the search for a new one. Even the names of the cycles themselves speak of the absence of the former integrity. Calculation with the former faith - "Public Show" - the rhodium of the style of the Beautiful Lady, the parody of the couple itself, etc.
In an attempt to comprehend the "element" of reality, the poet turns to the closest theme of the city. 1905 - Common citizenship. Stand out are "The barque of life has risen ..." and "Fed" - truly the experience of a Russian cultured person in the face of an impending revolution, perceived as retribution for the ugliness of the life of the "fed". But there is no irrevocable rejection of the idea of Eternal Femininity. Synthesis of the new and the old - "Unknown". Blok's turn to reality was accelerated and his personal crisis- an earthly woman did not want to be a Beautiful Lady and Eternal Femininity. But here again a conflict arises (“Everyone was shouting at the round tables ...”) - Lyubov Dmitrievna Mendeleeva is not the embodiment of Eternal Femininity, but a real, earthly woman. In the former world - the world of two - third parties enter ... (cycle "Crossroads").
“About valor…” - from that moment on, the image of the LDM and the theme of the “Beautiful Lady” forever and irrevocably disappear from Blok’s poetry. But even earlier, fatigue from love in general appears in the poems, the ideas of “renunciation”, “purity”, “duty”, opposed to “happiness” appear. Thus, Russia turned out to be a way out of the crisis for Blok, a spiritual support. Unlike an earthly woman, the homeland was reliable, eternal, and the non-reciprocity of such love was assumed in advance and therefore did not cause bitterness.
This antithesis finally takes shape in the summer of 1908 - "On the Kulikovo field." This cycle became the spiritual result of all previous years, here all the experiences of Blok came together, both personal and general. A new philosophy of life, a new idea of its essence, like a synthesis of the old concepts of "temple" and "elements". The new concept of the world-"combat" corresponds to a new idea of the destiny of man-"duty". And the hero is no longer a "monk" and not a "tramp" - now he is a "warrior", one of many. Here there is also a special, consistent with the rest of the female image. There is nothing from earthly women in it, it is like a return to the poetry of Blok of the Eternal Femininity itself, but transformed, with a different face (“Oh, my Rus'! My wife! Painfully ...”). For the first time in Blok's poetry we see such a strong, penetrating national feeling.
An appeal to the past is necessary for Blok in order to show - in a broad sense - the fate of Russia, its present and future. First of all, Blok refers to the past of Russia. However, Blok would not be a symbolist if he simply rhymed a history textbook, even choosing (as we see) the fateful, turning points of this past.
It is precisely starting with "Field Kulikov" that one can speak of him as a great Russian national poet. The intimate nature of Blok's love was expressed in an unexpected image of the motherland. If Gogol's Rus is a "troika", Nekrasov's is a "motherland", then Blok's Russia is his wife, mistress.
But the originality and special impact of Blok's patriotism lies in the fact that Russia appears for him in a feminine guise, both here and later (Russia). But what does this personification actually mean? The fact that the poet's national feeling is generated by the collapse of all the possibilities of personal happiness is nourished by an unsatisfied feeling of love. This is the charm of Blok's patriotism, but this is also its ideological weakness.
On the rights loving person Blok can afford not to close his eyes to what he despises in Russian modernity, in Russian national character, but nevertheless, as the Knight sees the meaning of life in serving the Beautiful Lady, so the mature Blok does not separate his fate from the fate of his homeland. And when the “unprecedented changes, unheard-of rebellions” predicted by Blok came, he did not even leave the country, which he no longer needed, for the sake of self-salvation, and honestly tried to understand and accept what was happening.
Shortly before his death, Blok said: “Mother Russia gobbled me up like a pig of her pig.” For the first time, Nekrasov's "motherland" sounds, but with a completely different intonation. Probably, Blok should not be blamed for being rude and betraying his ideal. Indeed, unfortunately, this is true - Russia has long acted in this way with its prophets, heroes and poets ...
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A.A. Block. The main motives of the lyricsFar and near at the same time he was our era ... He was looking for a merger with the cosmos, and not with humanity. He lived with a premonition of mystery and wonder ... P.S. Kogan
For creativityA.A. Blok (1880-1921) were seriously influenced by Russian romantic poetry, Russian folklore, and the philosophy of Vladimir Solovyov. A strong feeling for L.D. also left a significant mark on his poetry. Mendeleeva, who became his wife in 1903. Blok's lyrics act as a single work deployed in time:“... I am firmly convinced that this is due and that all the poems together are a “trilogy of incarnation” (from a moment of too bright light - through the necessary swampy forest - to despair, curses, “retribution” and ... to the birth of a “public ", an artist who courageously looks into the face of the world ...)" , - this is how Blok characterized the stages of his creative path and the content of the books that made up the trilogy.
The wind brought from afar
Songs of spring hint
Somewhere light and deep
The sky opened up.
In this bottomless azure
In the twilight of near spring
Weeping winter storms
There were starry dreams.
Timidly, darkly and deeply
My strings were crying.
The wind brought from afar
Sound songs are yours.
I anticipate you...
And the heavy dream of worldly consciousness
You will shake off, longing and loving.
Vl. Solovyov
I anticipate you. Years pass by
All in the guise of one I foresee You.
The whole horizon is on fire - and unbearably clear,
And silently I wait, longing and loving.
The whole horizon is on fire, and the appearance is near,
But I'm afraid: you will change your appearance,
And daringly arouse suspicion,
Replacing the usual features at the end.
Oh, how I fall - both sadly and lowly,
Not having overcome deadly dreams!
How clear is the horizon! And radiance is near.
But I'm afraid: you will change your appearance.
I enter dark temples
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering of red lamps.
In the shadow of a tall column
I tremble at the creak of doors.
And he looks into my face, illumined,
Only an image, only a dream about Her.
Oh I'm used to these robes
Majestic Eternal Wife!
Run high on the ledges
Smiles, fairy tales and dreams.
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'm scared to meet you.It's scarier not to meet you.I started to wonderI caught a seal on everything.Shadows walk down the streetI don't know if they live or sleep.Clinging to the church stepsI'm afraid to look back.They put their hands on my shoulders,But I don't remember the names.Sounds are heard in the earsA recent big funeral.And the gloomy sky is low -Covered the temple itself.I know you are here. You are close.You are not here. Are you there.
However, social motives were also reflected in the first volume of poems. In the cycle "Crossroads" (1903), the finalfirst volume , the theme of the Beautiful Lady is connected with social motives - the poet seems to turn to face other people and notice their grief, the imperfection of the world in which they live (“Factory”, “From the Newspapers”, “A sick man trudged along the shore”, etc.)
In the neighboring house, the windows are zholta.
In the evenings - in the evenings
Thoughtful bolts creak,
People come to the gate.
And the gates are closed,
And on the wall - and on the wall
Motionless someone, black someone
He counts people in silence.
I hear everything from my top:
He calls with a brass voice
To bend tormented backs
The people gathered below.
They will enter and scatter
Coolies will be piled on their backs.
And in the yellow windows they will laugh,
What these beggars spent.
"From the newspapers" Alexander Blok
I got up in radiance. Baptized children.
And the children saw a joyful dream.
She laid it down, bowing her head to the floor,
Last earthly bow.
Kolya woke up. He sighed happily
Blue dream is still happy in reality.
The glass rumble rolled and froze:
The jingling door slammed downstairs.
Hours passed. a man came
With a tin plaque on a warm hat.
A man knocked and waited at the door.
Nobody opened. Played hide and seek.
There were cheerful frosty Christmas time.
They hid my mother's red scarf.
She left in a scarf in the morning.
Today I left a handkerchief at home:
The children hid it in the corners.
Twilight crept up. Baby shadows
They jumped on the wall in the light of lanterns.
Someone was walking up the stairs, counting the steps.
Counted. And cried. And knocked at the door.
The children listened. They opened the doors.
The fat neighbor brought them cabbage soup.
She said, "Eat." Got on my knees
And, bowing like a mother, she baptized the children.
Mommy doesn't hurt, pink kids.
Mommy lay down on the rails herself.
Good man, fat neighbor,
Thank you, thank you. Mom couldn't...
Mom is good. Mom died.
A sick man trudged along the shore.
Beside him crawled a string of carts.
A booth was brought to the smoking city,
Beautiful gypsies and drunken gypsies.
And poured jokes, squealed from the carts.
And a man was dragging along with a bag.
He moaned and asked for a ride to the village.
The gypsy girl gave her swarthy hand.
And he ran up, hobbling as best he could,
And he threw a heavy bag into the cart.
And he overstrained himself, and foam at the lips.
The gypsy woman took his corpse in a cart.
I sat with me in a cart in a row,
And the dead man swayed and fell face down.
And with the song of freedom carried to the village.
And she gave her dead husband to his wife.
Also in this cycle, a Hamlet motif appears (“Song of Ophelia”).
Parting with a sweet girl,
Friend, you swore to love me! ..
Leaving for a hateful land,
Keep this oath!
There, behind happy Denmark,
Your shores are in the mist...
Val angry, talkative
Washes the tears on the rock...
Dear warrior will not return
All dressed in silver...
It will shake heavily in the coffin
Bow and black feather...
Looking closely into the world, the lyrical hero notices his trouble, comes to the conclusion that life in this world is ruled by the elements. This new perspective is reflected insecond volume , in the cycles: "Unexpected Joy" (1907), "Free Thoughts" (1907), "Snow Mask" (1907), "Earth in the Snow" (1908), "Night Hours" (1911). In parallel with these cycles, A. Blok creates a number of lyrical dramas: "Puppet Show", "Stranger" (1906), "Song of Fate" (1908), "Rose and Cross" (1913). Creationsecond volume coincided with the revolutionary events in the country. The poet's thoughts about the fate of the Motherland resulted inpoems about Russia , about his attitude to her past, present and future (“Autumn Will”, “Rus”, “Russia”, etc.).
"Autumn Will" Alexander Blok
I go out on the road, open to the eyes,
The wind bends the elastic bushes,
The broken stone lay down on the slopes,
Yellow clay meager layers.
Autumn roamed in the wet valleys,
She laid bare the cemeteries of the earth,
But thick mountain ash in passing villages
The red color will dawn from afar.
Here it is, my fun, dancing
And ringing, ringing, missing in the bushes!
And far, far away waving invitingly
Your patterned, your colored sleeve.
Who lured me to the familiar path,
Smiled at me through the prison window?
Or - drawn by a stone way
A beggar singing psalms?
No, I'm going on a path not called by anyone,
And let the earth be easy for me!
I will listen to the voice of Rus' drunk,
Rest under the roof of a tavern.
Will I sing about my luck
How I ruined my youth in hops ...
I will cry over the sadness of your fields,
I will love your space forever ...
There are many of us - free, young, stately -
Dies without love...
Shelter you in the vast expanses!
How to live and cry without you!
RUS
You are extraordinary even in a dream.
I won't touch your clothes.
And in secret - you will rest, Rus'.
Rus' is surrounded by rivers
And surrounded by wilds,
With swamps and cranes,
And with the cloudy gaze of a sorcerer,
Where are the diverse peoples
From edge to edge, from valley to valley
Conduct night dances
Under the glow of burning villages.
Where is the sorcerers with a fortune tellerI mi
Enchant cereals in the fields
And witches amuse themselves with devils
In road snow pillars.
Where the blizzard sweeps violently
Up to the roof - fragile housing,
And girl on an evil friend
Under the snow it sharpens more sharply.
Where are all the ways and all the crossroads
Exhausted with a living stick,
And a whirlwind whistling in the bare bars,
Sings the legends of old...
So - I learned in my slumber
Country native poverty,
And in the patches of her rags
Souls hide nakedness.
Path sad, night
I trampled to the graveyard,
And there, in the cemetery, spending the night,
I sang songs for a long time.
And he did not understand, did not measure,
To whom did I dedicate the songs,
What god did you passionately believe in?
What girl did you love?
I rocked a living soul,
Rus', you are in your expanses,
And behold - she did not stain
original purity.
I doze - and behind the slumber is a mystery,
And Rus' rests in secret.
She is extraordinary in dreams,
I won't touch her clothes.
Russia
Again, as in the golden years,
Three worn out harnesses fray,
And painted knitting needles
In loose ruts...
Russia, impoverished Russia,
I have your gray huts,
Your songs are windy for me, -
Like the first tears of love!
I can't pity you
And I carefully carry my cross ...
What kind of sorcerer do you want
Give me the rogue beauty!
Let him lure and deceive, -
You won't disappear, you won't die
And only care will cloud
Your beautiful features...
Well? One more concern -
With one tear the river is noisier
And you are still the same - forest, yes field,
Yes, patterned to the eyebrows ...
And the impossible is possible
The road is long and easy
When it shines in the distance of the road
Instant glance from under the scarf,
When ringing melancholy guarded
The deaf song of the coachman! ..
The lyrical hero of Blok is connected with the Motherland by inextricable ties. The poet creates the initial image of Russia in line with the folklore tradition: Rus' is a mysterious, semi-fairy land, surrounded by forests and surrounded by wilds,"with swamps and cranes and with the cloudy gaze of a sorcerer" ("Rus", 1906). However, this imagefluid : already in the poem "Russia" (1908), the image of the ancient land is imperceptibly transformed into a female image:"to whatever sorcerer you want, give the robbery beauty" . The lyrical hero is convinced that Rus' is not afraid of anything, that she is able to withstand any trials ("You will not be lost, you will not perish" ). The lyrical hero confesses his love for the Motherland, with which"and the impossible is possible" . A special place in Blok's lyrics is occupied bycycle "On the field of Kulikovo" (1908). The poet believed that history repeats itself, so it is necessary to comprehend its lessons:“The Battle of Kulikovo belongs to the symbolic events... Such events are destined to return. Their solution is yet to come." The lyrical hero of this cycle is both an ancient Russian warrior who is preparing for a mortal battle, and a philosopher reflecting on the fate of Russia: “... Painfully / The long way is clear to us! / Our path - with an arrow of the Tatar ancient will / Pierced our chest" . Despite"blood and dust" despite the threat"mist - night and foreign" , foreshadowing trouble"sunset in blood" , the lyrical hero does not think of his life separately from Russia. To emphasize the inseparability of fate - his own and the Motherland - Blok resorts to a bold metaphor, unusual for the traditional perception of his native land - the poet calls Russia "wife":“Oh, my Rus'! My wife!" . The cycle ends on an alarming note: the“beginning / of lofty and rebellious days /… No wonder the clouds have gathered” . The epigraph prefaced by the fifth part of the cycle is also not accidental:“And the mist of irresistible troubles / The coming day was clouded (V. Solovyov)” . Blok's forebodings turned out to be prophetic: revolutions, repressions and wars regularly shook our country throughout the entire 20th century. Really,And eternal battle! Rest only in our dreams…" . However, the great poet believed in Russia's ability to overcome all trials:"Let the night. Let's get home ... " . Acutely perceiving social upheavals, Blok experiences a premonition of an impending catastrophe. His tragic attitudeespecially evident inCycle "Scary World" (1910-1916), openingthird volume . In the "terrible world" there is no love, no healthy human feelings, no future ("Night, street, lamp, pharmacy ..." (1912)).
"Scary World" Theme sounds incycles "Retribution", "Yamba" . Retribution in the interpretation of Blok is the judgment of one's own conscience: the retribution for those who have betrayed their destiny, succumbing to the destructive influence of the "terrible world", is fatigue from life, inner emptiness, spiritual death. In the Yamba cycle, the idea that retribution threatens the entire “terrible world” sounds. And yet the lyrical hero does not lose faith in the victory of light over darkness, he is directed to the future:Oh, I want to live insanely: All that exists - to perpetuate, Impersonal - to humanize, Unfulfilled - to embody! The theme of Russia also continues here. The fate of the Motherland for the lyrical hero is inseparable from his own fate ("My Rus', my life, can we toil together? .." , 1910). A. Blok was deeply convinced that they did not choose their homeland, he was able to love Russia, terrible, ugly in its lack of spirituality - recall the poem “To sin shamelessly, soundly” (1914):To sin shamelessly, soundly, To lose count of the nights and days, And, with a head of hops difficult, Walk sideways to God's temple. Bow down three times, Seven - cross yourself, Secretly to the spat on the floor Hot touch your forehead. Putting a copper penny on a plate, Three, and even seven times in a row Kiss the hundred-year-old, poor And kissed salary. And when you return home, measure someone For the same penny, And a hungry dog from the door, Hiccup, push with your foot. And under the lamp near the icon Drink tea, snapping off the bill, Then spit on the coupons, Having opened the chest of drawers, And on the downy feather beds In a heavy sleep to fall ... Yes, and such, my Russia, You are dearer to me than all the edges. August 26, 1914
Lyrics by A. Blok extraordinarilymusical . According to the poet, music is the inner essence of the world.“The soul of a real person is the most complex and most melodious musical instrument...” , - Blok believed, - therefore, all human actions - from extraordinary ups to falling into the abyss of the "terrible world" - are manifestations of a person's loyalty or infidelity to the "spirit of music". Like all symbolists, A. Blok attached special meaning rhythmic-melodic pattern of the work. Ver libre and iambic, white verse and anapaest are widely represented in his poetic arsenal of versification tools. Also great importance Block attachedbloom . For his work, color is a means of symbolic representation of the world. Primary colors in Blok's poetry- white and black, due to aestheticssymbolism , considering the world as a contrasting combination of the ideal and the real, the earthly and the heavenly. White color primarily symbolizes holiness, purity, detachment. Most often, the white color is found in the first volume - images-symbols of purity, purity and unattainability are associated with it (for example: white birds, white dress, white lilies). Gradually, the white color acquires other meanings:
1) passion, liberation:Silvery, snowy hops I'll get drunk and get drunk? With a heart devoted to blizzards, I'll fly away to the heights of the sky. Oh, lost count of weeks In a whirlwind of white beauty!??1906-1907 2) death, death:<…>But she does not hear - Hears - does not look, Quiet - does not breathe, White - is silent ... She does not ask for food ... The wind whistles through the crack. How I love to listen to the blizzard flute! Wind, snowy north, You are my old friend! Give a fan to your young wife! Give her a white dress like you! Put Snow flowers on her bed! You gave me grief, Clouds, and snow... Give her dawns, Beads, pearls! To be elegant And, like snow, white! So that I look greedily From that corner!.. Sweeter sing you, blizzard, Into the snow pipe, So that my friend sleeps In an ice coffin!<…>December 1906
The frequency of using white decreases as Blok's poetry develops from symbolism to the realism of the "terrible world" and revolution, and the use of black increases. The black color in Blok's lyrics symbolizes obsession, fury, tragedy, despair, restlessness:
1) In the soul, spring wakes her spring, But the mind is squeezed by the black devil ... 2) A slave, mad and submissive Until the time I hide and wait Under this look, too black. In my flaming delirium... 3) Only the wild black wind Shaking my house...
Black color is also a sign of philosophical understanding of life - a sign of monastic service, and a symbol of the fullness of life:
1) I am an exemplary brother to sad brothers, And I carry a black cassock, When in the morning with a faithful gait I sweep away dew from pale grasses. 2) And black, earthly blood Promises us, inflating the veins, Destroying the frontiers, Unheard-of changes, Unseen revolts...
There are other color symbols in Blok's lyrics, due to the traditions of medieval aesthetics, which the poet followed in his work: Yellow is a sign of vulgarity, social injustice, hostile force; Blue is a sign of betrayal, the fragility of a dream, poetic inspiration. The poetic perfection of the lyrics of A. Blok allowed him to take an honorable place among the Russian classics who created great Russian literature.