Goals:
1.Educational:
To consolidate the basic knowledge, skills, analysis skills artwork; develop interpretive skills artistic text in connection with the historical era; to teach a holistic perception of a work of art through integration with history, music, linguistics, and painting.
2.Developing:
Develop creative thinking, logic; the ability to match images.
3.Educational:
To educate moral principles, love for a person, for the history of his country.

Equipment and resources: personal computer, multimedia projector. Powerpoint program, Microsoft Word program.

Sources:
Textbooks and methodical literature.

Sites:
http://www.russofile.ru
http://www.litera.ru/stixiya/articles/18.html
http://www.kostyor.ru/biography/
http://litera.edu.ru/catalog.asp?cat_ob_no=12446&ob_no=12720
http://www.peoples.ru/art/literature/poetry/oldage/blok/

During the classes:

Epigraphs for the lesson:
“When a thunderstorm gathers in the air, the great poets feel this thunderstorm, although their contemporaries usually do not expect a thunderstorm. The soul of a poet is like a receiver that collects from the air and concentrates in itself all the power of electricity.

A. Blok

Corruption of souls and emptiness,
What gnaws the mind and aches in the heart, -
Who will heal them, who will cover them?..
You, pure robe of Christ... F.I. Tyutchev

“Today I am a genius! “Twelve” – whatever it was – is the best thing I wrote, because then I was living in modernity.” A. Blok

“Destroying, we are still the same slaves of the old world.” A. Blok

1. Teacher's word
Blok is the greatest Russian poet of the early 20th century. The fate of Russia, the great historical upheavals that befell it at the beginning of the 20th century, became one of the main themes of his work. A. Blok in his work reflected the pre-revolutionary and revolutionary era. Blok is a lyric poet. He heard, felt and understood the world in which he had to live in his own way. He was aware of the poet's prophetic mission, able to look into the future, displaying the present.
Today in the lesson we will discover for ourselves what Blok saw and heard in the fateful revolution of 1917 and how, with the help of language tools embodied this in the poem "The Twelve".
But first, let's recall the main historical, cultural and biographical events of the turn of the century - the end of the 19th and the beginning of the 20th century. Checking homework:

2.Project 1 group"Symbolism as a literary movement". Appendix 1 .
3.Project 2 groups"Biography of Blok" Annex 2.
4.Project 3 groups"Block and Revolution" Annex 3.
5. Work on the analysis of Blok's work "The Twelve".

1. Word of the teacher.Appendix 4
Many literary critics interpret Blok's poem as a hymn to the revolution, a hymn to the sweeping and cleansing power. Is the interpretation of the poem unambiguous? The poem surprised even Blok's contemporaries. According to V. Mayakovsky, "some read in this poem a satire on the revolution, others - the glory of it." Let's try to figure it out during the lesson, and if you like the work, we will continue to work in the Block and Revolution project.
As Blok's diary entries of this time show, he himself had no doubts about the legitimacy of perceiving the revolution as a purification and justification of rebellion, the elements of "music".

Blok once said that he began to write "The Twelve" from the words that later became part of the poem:

I'm with a knife
Stripe, stripe!

Is it by chance that these very words first appeared in the mind of the poet who decided to write a poem about the revolution?
What is the meaning of the title of the poem? Why exactly 12? (In his famous book "Ten Days That Shook the World" John Reed wrote: "Pickets of twelve soldiers with rifles and fixed bayonets were on duty at the crossroads ...", 12 apostles, 12 hours = the fateful hour of fate, 12 months in a year = a circle, 12 chapters of the poem).

What conflict is at the heart of the work ? (the struggle of the old and the new, the struggle of two "worlds".)
- What is the symbolism of the work?
A) wind, blizzard, snow- elements, the global scale of events.
B) Twelve Red Army men.
B) a woman- a symbol of rebirth.
D) Bourgeois, lady, poet-vitia– the most simple images, representatives of the old world.
D) The dog is rootless- a symbol of the old world.
E) Jesus Christ.

A) element- a symbolic image of the poem. She personifies universal cataclysms; 12 apostles revolutionary idea they promise to "stand the world fire", a blizzard is played out.

Black evening.
White snow.
Wind, wind!
A person does not stand on his feet.
Wind, wind -
In all God's world!

From the first lines, a feeling of danger subconsciously arises, when “in all God's world” it is difficult for a person to stay on his feet, because there is a force that knocks him out of his usual, measured life. The severity of such a time is also confirmed by the following words:

Ice under the snow.
Slippery, hard
Every walker ... slips.

But this element is the same for everyone: The wind is cheerful

And angry and happy ....
Tears, crumples and wears
Large poster:
"All power Constituent Assembly"...

It is symbolic that during the storm

Can't see each other at all
In four steps!

People become insensitive to the grief of others.

And next to the constant block color epithet - the motive of hatred.

Black, black sky.
Anger, sad anger
Boiling in the chest...

Such is the feeling of time, such is the feeling of revolution.

B) How are the images of 12 Red Army soldiers revealed?

1. Blok does not idealize his heroes in the least. Spokesmen for the people's element, they carry within themselves all its extremes. On the one hand, these are people who see their lofty revolutionary duty to fight in an invisible enemy (“Revolutionary, keep striding! Restless enemy does not sleep!”) And are ready to fulfill it. On the other hand, in their psychology, the moods of a spontaneous, anarchist "freedom" are clearly expressed.

Lock up the floors
Today there will be robberies!
Open cellars -
Walking now nakedness!

Chapter 2 In their description, Block is quite straightforward:

In the teeth - a cigarette, a cap is crushed,
On the back you need an ace of diamonds!

Briefly and clearly - the prison is crying for them (the rhombus was sewn on by convicts)

Freedom, freedom
Eh, eh, no cross!

"Freedom without a cross" - in their mouths it sounds like a wild, robber cry. Behind it lies a free hand for everything that yesterday could only be thought of in dreams, a renunciation of forcibly imposed "rules".

Comrade, hold the rifle, don't be afraid!
Let's fire a bullet at Holy Russia -
In the condo
Into the hut
Into the fat ass!

How many times does the refrain sound in chapter 2 Eh, eh, no cross!?(3 times)

It is an accident? Or is this how he wants to draw our attention to sacrilege against believing Russia? Twelve Red Guards make their way through a fierce blizzard; they are "ready for anything", alert; they are driven forward by instinct, but they still do not fully understand the whole meaning of their struggle, their "powerful step" into the future.

Do not the words of the Red Army soldiers sound mocking, who, in "torn coat" but with an Austrian gun in hand:

We are on the mountain to all bourgeois
Let's fan the world fire
World fire in the blood -
God bless!

At the same time, the Red Army subconsciously or out of habit turn to the Lord.

4,5,6 chapters.

What feelings do the twelve Red Army men experience in a conversation about Vanka with Katya and in a further clash with them?
(Not without envy, they think about the warmth and the tavern in which Vanka and Katka are found. In a collision with Vanka, the heroes manifest not only envy of his carefree life, his dashing and luck, but also revenge for betraying his comrades, their common, even if it is not clearly presented, the case).

How do the Red Army soldiers react to the murder of Katya?

What, "Katka, are you glad? - No gu-gu ...
Lie down, you carrion, in the snow! ..

The murder of Katya is perceived by them as a revolutionary retribution, as an evil directed not only against Petrukha, but also against them. Petka's friends are dissatisfied with him because he indulges in his grief and dear memories too violently, they do not allow him to think about his act, to turn his “soul inside out”.

Chapter 7 Petrukha's grief is a hindrance to the Red Guards.

Not such a time now
To babysit you!
The burden will be heavier
Us, dear comrade!

- Can anything be "heavier" than killing a person?

- And how does Petruha behave? (“the poor killer can’t see his face at all,” he hides his confusion from his comrades. After the murder, the face of a loving, insulted, suffering person appears before us. A hidden personal drama was revealed behind the smart bravado. It is clear that human values ​​​​are not completely lost in this person .Maybe that explains the words at the end of chapter 8: « Rest, Lord, the soul of your servant ... Boring! possibly belonged to Petrukha)

What word do you think Blok missed in Petrusha's words?

I ruined, stupid,
I ruined in the heat of the moment ... ah!(Katka's life? Your soul?)

The poem raises the problem of the relationship between the revolution and the individual, about the sacrifices that a person brings to the revolution. Blok seemed to look into the near future.

What do you think, is it possible to step over a person's life in order to achieve any goals? What does Christian teaching say about this?

Chapter 11 And they go without the name of a saint
All twelve - away.
Ready for everything
Nothing to be sorry...

Is it by chance that Blok has an ellipsis at the end? (expectation of something terrible from someone who does not feel sorry for anything in this world? ..)

Conclusion: the freedom to violate Christ's commandments, namely, to kill, is transformed into the element of permissiveness. There are 12 sentinels in the blood - a "global fire", the atheists are ready to shed blood, whether it be Katya who cheated on her lover or a bourgeois. Throughout the poem, the Red Army soldiers go "without a cross" in their souls, without faith, without God.

B) a woman symbol of rebirth.

How is Katya shown? Can we see her appearance? (find lines)

How do you think Katya found herself "on the edge"? Blok has a poem "Before the Court":

Not only do I not have the right
I can't blame you
For your painful, for the evil one,
Many women are destined for the path ...
But I'm a little different
Than others, I know your life,
More than the judges, I know
How did you end up on the edge?

Do you remember, Katya, an officer -
He did not leave the knife ...

The voice of the poet himself, who feels the guilt of the whole society before this fate, merges in mourning for Katya in the voice of Petrukha.
Conclusion: love affair plays a key role in revealing the theme of wasted blood during the period of historical retribution, the theme of rejection of violence. An intimate conflict develops into a social conflict. By killing Katya, the patrol kills the future.

D) Images of representatives of the old world.
- A historical act is being performed - the old world is collapsing, but what kind of world is going to meet it? (Maybe a world of more violence?)
- Are there visible (and invisible) enemies of the Red Army in the poem? Is it possible to consider Katya or her cavalier as enemies?
- How are the images of representatives of the old world represented? Find the lines about the old woman Read them. There is nothing wrong with the old woman being happy about the uselessness of the poster, from which so many clothes can be sewn for poor children.
- Find the lines about the Vitiya writer. Read. Turning to one of the epigraphs of the poem, we will see how Blok himself sees the mission of the poet (and writer) - this is a person who sees further and more than ordinary people. And if a writer says: “Russia has perished!”, it means that he felt something that others could not feel. He cannot speak loudly so that everyone can hear him, he speaks in an undertone, because even though a proletarian, but dictatorship has come.
Is it possible to see the sworn enemy of the proletariat in the image of a priest? Is he scared?
- Find references to the bourgeois. Associatively, the author associates the bourgeois with a sparrow, and not with a bird of prey. Let us draw a picture for ourselves that can be imagined from the lines about the bourgeois: he did not just hide his nose in his collar (he is cold here, like everyone else), he is like a hungry dog, he is silent (all those who were led to be shot at Stalinist rule), the bourgeois stands as a question, he is confused, stunned. And what is an intersection, if it is depicted graphically? Cross. This cross will be carried by the former bourgeois.

Conclusion: in Blok's poem, 12 Red Army soldiers have practically no enemies. The old world will be replaced by a new one, new people and worldviews. But are they really better?

D) The dog is rootless- a symbol of the old world.
- Many literary critics talk about the threat to the new system hidden in the image of a dog. Let's try, by finding and analyzing the lines of the poem and Pse, to understand whether this statement is unambiguous.

Is it possible to see behind these descriptions a menacing, evil, hating old world? After all, a dog can be driven away with a stick, and if you feed it, it will become a faithful mongrel.

Why, at the end of the poem, did the dog not lag behind the Red Army soldiers, but followed them, although they drove him away with evil? ( Get off you, mangy, I'll tickle with a bayonet!)

Conclusion: it is impossible to build something in a wasteland without having roots, a foundation. You can’t “destroy the old world to the ground” and build new world so that the one "who was nobody" became everything. The history of the country, whatever it may be, is part of our love for the Motherland.

E) Jesus Christ.

What does Christ have to do with the content of the poem?

To understand this, we first turn to the history of writing the work.

In 1904-1906. Blok, carried away by the struggle with the old world, wishing to “be tougher”, “hate a lot”, assured that he would not go “to heal Christ”, he would never accept Him. But already in 1918, a new motive appeared in his work, embodied in the image of Christ - the motive of universal expediency, rationality, and a higher principle.

As Blok’s diary entries of this time show, he himself had no doubts about the legitimacy of perceiving the revolution as a purification and justification of rebellion, the elements of “music” (“He (Jesus) goes with them, but it is necessary that the Other goes”, i.e. Antichrist , - entry dated February 20, 1918). In other words, it would initially be more legitimate to depict the Antichrist who does not leave them next to the marching patrol. In the same diary entries we read: “When I finished, I myself was surprised: why Christ? But the more I peered, the more clearly I saw Christ ... "

Who throughout the poem turns to God's beginning?

What is the attitude towards God among the Red Army?

They will not understand anything, but will immediately open fire. And it doesn’t matter who gets into this shootout (cf. the accidental murder of Katya)

Why Jesus walks at a quick pace, burying himself behind all the houses?(Those who do not believe in Him do not see. Non-believers are blind)

Can the watchmen and Christ be called antipodes?

Why did Blok depict Christ walking not next to them, but in front of them? Does this detail play any role?

Twelve are walking with a "sovereign step" into the distance. What significance does this spatial dimension have for Blok? (distance - a fair, bright future)

On July 27, 1918, Blok noted in his diary: “The people say that everything that happens is from the fall of religion ...”

Is it possible to say that in his poem Blok outlined a perspective for the revolutionaries - the coming faith in Christ's commandments?

Fighters go from freedom "without a cross" to true freedom - with Christ. And this metamorphosis occurs against their will, as it is a manifestation of a higher principle. These heroes found each other (remember the story - Jesus was with those who feel bad). Ideas are contained in the image of Christ:

redemption by Christ of the next bloody sin of the people of forgiveness.

6. Conclusion. The poet stands for creation in the revolution, and not for destruction. He is attracted by the poetry of the revolution, but he is frightened by the Russian revolt, which Pushkin was so afraid of.
The concept of the poem was affected by the contradictions of Blok's worldview, on the one hand, a person who wants to believe in the new, creative, on the other hand, a citizen, a creative, thinking person, based on the moral principles of the Russian people, the eternal values ​​​​of Christianity. Hence the rejection of the old and the rejection of the new, inhumane, that can step over any person, make the neighbor unhappy and indifferent to the suffering. And only then is world harmony achieved when those who have crossed through blood come to faith, Christian covenants, to the ideals of love, to eternal values.

7. Homework.
The final stanza of the poem gave rise to many disputes not only from the semantic point of view, but also from the point of view of syntactic analysis.

Try to analyze the syntax of this sentence, on which your interpretation of the stanza will depend: who is walking with a red flag - someone in front or Jesus Christ (pay attention to the punctuation mark after the word flag)? Prove your point by substituting other punctuation marks.

Find in additional sources of information another interpretation of the poem that is different from this one. Prepare a message about which point of view is close to you?

Based on your judgment, answer the question of the lesson: "Is the poem "The Twelve" the anthem of the revolution?"

Fill out the express diagnostic sheet.

Abstracts	Yes	Not
1. The thoughts that sounded at the lesson contradict my previous ideas.
2. I liked this interpretation of Blok's poem.
3. I learned a lot of new and interesting things about the life and work of A. Blok.
4. I want to know more about Blok's work.
5. Acquaintance with this poem may affect my worldview.
6. I want to participate in the creation of a project on the work of A. Blok.

The revolution of 1917 left an indelible mark on the history of our state. After it, a lot has changed, a lot has been rethought. In the poem "" Blok gives his assessment and analysis of the events.

Analyzing this work it should be noted that the author created a system of images-symbols that show us the whole scale revolutionary events.

One of the first symbolic images that we meet on the pages of the poem is the wind. Being a spontaneous natural phenomenon, the wind becomes a symbol of the spontaneous and destructive nature of the revolution. The revolution, like the wind, sweeps away everything in its path and no one can hide from it.

The next symbol in the poem "The Twelve" is the "global fire", which reflects the global scale of revolutionary events. Blok compared the revolution to a "snowstorm". The author said that the revolution is capable of spreading to the whole world, that is, turning into a "global cyclone".

The driving force behind this "world cyclone" was to be the twelve. Twelve are ordinary Russian soldiers who walked the streets of revolutionary Petrograd. They are the twelve apostles of the revolution who pave the way and bring revolutionary ideas to the masses. Their road is saturated with blood and pain, twelve are ready to kill and deal with everyone. Block did not condemn the actions of the twelve, because he believed that the path to a bright future lies through blood and devastation.

An old woman who does not understand revolutionary slogans becomes the symbols of the old bourgeois society. The pop and the bourgeois now have to fear for their lives, because they know that there will be no place for them in the "new world".

The old "rootless" dog becomes a symbol of the "old world". He trudges behind the twelve in the hope of pardon and indulgence.

Quite a few important place in the poem "The Twelve" occupies the image of Christ. Christ here becomes a symbol of a harmonious and bright future. He goes ahead of the twelve, as if showing them the way to the "new world". On the other hand, Blok wanted to show us that Christ, like many centuries ago, again descended to earth to help humanity overcome dirt and devastation.

The revolutionary city becomes the symbol of a vast country that revolutionary struggle. In general, the struggle between the "old" and "new" worlds is becoming main theme works. Blok shows this struggle through the struggle of color. So, "black sky" is opposed to "white snow"; on the one hand, the red flag becomes a symbol of victory, and on the other, a symbol of the bloody present.

With the help of the poem "The Twelve" Blok wanted to show us how in mud and blood is born new person. It was in this that the author saw the main purpose of the revolution.

Municipal educational institution Barabinsk secondary comprehensive school № 93

ESSAY

subject: " Symbolic images in "The Twelve"

Performed:

11th grade student

Smirnova Anastasia

Supervisor:

literature teacher

Introduction

When you talk about the work of a great poet, you certainly want to find poems from him that would express his poetic credo, his understanding of the essence of this most difficult and magically beautiful art form. The philosophical, historical, ethical thought of Blok found in The Twelve an extremely complete artistic expression- in the very verbal-figurative fabric of the poem, in its composition, vocabulary, rhythm and verse. "The Twelve" is one of those masterful, most perfect works of poetry in which the harmony of content and form, so often elusive in art, is achieved. This simultaneity of deep comprehension of the temporal-historical meaning October revolution and gaining new artistic language constitutes a remarkable feature of A. Blok's poem.

At the heart of his poetics lay the idea of ​​the dialectical unity of "general" and "private", "personal" and "world". Poetry lives man and serves man. (“Without a person, poetry is one pair,” said Blok.) And this person does not exist on his own, but only in relation to the whole - with the world, with society, with the people, - and only in the flow of history, flickering in his historical time. "The spirit of the people breathes in everyone," is Blok's statement. Historicism colors all the work of the mature Blok. since reality, the very course of life, he perceived and evaluated in motion as a daily history, and feeling himself as a particle in the stream general movement.

Therefore, in his poetry, he would like to “perpetuate everything that exists”, embracing the whole world as a whole with an artistic gaze and including in it the unity of man, himself. He was most fascinated in poetry by the task of juxtaposing and combining disparate and seemingly incompatible factors and phenomena of life, culture, history, in order to capture a certain single and common “rhythm of the time” in this way, and find its rhythmic equivalent in poetic speech. “All these factors, it would seem, are so different,” Blok argued, “for me they have one musical meaning. I am accustomed to juxtaposing facts from all areas accessible to my vision in given time, and I am sure that all of them together always create a single musical pressure. Real life- this is the main and decisive criterion for a mature Blok of real art.

"Twelve" is the result of the artistic searches of the mature Blok and highest point creative way. Never before had he been able to write so freely, simply, with such plastic expressiveness, never before had his voice sounded so strong and uninhibited.

It is important to appreciate the strength and originality of the symbol in Blok's poetry, which has a powerful metaphorical beginning. It is ambiguous and unites different planes of reality, which have an inner, not immediately perceptible relationship, Blok sought to penetrate the outer shell visible world and with all the intuition of the artist to comprehend his deepest essence, the invisible secret.

The purpose of this work: the disclosure of the symbolic images of the poem "The Twelve".

Tasks: 1. identify symbolic images;

2. describe them.

Symbolic images in the poem "The Twelve"

1. The image of the elements, revolution

Many poets had favorite "through" images that passed through all their work. Blok had such an image. It's a blizzard snowstorm. In the poet's lyrics, she symbolized high earthly love, storms of a terrible feeling in the soul. In the poem "The Twelve", a blizzard becomes a symbol of a revolutionary storm that has broken out, which has a cosmic scope. The first lines of the poem:

Black wind.

White snow. -

sound solemn. This solemnity is enhanced by the conciseness of the sentences. Immediately there is a feeling that a blizzard has broken out on the entire planet, an impression is created of the global scale of events.

wind, wind-

In all God's world!

The wind, the unstoppable wind of the revolution, is inextricably linked with the blizzard. He is active actor the first chapter.

The poem opens with a picture of a winter, anxious, watchful Petrograd, through which the wind sweeps - angry, cheerful, merciless. Finally, he broke free and can take a walk in the open space!

Now he is the true owner of these squares, streets, back streets, he curls them in snow, and passers-by cannot resist his impulses and blows, under his violent onslaught. The wind sweeps away, "carries away" lonely passers-by - those who are hostile to the storm that has broken out. On an empty street, alone with the wind, one tramp remains. This is what the wind says to him:

Hey tramp!

Let's kiss...

It is the wind at its most direct and literally words, and at the same time, it is also a symbol of the rampant, merciless, indomitable elements, in which the spirit of the revolution, its formidable and beautiful music, is embodied for the poet.

A violent, indomitable wind blows here and there, and only from him does the poet expect an answer to the most secret questions, on the solution of which depends the fate of the motherland - and his own fate:

What are you wind

Do you bend glass?

shutters with hinges

Are you tearing wildly?

The true hero of the poem is the raging element of the people, which destroyed the “skulled layer” that fetters it, and sweeps through the streets of Petrograd, bristling with bayonets, the cradle of the October Revolution.

And the poet - together with this element, with this wind, sweeping away everything old, obsolete, inert and rushing with such formidable and irresistible force that it takes your breath away. Woe to those who want to resist this element and again drive it underground - he will die in its indomitable stream - and we see the creator of the "Twelve" in the poem as an enthusiastic singer of the elements.

Snow blizzards break into the poem, whistle in it, call each other, and the poet listens intently to the conversation, to the hums, whispers, of the formidable, alert city, which excites with its new and unprecedented appearance, for those who hid in the cellars before and hid in the attics, in dark and cramped kennels, they went out into the street - and turned out to be the true masters of life. Accept them for who they are! Love them black, everyone will love them white!

There is a bourgeois at the crossroads

And he hid his nose in his collar.

And next to it is pressed with hard wool

A lousy dog ​​with his tail between his legs.

There is a bourgeois, like a hungry dog,

It stands silent, like a question.

And the old world, like a rootless dog

Standing behind him with his tail between his legs.

The very outline of the human figure, reminiscent of question mark, speaks of confusion, "brokenness" of the old world.

Another guardian and adherent of the old " strange world”, Its most characteristic representative is the “lady in astrakhan fur”, which only remains to mourn its past “ beautiful comforts”, the old order, when she lived so sweetly and freely. She is depicted in the spirit of a popular popular print, a merry raeshnik, acquiring for her the meaning of a final and irrevocable sentence:

There is a lady in doodle

Turned up to the other:

We've been crying, crying...

slipped

And - bam - stretched out!

The poet mockingly sympathizes - exclaims:

Pull up!...,

but the “cheerful wind” will more than once knock down this “lady” and all those who mourn the hopelessly gone past and passionately yearn for its return.

3. Images of the Red Guards

The first chapter of the poem ends with the call:

Comrade! Look

These words persistently remind us that the enemies of the revolution are not asleep, plotting more and more intrigues, and that a cruel, merciless battle must be waged against them.

This battle calls for heroic deeds, and the heroic beginning of the poem is embodied in the image of the "twelve" Red Guards, standing guard over the October Revolution, defending its great gains from all encroachments and attempts.

"Twelve" - ​​in the image of the poet - this is a city squalor, people of the "bottom", people who are destitute, those who "would need an ace of diamonds on their backs" - and so, according to the poet's views, the city's lower classes, people despised and "outcasts", become heralds and founders of a new world, cleansed of the dirt of the abomination of the past, apostles of a new and higher truth, and only they in his eyes are the color of the nation, its hope, the guarantee of its great and beautiful future.

They are ready to “lay down their heads violently” - if only to get rid of the old world and on its ruins to establish a new, fair, beautiful, not needy, insults, humiliations! The time has come to deal with all the old orders, with humility, "holiness", with the spirit of non-resistance to evil - it is at him that the heroes of Blok are ready to "shoot with a bullet". That is why they go “to the bloody battle, holy and right” “without a cross,” and for too long violence and crime were covered up by this cross. scary world", his masters and servants!

They can dare not only to a feat, to fight against the enemies of the revolution, but also to robbery, to lynching, and in the poem, next to the solemnly heroic lines, riddled with revolutionary pathos and sounding like an oath assurance:

We are on the mountain for the bourgeoisie

Let's inflate the global fire ... -

there are dashing, mischievous cries, in which the “disastrous prowess”, inherent in people who do not know doubts and fear in the fight against the forces of the old world hostile to them, has affected:

Having fun is not a sin!

Lock up the floors

Today there will be robberies!

Open the cellars

Walking now nakedness!

There is also an innocent victim - Katya. Her - the daughter of the city's lower classes and outskirts - you see everything, from head to toe ("painfully good legs"), along with a crimson mole "near the right shoulder"; you see in all her charm, in her alluring charm:

tilted her face,

Teeth sparkle...

One of the Red Guards - Petka - is ready to give everything for the sake of the charms of his beloved, he is ready to ruin everything:

Due to the remoteness of the trouble

In her fiery eyes

Because of a crimson mole

Katya did not waste her wondrous charms in reckless revelry - it is not for nothing that the “poor killer”, who is pursued by her crafty, deceitful and beautiful appearance, mutters, as if in delirium:

Oh, comrades, relatives,

I loved this girl...

The nights are black, intoxicated,

With that girl spent ...

I ruined, stupid,

I ruined in the heat of the moment ... ah!

And in this "ah!" so much despair, for the expression of which there are no words. It seems that a little more - and Petka will go crazy or lay hands on himself, deal with himself as ridiculously, stupidly, ugly as with his unfaithful lover.

Petrukhin's "lament" in Chapter 8 explains social meaning his revenge and malice: he hates the "bourgeois", that old way of life, which is ultimately to blame for both the seduction of Vanka and the death of Katya. His soul continues to rush about, his “weeping” ends with an exclamation:

But the personal sufferings of the heroes are overcome by them in the name of the general movement forward. Petruha joins his fellow Red Guards.

Lock up the floors

Today there will be robberies! -

this is how comrades turn to Petka, and not only to Petka, but to the “working people”; their “revolutionary step” is getting firmer, and the same Petka again keeps pace with them - no longer stumbling, having learned from bitter experience to subordinate his irrepressible passions to great common cause, for the sake of which it is not a pity to "lay down a violent head."

They are on the revolutionary patrol. They pick up the motive of "Varshavyanka". The motif of revelry disappears. The motive of revolutionary duty is growing.

Bringing to the forefront of his poem such people as Petka and his comrades, concentrating the movements of the plot in the story of ill-fated love for the “fat-faced” Katya, emphasizing the dark that was in the heroes of the poem, who grew up and brought up in the conditions of a “terrible world” and are daily oppressed and corrupted by him, the poet thereby focuses our attention on the shadow sides of the revolution, on its “grimaces” - and not because he did not see its other sides, beautiful, joyful, bright, but, as we see, for completely different motives.

The very title of the poem has a double meaning. The collective hero of the poem is the Red Guard patrol guarding the revolutionary order in Petrograd. However, twelve Red Army men are not just an accurate everyday detail, but also a symbol. According to the gospel legend, the twelve apostles, disciples of Christ, were the heralds of the new teaching, new era.

The heroes of the poem - the Red Guard detachment of the "twelve" - ​​by no means "do not bring the good news to the world about the rebirth of man to a new life", but are within artistic world poems by the forces of destruction, while making fun of all the symbols of Christian holiness. But it is not by chance that the "twelve" by the author's will "go without the name of a saint": they "are not sorry" not only " lousy dog” and “old world”, but “nothing to be sorry about”.

The heroes of the poem go into battle "without the name of a saint", and the saying that accompanies their steps and actions is "eh, eh, without a cross!"; they are atheists, in whom even the mere mention of Christ, the “savior” causes ridicule:

Oh, what a blizzard, save!

Petka! Hey, don't lie!

What saved you from

Golden iconostasis!

And yet the work that they do, not sparing their blood and life itself, for the sake of the future of all mankind, is right and holy. That is why God, invisible to the Red Guards - in accordance with the views of Blok - is still with them, and at their head the poet sees one of the incarnations of the deity - God-son:

... Ahead - with a bloody flag,

And invisible behind the blizzard

And unharmed by a bullet

With a gentle step over the wind,

Snowy scattering of pearls,

In a white corolla of roses -

The front is Jesus Christ.

4. Image of Christ

The image of Christ, which closes the poem and, it would seem, is random, strange, not justified by anything, for Blok himself was neither accidental, nor strange, nor arbitrary, as evidenced by many of his statements, oral and written, in which the poet returns to this same image, striving to affirm its regularity and necessity.

Christ in Blok's poem walks "with a bloody flag", goes ahead of the "poor murderer" and his comrades - it is not surprising that other readers of the poem saw in it only blasphemy and "desecration of the cherished shrines." But the poet himself perceived this image and its interpretation in a completely different way, it is not in vain that Christ walks “in a white halo of roses”, which, according to ancient legends, is a symbol of purity, holiness, and purity.

Christ in Blok's poem is the intercessor of all who were once "driven and beaten", carrying with him "not peace, but a sword" and who came to punish their oppressors and oppressors. This Christ is the embodiment of justice itself, which finds its highest expression in the revolutionary aspirations and deeds of the people, no matter how severe and even cruel they may look in the eyes of a sentimental person. Ahead of the "twelve", in the "white halo of roses", and this "white halo" in a strange and almost incomprehensible way is combined with the "ace of diamonds" of his new apostles.

Christ was to act in the poem as a symbol of the renewal of life. But for the majority of the real Red Guards, Christ was in fact identified with the religion and tsarism against which they fought. For the poet, Christ was not a symbol of humility, but, on the contrary, of resistance to the authorities. In Blok's view, he embodies the people's ideals, directly opposing his earthly servants. This is expressed quite clearly in the poem: Christ is at the head of the Red Guards, and the "comrade priest" is destroyed by the poet's irony, as an embodiment of churchness alien to him.

Christ appears at the end of the poem as the ideal of man, created by the people and strengthened in his mind. If we accept such an interpretation of this image, then it becomes clear why the poet put on Christ a “white halo of roses” - this is, as it were, a symbol of that moral height that Christ was endowed with in the popular imagination for many centuries. This perfect man welcomes the moral awakening, the path to human perfection begun by the Red Guards. They will go through this path through torment and suffering, "without the name of a saint." Christ is powerless to lead and inspire them. But as the ideal of a man, he is invisible with them, in front of them - with a red banner, invisible "behind the blizzard" and unharmed "from a bullet." The wind dresses him in a "white halo of roses" and merges with him.

5. Symbolism of color, musical rhythm

The symbolism of colors is of great importance in the poem. The poem is dominated by two irreconcilable colors - black and white. But on the other hand, their appearance in each case is capacious, symbolic. Two worlds are at war - the old and the new. And this corresponds to the opposition of two colors, two colors in the poem - white, symbolizing the new, and black, the color of the outgoing and destroyed life. This opposition of old and new determines the structure of the poem. A world storm is raging in the universe.

The white blizzard is contrasted with black: the old world is collapsing into the black abyss, black malice boils in the tramp's chest, the black sky spreads overhead.

Symbolic in the poem and red - the color of anxiety, rebellion, revolutionary flag

The element finds its embodiment not only in color symbolism poems, but also in the variety of musical rhythms in almost every chapter.

The entire poem is filled with this music of the elements. The music is heard in the whistle of the wind, and the marching step of the "twelve", and in the "gentle tread" of Christ. Music is on the side of the revolution, on the side of the new, pure, white. old world(black) is devoid of music, his moaning is accompanied only by the sentimental vulgar melody of an urban romance (“the noise of the city is inaudible”).

When, for example, a detachment of twelve enters the poem, the rhythm becomes clear, marching. The change of rhythm causes the extraordinary dynamics of the verse. Thanks to the energy of rhythm, literally every word “works”: “The power of rhythm raises the word on the back of the musical wave…”.

The step of the Red Guards becomes a truly “powerful step”, and the marching, clear, formidable system of verses naturally ends with words that sound like a slogan, order, call, to the struggle for a new life:

Go-go,

Working people!

With the advent of Christ, the rhythm changes: the lines are long, musical, as if universal silence sets in.

Conclusion

The poem "The Twelve" is a truly brilliant creation, because Blok, contrary to his plan to sing Great October and bless him in the name of Jesus Christ, managed to show both the horror, and the cruelty, and the absurdity of everything that was happening before his eyes in January 1918, a little over two months after the fatal volley of the Aurora.

Everything in the poem seems unusual: the world is intertwined with the everyday; revolution with the grotesque; a hymn with a ditty; the "vulgar" plot, taken as if from a chronicle of newspaper incidents, ends with a majestic apotheosis; the unheard-of "rudeness" of the dictionary enters into a complex relationship with the finest verbal-musical constructions.

The poem is full of symbolic images. These are images of the elements, the wind, symbolizing revolutionary changes in Russia, which no one can either hold back or stop; and a generalized image of the old, outgoing, obsolete world; and images of the Red Guards - the defenders of the new life; and the image of Christ as a symbol of the new world, bringing moral purification to mankind, the age-old ideals of humanism, as a symbol of justice, which finds its highest expression in the revolutionary aspirations and deeds of the people, as a symbol of the sanctity of the cause of the Revolution. Even Blok's use of color and musical rhythm is symbolic.

All the symbols of the poem have their immediate meaning, but together they not only create complete picture post-revolutionary days, but also help to understand the feelings of the author, his sense of contemporary reality, his attitude to what is happening. After all, the poem "The Twelve" - ​​for all the tragedy of its plot - is permeated with an unshakable faith in the great and wonderful future of Russia, which "infected all mankind with its health" (as the poet himself said), faith in the huge, immeasurable forces of her people, who were once shackled , squeezed into a “useless knot”, and now they have amazed the whole world with their scope and indestructible creative power.

The poem is striking in such an inner breadth, as if all angry raging, just breaking the age-old fetters, washed with blood, Russia fit on its pages - with its aspirations, thoughts, heroic impulses into the boundless distance, and this Russia is a storm, Russia is a revolution, Russia is new the hope of all mankind - this is the main symbolic image of Blok, the greatness of which gives such great importance to his October poem.

List of used literature

1. Vl. Orlov. A. Blok's poem "The Twelve". - M.; publishing house "Fiction", 1967

2. . A. Blok. - Leningrad branch, 1980.

3. . . Poems. Poem. - Moscow, 2002

Analysis of the poem by A. A. Blok "The Twelve"

The symbolism of color and the symbolism of images in the poem (the twelve and Jesus Christ)

Alexander Alexandrovich Blok is one of the most talented and major poets Russia, who tried in his work to reflect the complex, harsh and critical time at the turn of the 19th-20th centuries. Being a symbolist poet, Blok was able to convey grandiose events and predict the future in vivid and ambiguous images. Blok heard the mysterious music of the time, poured it into his poems, thanks to which this melody sounds for us, his descendants.

Reading the poem "The Twelve", we hear the excited speech of the author - an eyewitness and participant in that great event. The poem "The Twelve" is a peculiar and true chronicle Bolshevik revolution. Blok originally and figuratively tried to capture his time for posterity, to "stop the moment" at least in his work.

Curls the wind

White snow.

Under the snow is ice.

Slippery, hard

Every walker

Slides - oh, poor thing!

Bright, multi-valued images and symbols play important role in the poem by A. Blok, their semantic load is great; this allows you to more vividly imagine revolutionary Petersburg, revolutionary Russia, to understand the author's perception of the revolution, his thoughts and hopes.

The symbolism of color plays an important role in the poem "The Twelve": on the one hand, black wind, black sky, black malice, black rifle belts, and on the other - White snow, Christ in a white halo of roses. The black, evil present is opposed to the white, bright, harmonious future.

The symbolism of the red color expresses the motif of a bloody crime. The red flag, on the one hand, is a symbol of the victorious end, on the other hand, a symbol of the bloody present. Colors are associated with the image of time: a black past, a bloody present and a white future.

But colors predominate in the poem: black and white. All events take place in the evening or at night. Why does Blok choose this time of day?

Late evening.

The street is empty.

One tramp

stooping

Let the wind whistle...

Not very plausible things are going on in revolutionary Petrograd, which is probably why evening and night are the most suitable times of the day for them.

Moreover, the wind is raging, knocking down. This is a natural phenomenon and a symbol of cleansing power, demolishing everything unnecessary, artificial, alien. Cheerful wind “And angry and glad. He twists skirts, Mows passers-by, Tears, crushes and wears a large poster: “All power to the Constituent Assembly” ... In a spontaneous rebellion, the poet shows not only destructive, but also creative force. No wonder Jesus Christ is ahead of the revolutionary patrol. Blok only outlined the future, it will still be highlighted brightly and visibly in his other works. Here, the ghost of the old world, a hungry dog, “holds on” firmly, trying not to lag behind the present. It is impossible to drive it away, just as it is impossible to shake off the burden of the past in a single moment, it relentlessly pursues on the heels of everyone.

Get off you, mangy,

I'll tickle with a bayonet!

The old world is like a lousy dog

Fail - I'll beat you! ...

Shows his teeth - a hungry wolf -

The tail is tucked in - does not lag behind -

A hungry dog ​​is a rootless dog...

How mercilessly and truthfully Blok shows the perishing habitual world! He also belongs to him. But such is the reality, and the author cannot prevaricate. At times, joyful excitement is clearly heard in the poem. lyrical hero he welcomes the wind of change. And the poet, what does Blok himself expect from the future? Most likely, he foresees his death along with the old, familiar and hated world, but it is impossible to resist this, just as it is unthinkable to stop the elements. Another bright symbol is found in the poem - “world fire”. In the article “The Intelligentsia and Revolution,” Blok wrote that a revolution is like natural phenomenon, “thunderstorm”, “snowstorm”; for him, “the scope of the Russian revolution, which wants to embrace the whole world, is this: it cherishes the hope of raising a world cyclone...”. This idea was reflected in the poem "The Twelve", where the author speaks of a "global fire" - a symbol of the universal revolution. And this “fire” is promised to be fanned by twelve Red Army men:

We are on the mountain to all bourgeois

Let's fan the world fire

World fire in the blood -

God bless!

These twelve Red Army soldiers personify the twelve apostles of the revolutionary idea. They are entrusted with a great task - to defend the revolution, although their path lies through blood, violence, cruelty. With the help of the image of twelve Red Army soldiers, Blok reveals the theme of shed blood, violence during the period of great historical changes, the theme of permissiveness. "Apostles of the revolution" are able to kill, rob, violate Christ's commandments.

The merit of the poet is great, that he not only managed to hear the time, but captured it in his poem.

Fuck-tah-tah! --

And only echo

Responds to houses...

Only a blizzard with a long laugh

Falling into the snow...

And they go without the name of a saint

All twelve - away.

Ready for everything

Nothing to be sorry about.

Here they are, the defenders of the revolution! Cruel, rude, soulless convicts and criminals. But at the end of the poem, the most mysterious image appears, which "ennobles" the whole gang:

With a gentle step over the wind,

Snowy scattering of pearls,

In a white corolla of roses -

In front is Jesus Christ.

He, judging by the context, leads a detachment of the Red Guards. It can be assumed that by doing this the author gave the former criminals an aura of holiness, and now they are no longer "golotba", but a new, revolutionary people. Some researchers of the poet's work have proposed to interpret this idea more broadly. The twelve are the apostles, led by Peter. But what is the basis for this idea? Only in their number, similar to the number of apostles? Or because only one is singled out among them - Peter? Or maybe because in the final they are led by Jesus Christ? Yes, therefore. But they are the apostles of the new time, new era who prefer fighting instead of humility.

But Blok himself warned against hasty conclusions: one should not underestimate the political motives in the poem "12"; it is more symbolic than it might seem at first glance. Let's deal with the main, most mysterious image of the poem - with the image of Christ.

The image of Christ, which completes the poem, seemed accidental and inappropriate to many critics and literary scholars. And the author himself was skeptical about this image. The image of Christ in the poem "The Twelve" is multifaceted: Christ as a symbol of a revolutionary, Christ as a symbol of the future, pagan Christ, Old Believer burning Christ, Christ the Superman, Christ as the embodiment of Eternal Femininity, Christ the artist and even Christ the Antichrist. It seems that all these, in their own way, witty assumptions lead away from the main thing. The main thing is that the image of Christ allows the poet to justify the revolution from the point of view of higher justice. But even this cannot be understood one-sidedly: those same twelve walking down the street and doing lawlessness, killing ordinary people are also associated with Christ, and then the image of Christ cannot become holy and one cannot speak of justifying the revolution. But the image of Jesus Christ does not appear in Blok from scratch: already in the poet's lyrics, he occupied a very important place. For example, in the poem "Here He is - Christ - in chains and roses ..." and in rhythm

Here He is - Christ - in chains and roses

Behind the bars of my prison.

Behold the Meek Lamb in white robes

Came and looks out the window of the prison.

and in mood ("One, bright ..."), the image of Jesus Christ is multifaceted (as in the poem).

Literary critics have offered many interpretations of this image, and disputes on this issue continue to this day. V. Orlov considered Christ as the leader of the oppressed and offended, the defender of the poor and destitute. L. Dolgopolov assumed that the image of Jesus symbolizes the beginning of a new era, the future of Russia is bright and spiritual. No less interesting are other points of view, opposite to those indicated above. Let's consider the most interesting ones.

V. B. Shklovsky wrote: “So, Alexander Blok could not unravel his “Twelve”. My formula of Blok: "canonization of the forms of the gypsy romance" - was admitted or not disputed by him.

In "12" Blok went from coupletists and street talk. And, having finished the thing, he attributed Christ to it.

Christ is unacceptable for many of us, but for Blok it was a word with content.

With some surprise, he himself regarded the end of this poem, but always insisted that this was exactly what happened. The thing has, as it were, an epigraph at the back; it is unraveled at the end unexpectedly. Blok said: “I don’t like the end of “12” either. I would like this end to be different. When I finished, I myself was surprised: why Christ? Really Christ? But the more I peered, the more I saw Christ. And then I wrote down in my place: unfortunately, Christ. Unfortunately, it is Christ."

Is it an ideological Christ?

Here is an excerpt from A. Blok's letter to Yuri Annenkov:

"About Christ: He is not at all like that: small, bent over like a dog from behind, carefully carries the flag and leaves" Christ with the flag "- it's -" and so and not so. "Do you know (with me through my whole life) that when the flag beats in the wind (behind rain or snow, and most importantly - behind the darkness of the night), then someone huge is thought under it, somehow related to it (does not hold, does not carry, but I can’t say how) " .

This means that such an understanding of the theme of Christ is possible: the wind. The wind is tearing the panels of the posters. The wind calls the flag, and the flag calls out something huge related to it, and Christ appears.

Of course, he is "exactly Christ" in terms of the poet's stock of images, but he is called by the composition of images - the wind and the flag.

M. Voloshin proposed a very original idea. In his opinion, Christ does not lead the detachment, but runs away from it, saving his life. Maybe they even lead him to execution, to execution or to Golgotha. And the "bloody" flag in his hands is not a sign of the revolution and its victory, it is the blood of Christ on the white flag - a symbol of reconciliation and surrender. The second point of view - the point of view of P. Florensky, in my opinion - is the most successful. His idea is based on a typo made by Blok in the name of Christ - Jesus (one letter "i" is missing). It is difficult to call it accidental or necessary. What did the author mean by this? It may be that the detachment was led not by the son of God, but by the real Antichrist. It was he who was ahead of the Red Guards and the entire revolution as a whole. He, like God, can be "... and invisible behind a blizzard" and "unharmed from a bullet." A perfectly valid theory.

Boris Solovyov understood the image of Christ in this way: “Christ in Blok’s poem is the intercessor of all the oppressed and destitute, all who were once “driven and beaten”, carrying with him “not peace, but a sword” and who came to punish their oppressors and oppressors. This is Christ - the embodiment of justice itself, which finds its highest expression in the revolutionary aspirations and deeds of the people - no matter how severe and even cruel they may look in the eyes of a sentimental person. Here is the Christ with whom, without knowing it, the Red Guards, the heroes of Blok's poem, go. Of course, such an interpretation of moral issues is caused by the idealistic prejudices of the poet, but they should also be taken into account if we want to understand the image that completes his poem.

Those who accept violence and terror are driven only by cruelty and malice, and cannot be led by a pure and bright one. Such people cannot be called either apostles or saints. Of course, the points of view put forward by people. Each person, due to his life positions, beliefs and priorities, sees what he wants to see. So, the ardent champions of the revolution - A. Gorelov, V. Orlov, L. Dolgopolov - preferred to see in this image a symbol of a bright future for Russia. Florensky, for example, was forced to leave Russia, or rather, he was "thrown" out of it by a "philosophical ship." Therefore, the point of view is the opposite.

The evolutionary path of development is always more effective than the revolutionary one. It should not be like twelve to destroy everything old, without creating anything in return. It is much better to adopt the achievements of the past and, on their basis, improve what caused discontent.

An essay on a work on the topic: Images and symbols in A. Blok's poem ""

The poem "The Twelve" was written by A Blok in January 1918, when the October events were already over, but not enough time had passed to comprehend them and give an objective historical assessment. The revolution of 1917 swept through like a storm, like a hurricane, and it was difficult to unambiguously say what good and what bad it brought with it. It was under such a spontaneous impression that the poem “The Twelve” was written.

Bright, multi-valued images and symbols play an important role in A. Blok's poem, their semantic load is great; this allows us to more vividly present revolutionary Petersburg, revolutionary Russia, to understand the author's perception of the revolution, his thoughts and hopes. One of the main symbols of the revolution in the poem "The Twelve" is the wind, like it, it blows everything in its path.

Wind, wind!

A person does not stand on his feet.

Wind, wind -

In all God's world!

Curls the wind

White snow.

Ice under the snow.

Slippery, hard

Every walker

Slides - oh, poor thing!

In this part of the poem, A. Blok sought to convey to the reader the atmosphere of the time, when anyone can “slip” on the “ice” of the revolution, taken by surprise by a hurricane of change.

Another bright symbol is found in the poem - “world fire”. In the article "The Intelligentsia and the Revolution" Blok wrote that the revolution is like a natural phenomenon, a "storm whirlwind", a "snowstorm"; for him, “the scope of the Russian revolution, which wants to embrace the whole world, is this: it cherishes the hope of raising a world cyclone...”. This idea was reflected in the poem "The Twelve", where the author speaks of a "global fire" - a symbol of the universal revolution. And this “fire” is promised to be fanned by twelve Red Army men:

We are on the mountain to all bourgeois

Let's fan the world fire

World fire in the blood -

God bless!

These twelve Red Army soldiers personify the twelve apostles of the revolutionary idea. They are entrusted with a great task - to defend the revolution, although their path lies through blood, violence, cruelty. With the help of the image of twelve Red Army soldiers, Blok reveals the theme of shed blood, violence during the period of great historical changes, the theme of permissiveness. The "apostles of the revolution" are able to kill, rob, violate Christ's commandments, but without this, according to the author, it is impossible to carry out the tasks of the revolution. Blok believed that the path to a harmonious future lay through chaos and blood.

In this sense, the image of Petrukha, one of the twelve Red Army soldiers who killed Katya out of jealousy, is important. On the one hand, A. Blok shows that his villainy is quickly forgotten and justified by even greater future villainy. On the other hand, through the images of Petrukha and Katya, Blok wants to convey that, despite the important historical events, love, jealousy, passion - eternal feelings that guide a person's actions.

Also important in the poem "The Twelve" are the images of an old woman, a priest, a bourgeois - they are representatives of the old, obsolete world. For example, the old woman is far from the revolution, from political affairs, she does not understand the meaning of the poster “All power to the Constituent Assembly!”, She does not accept the Bolsheviks either (“Oh, the Bolsheviks will drive into a coffin!”), But the old woman believes in the Mother of God, ". For her, pressing problems are important, not a revolution:

On the rope - poster:

“All power to the Constituent Assembly!”

The old woman is killed - crying,

Never understand what it means

What is this poster for?

Such a huge patch?

How many footcloths would come out for the guys ...

The priest and the bourgeois are afraid of the consequences of the revolution, they are afraid for their fate, for the failure of their future life:

The wind is biting!

The frost is not far behind!

And bourgeois at the crossroads

He hid his nose in the collar.

And out and long-sleeved -

Sideways - for a snowdrift ...

What is unhappy today

Comrade pop?

The old, obsolete, unnecessary world in the poem is also presented as a “rootless”, “cold” dog, which barely trails behind twelve Red Army soldiers:

Shows his teeth. - the wolf is hungry -

The tail is tucked in - does not lag behind -

A cold dog is a rootless dog...

In front is Jesus Christ.

The image of Christ in the poem personifies Blok's faith in overcoming bloody sin, in the outcome from the bloody present to a harmonious future. His image symbolizes not only the author’s faith in the sanctity of the tasks of the revolution, not only the justification of “holy malice” revolutionary people, but also the idea of ​​Christ accepting another human sin, the idea of ​​forgiveness and the hope that people will come to His precepts, to the ideals of love, to eternal values. Jesus walks ahead of the twelve Red Army soldiers who are on their way from freedom “without a cross” to freedom with Christ.

Revolutionary Petersburg, in which the “universal elements” are playing out, personifies the whole of revolutionary Russia. A. Blok portrayed it as a world split in two, as a confrontation between black and white. The symbolism of color plays an important role in the poem "The Twelve": on the one hand, black wind, black sky, black malice, black rifle belts, and on the other hand, white snow, Christ in a white halo of roses. The black, evil present is opposed to the white, bright, harmonious future. The symbolism of the red color expresses the motif of a bloody crime. The red flag, on the one hand, is a symbol of the victorious end, on the other hand, a symbol of the bloody present. Colors are associated with the image of time: a black past, a bloody present and a white future.

Thanks to the system of images and symbolism in the poem "The Twelve", Blok managed to show that in the bloody present, the formation of a new person and the transition from chaos to harmony take place. This, according to the poet, is the true meaning of the revolution.

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