Analysis of A. Blok's poem "The Stranger"

The image of a mysterious stranger has been revealed more than once in art. In the painting of the 19th century, I. Kramskoy turned to him (the painting "Unknown", 1883), in the 20th century the artist I. Glazunov painted a number of paintings-illustrations for the lyrics of A. Blok. The poem "The Stranger" was written by Blok on April 24, 1906 in the holiday village of Ozerki. It was a very difficult period in the personal life of the poet. His wife, L.D. Mendeleeva, an affair began with Andrei Bely, a close friend of the poet. The poem was born from wanderings around the St. Petersburg suburbs, from the impressions of walking in Ozerki. Many real features and signs in the poem come from here: a restaurant, the dust of alleys, barriers.

The genre of the work is a story in verse. The plot is a meeting of a lyrical hero with a Stranger in a country restaurant. The main theme is the collision of dreams and reality. The composition is based on the principle of opposition - antitheses. The dream is opposed to rough reality. Compositionally, the poem consists of two parts. One part (the first six stanzas) shows the reality of the vulgar world, the second part (the last seven stanzas) depicts the romantic ideal of the lyrical hero. These two worlds are incompatible for Blok. The world of his dreams is fragile and thin, devoid of real outlines. But this world is his only salvation and opportunity to remain himself. This world, inspired by the image of the Stranger, Alexander Blok gives to his readers.

The poem begins with a description of a spring evening. However, the fresh breath of spring is not felt at all, describing the spring air, the poet uses the epithet rotten. The first part of the poem is full of prose details. This is alley dust, and the boredom of country cottages, and the bakery's pretzel, and the tried wits who "among the ditches walk with the ladies." The author uses coarse language (sleepy lackeys stick out), uses unpleasant sound images (baby crying; female screeching; oarlocks creaking). The vulgarity of the real world infects everything around with its pernicious spirit. And even the traditionally poetic image of the moon appears here in a distorted form:

And in the sky, accustomed to everything,
The disk is pointlessly twisted.

In this part, the author deliberately piles hard-to-pronounce consonants. For example: “In the evenings over restaurants, / The hot air is wild and deaf”: pvchrm ndstrnm grch vzdh dk glh. And instead of the assonances (repetition of vowel sounds) typical of Blok’s poetry on a-o-e, which add melodiousness to the poem, we hear deaf alliterations (repetition of consonant sounds) and assonances on and (hotly and th air d and to and deaf; female in and zg; kr and in and tsya d and sk), which cut the ear. In this world, instead of the sun, “a bakery pretzel is golden”, and love is replaced by ladies walking with “tried wits” (who probably repeat the same jokes every day). "Tested wits" walk with the ladies not just anywhere, but "among the ditches." The image of the restaurant is also symbolic - it is the embodiment of vulgarity. The author depicts not just an evening restaurant, but a space where “hot air is wild and deaf”, where “spring and pernicious spirit” rules the general gloom. Here boredom, drunkenness and monotonous fun took on the character of a repetitive and meaningless rotation. About the whirling of life in this automatic wheel says the phrase: "And every evening." This phrase is repeated three times, as well as the union and - this achieves the feeling of a vicious circle: (And the spring and pernicious spirit rules drunken shouts; And a child's cry is heard; And a woman's screech is heard). All verbs are used in the present tense. This world is disgusting and terrible. Literally in everything, the lyrical hero feels a repulsive disharmony of sounds and smells, colors and feelings. He finds consolation in wine:

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

The motif of intoxication is repeated several times: "drunkards with rabbit eyes" shout: "In vino veritas!" - "Truth in wine!" (lat.). The stranger walks “between drunks”, the lyrical hero himself speaks of “tart and mysterious moisture”. But intoxication is also an immersion in the world of dreams. This disgusting world is opposed by the Stranger, who appears "every evening, at the appointed hour" in the second part of the poem. Alliterations - repetition, a rough heap of consonant sounds in the description of a dirty street - are replaced by the repetition of vowel sounds - assonances:

Breathing in spirits and mists,
She sits by the window.
And breathe ancient beliefs
Her elastic silks.

The hissers convey the rustle of silk. The repetition of sounds [y], [e] create a feeling of airiness of the female image. The stranger is devoid of realistic features, she is all shrouded in mystery. This image is fenced off from the dirt and vulgarity of reality by the elevated perception of the lyrical hero. The stranger is the ideal of femininity and beauty, a symbol of what the lyrical hero lacks so much - love, beauty, spirituality. The mysterious Stranger "always without companions, alone." The loneliness of the heroes not only distinguishes them from the general crowd, but also attracts them to each other:

And chained by a strange closeness,
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance.

“The Enchanted Shore” is a symbol of a harmonious, but unattainable world. It seems that here he is, nearby, but it is worth stretching out your hand - and he disappears. The image of the Stranger is exotic:

And bowed ostrich feathers
In my brain they sway
And bottomless blue eyes
Blooming on the far shore.

The poet uses a word that has come out of wide use eyes. This archaism gives the image of the Stranger a sublimity. Her bottomless blue eyes (the blue color in Blok means starry, high, unattainable) are contrasted with the rabbit eyes of drunkards. The Stranger is a transformed image of the Beautiful Lady. Who is she: an ordinary visitor to a country restaurant or a “vague vision” of a lyrical hero? This image symbolizes the duality of the consciousness of the lyrical hero. He really wants to get away from the reality he hates, but it does not disappear anywhere - and it is in this world that the Stranger comes. This brings tragic notes to the image of the lyrical hero. Spirits and mists, the bottomless blue eyes of the Stranger and the distant shore are just dreams, momentary intoxication, but the true meaning of life is revealed to the lyrical hero precisely in these moments. He speaks about this at the end of the poem: "I know: the truth is in wine."

Using various means of expression, the poet builds his work on the antithesis. This technique serves to enhance the expressiveness of speech by sharply contrasting concepts. Two parts of the poem are contrasted. Images and landscapes, smells and faces, sound images of the first and second parts of the poem are contrasted. Dream and reality are contrasted. Here are just a few examples: "hot air is wild and deaf" - "breathing with spirits and mists"; "boredom of country dachas" - "enchanted distance"; "ditches" - "bends" of the soul. For the second part of the poem, the poet selects romantic epithets (the enchanted shore; tart wine; bottomless blue eyes) and metaphors (eyes ... bloom; souls ... pierced bends ... wine). The poem is written in classical poetic size - iambic tetrameter, rhyming - cross.

Linguistic analysis of A. Blok's poem "The Stranger"

In the evenings above the restaurants
Hot air is wild and deaf
And rules drunken shouts
Spring and pernicious spirit.

Far away, above the dust of the alley,
Over the boredom of country cottages,
Slightly gilded bakery pretzel,
And the cry of a child is heard.

And every evening, behind the barriers,
Breaking pots,
Among the ditches they walk with the ladies
Proven wits.

And a woman screams.
The disk is pointlessly twisted.

And every evening the only friend.
Reflected in my glass.
Like me, humble and stunned.

And next to the neighboring tables
Sleepy lackeys stick out,
And drunkards with rabbit eyes
"In vino veritas!" scream.

And every evening, at the appointed hour

In the foggy window moves.

And slowly, passing among the drunk,
Always without companions, alone,
Breathing in spirits and mists,
She sits by the window.

And breathe ancient beliefs
Her elastic silks
And in the rings a narrow hand.

And chained by a strange closeness,
I look behind the dark veil
And I see the enchanted shore,
And the enchanted distance.

Deaf secrets are entrusted to me,
Someone's sun has been handed to me,
And all the souls of my bend
The tart wine pierced.

And ostrich feathers are bowed.
In my brain they sway
And bottomless blue eyes
Blooming on the far shore.

There is a treasure in my soul
And the key is entrusted only to me!
You're right, drunk monster!
I know: the truth is in wine.

April 24, 1906. Ozerki

The poem "The Stranger" (1906) is one of the masterpieces of Russian lyrics. It was born from wanderings around the St. Petersburg suburbs, from the impressions of a trip to the holiday village of Ozerki. Much in the poem is directly transferred from here: the creak of oarlocks, a woman's squeal, a restaurant, the dust of lanes, barriers - all squalor, boredom, vulgarity. Blok also explained where he saw the Stranger - it turns out, in the paintings of Vrubel: “Finally, what I call “The Stranger” arose in front of me: a beautiful doll, a blue ghost, an earthly miracle ... The Stranger is not just a lady in black dress with ostrich feathers on the hat. It is a diabolical fusion of many worlds, predominantly blue and purple. If I had Vrubel's means, I would have created a Demon, but everyone does what is assigned to him. lilac - disturbing.

1906 - the period became for Blok a time of amazing knowledge and discoveries. The poet, with growing attention, peers into the realities of everyday life around him, captures the disharmony of life. Blok seems to wake up from a deep and sweet sleep, life wakes him ruthlessly, and the reality that has opened up before the poet does not allow him to fall into a dream again, forcing the creator to draw attention to himself and draw conclusions. A kind of reflection of the thoughts and feelings of the poet, his response to the difficult reality is the work “The Stranger”, in which an inexorable craving for love and the light of human relations borders on the world of vulgarity and philistine everyday life.

The poem "Stranger" is also interesting for its composition. It consists, as it were, of two parts: the first is the reality of the vulgar world, the second is the romantic ideal bursting into this reality.

The poem has a descriptive beginning, consistency, slowness in building artistic details; there is a semblance of plot, which allowed researchers to consider the poem as a ballad.

The poem is built on the contrast of good and evil, desired and given, pictures and images that are opposed and reflected in each other. Reality here borders on the sublimity of dreams. Blok does not hide his disgust for the vulgarity of life around him and paints such a picture of comparisons and combinations that is hard to imagine: hot air, associated with movement and heat, is “wild and deaf” in the poet, and “spring spirit”, symbolizing the beginning of something new , turns out to be “pernicious”, “experienced wits” walk with ladies not anywhere, from “among the ditches”, on the streets - “drunken shouts”, above the lake - “female screeching”, even the moon is devoid of the usual romantic halo and “senselessly grimaces » The first part paints a picture of self-satisfied, unbridled vulgarity, signs of which are artistic details. The beginning conveys the general atmosphere and its perception by the lyrical hero:

In the evenings above the restaurants
Hot air is wild and deaf
And rules drunken shouts
Spring and pernicious spirit.

The poem is written in two-syllable iambic meter (that is, the stress falls on even syllables). The author successfully uses the ABAB cross rhyme (rhyming lines go alternately)

Morphological and lexical-semantic analysis. Trails. In the poem, we see not just an evening restaurant, but a space where “hot air is wild and deaf”, where “spring and pernicious spirit” rules over the general obscuration, insensibility, blindness. Here, boredom, the inertia of monotonous fun took on the character of a repetitive circular, drawing people in rotation. About the automatic repetition, the whirling of life in some kind of wheel, the words from the poem speak: "And every evening." They are even repeated three times. Their meaning is strengthened by two details - "the disc, accustomed to everything, senselessly curves" (circle, ball of the moon) and the human conglomerate - "tested wits." These are people repeating gestures and jokes that are obviously far from novelty. And they repeat them "among the ditches"

By repeating the union “and”, a feeling of hopelessness and a vicious circle is achieved: “And the spring and pernicious spirit rules the drunken shouts”, “And a child’s cry is heard”, “And a woman’s squeal is heard”. The same effect is achieved with the anaphora (a stylistic figure of repeating the same elements at the beginning of each row) in the third, fifth, and seventh stanzas of the poem ("And every evening"). The world drawn by the author is disgusting and terrible, and the hero finds his consolation in wine (“And with moisture, tart and mysterious, how humble and deafened I am”).

It can be easily seen that with all the abundance of verbs of movement, presence - “walk”, “oarlocks creak”, “stick out”, “the bakery pretzel is golden” - there is just no movement or active (not sleepy) presence of people. However, all verbs are used by the author in the present tense.

But then she appears - a beautiful stranger. She is shrouded in mystery, semi-real, semi-mysterious. And the hero, who has lost faith in life, regains hope. “Ancient beliefs” are revealed to him, “deep secrets” are entrusted, “someone’s sun” is handed over. There is no longer any place for despair and sadness in his mind; behind the dark veil of a mysterious woman, he sees "the enchanted coast and the enchanted distance." Thus, in a contrasting comparison of the first and second parts of the poem, A. Blok managed to show the conflict between the desired and the given, the ideal and reality.

There are many opposite images in the poem, that is, there is an antithesis (a stylistic figure that serves to enhance the expressiveness of speech by sharply contrasting concepts, thoughts, images): “Hot air is wild and deaf” - “Breathing with spirits and mists”; "female screech" - "girlish camp"; the “meaningless disk” of the moon is the “sun”; "boredom of country cottages" - "enchanted distance"; "ditches" - "bends" of the soul; "meaningless disk" - "truth".

There is an oxymoron in the poem (a stylistic figure consisting in the combination of two concepts that contradict each other, logically excluding one another, as a result of which a new semantic quality arises). It combines epithets opposite in meaning - spring and pernicious. Vulgar routine is depicted ironically:

And every evening, behind the barriers,
Breaking pots,
Among the ditches they walk with the ladies
Proven wits.
Oarlocks creak above the lake,
And a woman screams...

Vulgarity infects everything around with its pernicious spirit. Even the moon, the eternal symbol of love, the companion of mystery, the romantic image becomes flat, like the jokes of "tried wits":
And in the sky, accustomed to everything,
The disk is pointlessly twisted.

The second part of the poem is a transition to another picture, opposed to the vulgarity of the first. The motive of these two stanzas is the siren despair, the loneliness of the lyrical hero:
And every evening the only friend
Reflected in my glass
And moisture tart and mysterious,
Like me, humble and stunned.

This friend is the only one - a reflection, the second "I" of the hero. And around only sleepy lackeys and "drunkards with rabbit eyes"

The vocabulary of the poem is varied. In the first place in terms of frequency are nouns, thanks to which the reader can clearly imagine a picture of what is happening, then come adjectives that characterize persons, phenomena, objects, and, finally, verbs, thanks to which sounds are heard. Often in the poem there is a preposition over, which is used mainly with word forms with a spatial meaning. There are many concrete nouns (pots, ditches, feathers, a lake and others) along with which material ones (wine) also appear. For example, in describing a beauty, the author uses specific nouns: “a hat with mourning feathers”, “a narrow hand in rings”, perfumes. Many nouns are combined with epithets that are in second place in terms of frequency: “hot air is wild and deaf”, “pernicious spirit”, alley dust, “tried wits”, conveying a certain atmosphere of the situation in which the heroine is located. At the same time, the Stranger is the messenger of other worlds, the “distant shore”. Behind her dark veil, the lyrical hero sees "the enchanted coast and the enchanted distance", that is, the poem contains nouns that are combined with romantic epithets. The image of the coast since the time of romantic lyrics denotes a harmonious, free, but unattainable world.

The vocabulary of the first stanza (“And every evening is the only friend ...”) is high, similar to the vocabulary of the second part of the poem.

The vocabulary of the second stanza (“And next to the autumn tables ...” is low (“lackeys”, “stick out”, “drunkards”, “shouting”), tends to the vocabulary of the first part. Thus, these two stanzas, as it were, hold together parts of the poem, penetrating into the fabric of the lyrical narrative.In the second part of the poem, archaism (obsolete for a certain era, an obsolete word) is found, eyes that give the poem and the image a certain sublimity. to drunkards, and the sublime word of the eyes (and even blue, bottomless) is given to the Stranger.

The main image appears in the second part. But, except for the title of the poem, it is not indicated directly anywhere. The third time the line begins with the words "And every evening ..." (anaphora is a stylistic figure that consists in repeating the same elements at the beginning of the poem). Constant vulgarity, depicted in the first part, but also a beautiful vision, a dream, an inaccessible ideal: “Is this just a dream for me?” The heroine is devoid of realistic features, she is all shrouded in silks, perfumes, fogs, mystery. This image is full of poetic charm, fenced off from the dirt of reality by the sublime perception of the lyrical hero:

And breathe ancient beliefs
Her elastic silks
And a hat with mourning feathers
And in the rings a narrow hand.

The mysterious stranger is alien to the surrounding reality, this is the embodiment of Poetry, Femininity. And she, too, "always without companions, alone." The loneliness of the heroes distinguishes them from the crowd, attracts them to each other:

And chained by a strange closeness
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance.

The coveted "enchanted shore" is nearby, but it is worth stretching out your hand - and it floats away. The lyrical hero feels his dedication to the "deaf mysteries", his mind is filled with a magical image:
And ostrich feathers bowed
In my brain they sway
And blue eyes, bottomless
Blooming on the far shore.

The poetic result is in the last stanza: the world, born of the poet's fantasy, is devoid of specific outlines, fragile and unsteady. But this is his “treasure”, the only salvation and hope that helps him live. The last stanza completes the revolution in the soul of the lyrical hero, speaks of his chosenness, of the imperishability of the beautiful ideal. And it is impossible to read lines without sadness, at the same time full of hope and faith, despair and longing:

There is a treasure in my soul
And the key is entrusted only to me!
You're right, drunk monster!
I know the truth in wine.

The guessed secret, which opened up the possibility of another, wonderful life "on the far shore", far from the vulgarity of reality, is accepted as a "treasure" found. Wine is also a symbol of revelation, the key to the secrets of beauty. Beauty, truth and poetry find themselves in an inseparable unity.

In the poem "The Stranger", the astral maiden brought the mystical world closer to reality, with her the unreal world of "ancient beliefs" penetrates into the restaurant world.

Now not only she is the chosen one, but also the lyrical hero is the chosen one. Both of them are alone. Not only she, but also he is entrusted with “deaf secrets”. Despite this, the romantic theme of the impossibility of connecting kindred souls sounded in the poem. However, in the poem, the tragic solution to this topic has acquired an additional tone - it is given self-irony: the hero suggests whether the Stranger is not the game of a "drunken monster". Irony allowed the lyrical hero to find a compromise between reality and illusion. But this compromise is still impossible between the Stranger and suburban life, the wonderful maiden leaves him. She and reality are two poles between which the lyrical hero resides.

In the poem, not only the artistic details of everyday life and "deaf secrets" constitute a contrast, not only the plot of the Stranger is based on opposition - her appearance and disappearance, but also the phonetic series of the poem is built on the principle of contrast. The harmony of vowels, consonant with the image of the Stranger, contrasts with the dissonant, harsh combinations of consonants, thanks to which the image of reality is created.

Syntactic analysis. The union and in the second part of the poem marks not only the two-part nature of the poem, but also the opposition of these parts, the contrasting composition. Throughout the poem, the most frequent are compound sentences connected by a connecting union and thanks to which a feeling of hopelessness is created. In stanzas 1,3,5,7, syntactic repetitions are noted (every evening). This indicates the similarity of the compositional-thematic functions of these lines. Also, thanks to lexical repetition, it seems that the author uses syntactic parallelism in his poem (the same syntactic construction of sentences). This text also uses simple sentences with homogeneous members, mostly predicates, which play a very important role: they represent the action in a multifaceted way, which means more accurately. For example: "look, I see." Inversion (reverse word order) is also used: “deaf mysteries are entrusted to me”, “a treasure lies in my soul” and many others that enhance the expressiveness of speech, highlight the most important words and increase intonation expressiveness due to the fact that words important in speech are transferred to the beginning of a sentence. The expressiveness of speech is also facilitated by the inversion of secondary members: “hot air”, “pernicious spirit”, “female screeching”, “girlish camp”, “ancient beliefs”, “deaf secrets”. The tone of the poem is calm. The block often uses commas and periods, indicating the completion of thought. And only at the end of the poem are exclamation marks used that express confidence, emotionality, make the ending dramatic, clearly reflecting the whole state of the "crossroads", impassability in which the poet lived at that time - in the conflict of feelings that the Stranger awakened in the soul of the hero, and his kind of impotence, when this hero reluctantly, sluggishly, but still agrees with the exclamation of the "drunken monster". On the one hand, - "Deaf secrets are entrusted to me", "I see the enchanted shore." On the other hand, the will to forget, some kind of woeful and tragic, forced concession to the evil world, concluded in agreement with those who are always “next to neighboring tables”:

You're right, drunk monster!
I know: the truth is in wine.

Phonetic analysis. The phonetic part of the analysis is the most formal, since the sound organization of the text does not have such an obvious and direct connection with its content as, for example, the lexico-semantic organization. Meanwhile, phonetic means perform very important functions, both in creating the integrity of a poetic work and in expressing its thematic development.
Phonetic means create the sound unity of the text. This is expressed as a percentage of consonants and vowels. In the poem, noisy consonants are the most frequent: explosive 34%, sonorous 26%, slotted 18%. Among the vowels, the following prevail: back vowels of the middle rise 16 (O), then come the middle vowels of the lower rise 15 (A), as well as the front vowels of the upper rise 15 (I), and the back vowels of the upper rise occur 7 times. (U). The appearance of the heroine is accompanied by a sound recording of rare beauty. In the poem, there are assonances (repetition of vowel sounds) and alliteration (repetition of consonant sounds), creating a feeling of airiness of the image: “And every evening, at the appointed hour ...”; "A girl's camp, seized by silks, Moves in the misty (A) about (A) kne". Assonances on y add sophistication to the image of the Stranger: And I wind (U)t with ancient beliefs Her elastic silks, And a hat with mourning feathers, And a narrow hand in rings.

The phonetics of the poem expresses the plasticity of the image of the Stranger: the hissing ones convey the penetration of the heroine dressed in silk into the hustle and bustle of everyday life.

The poet very sensitively heard music in everything that surrounded him, and tried to fill each of his creations with it. So the whole "Stranger" is built on a musical antithesis. In order to be convinced of this, it is necessary to compare the beginnings of the first and second parts of the poem:
In the evenings, above the restaurants
The hot air is wild and deaf.

The poet deliberately piles up difficult-to-pronounce consonants n, v, h, r, d, s.t and others and uses stressed vowels a, o, u, i.e. All this gives the first part a discordant sound, which is opposed by the harmony of the second:

And every evening at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.

Here Blok minimizes unpronounceable consonants, referring to sonorous sonorants l, m, n, r. And the repetition of hissing and whistling h, w, s resembles the rustling of silk. At the same time, the poet turns to repetitions of the vowels a, and, o, y, and this achieves a melodious sound of the verse. Thus, we can conclude that the poem is peculiar in content and poetics.

The researcher of A. Blok’s work, A.V. Ternovsky, emphasized the extreme difference between the sound and lexical matter of the first part of the poem (before the appearance of the Stranger) and the second, when it slowly passes “between the drunks”: “In the first part, we have a deliberate pile of difficult-to-pronounce consonants (For example, “In the evenings above the restaurants, the hot air is wild and deaf-pvchrm ndstrnm grch vzdh dk glh). The vocabulary of this part is emphatically “grounded”, the assessments are negative (“the air is wild and deaf”, “drunken shouts”, “lane dust”, “breaking pots”, “oarlocks creak”, “female screeching” and even the moon disc is “meaningless crooked". The difference between the second part and the first is obvious already at the level of its sound instrumentation. The poet minimizes hissing, giving preference to sonorous l, p, m.s. At the same time, he uses repetitions of vowels. The pictorial power of the poet is so great that it is no longer important whether the "Stranger hero in a drunken oblivion" dreamed.

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Literature.

1. Egorova N.V. "Lesson developments in Russian literature", M, "Wako", 2005
2. Mints N.G. Blok and Russian Symbolism, 1980.
3. Ternovsky A.V. "Creativity of A.A. Blok", M, 1989.

Symbolist poetry was a philosophy of intuitive creativity, the expression of vague feelings and subtle ideas through incoherent, unsystematic symbols. The so-called secret writing of the unspoken. The second most important symbolist category was the obligatory musicality of the verse.

The reader must independently decipher the poetry of Alexander Blok's allusions and take part in creativity, complementing the picture of fantasy or conditional reality of the poetic landscape, attitude or inexpressible experience of the creator.

One of Blok's hobbies was the philosophy of Vladimir Solovyov, from the ideal of the unity of which a symbol of the eternal feminine, or femininity, came into his work. The surrounding world of the beginning of the century, with its tragic contradictions and social catastrophes, seemed terrible to the poet, so even the central poetic cycle of this period was called.

Block. "The Stranger" (analysis)

As a result of leaving the "terrible" existence, the lyrical hero of the poem forms his own, beautiful and poetic world. If we take the poem that Blok wrote during this period - "The Stranger" - the analysis will show that conditionally it can be divided into two parts. Moreover, in the first, consisting of six quatrains, for some reason there will be everything that he did not like: wild and deaf hot air; dust and boredom, children's crying; noisy couples walking between ditches; creak, screech; lackeys and drunkards with red eyes.

A. Blok "Stranger" (analysis of the 1st part)

The poem was written in 1906. This period of life for Blok was difficult - starting with family troubles, ending with a break with symbolist poets. The time was also turbulent in terms of social upheavals. The poet did not leave the feeling of trouble, the contradictory tragedy of life, which gave rise to "deep darkness".

It was born as a result of aimless wanderings around the St. Petersburg environs and trips to Ozerki to the country. Sublimely solemn quatrains, where the heroine is beautiful in her mystery, are interspersed with quatrains-statements of a hero disappointed with life, who has unconscious anxiety in his soul. He believes that the world is dying, rolling into darkness, into the abyss, it needs to be saved. Iniquity and unbelief reigns in it.

The lyrical hero of the poem, in search of a way out, goes into revelry and drunkenness. Now he is his own friend and companion. Wine "humbles" and "stuns" him. The real world, where ditches, dust, wits and their squealing ladies, the senselessly twisting disk of the moon fades into the background when She enters the room at the “appointed” hour.

Block. "The Stranger" (analysis of the 2nd part)

The hero doubts the reality of what is happening. In the presence of symbols of obscurity: sleep and fog ("dream", the window is foggy). Her image of the hero is not able to cover the whole, entirely, details arise in the mind (the girl’s body covered with silks, a hat with a veil and feathers, a hand in rings, the second part also consists of six quatrains. The last is a result, a conclusion.

The mystery of this poem is that it is impossible to say for sure whether the Stranger is real or imaginary. Block analysis of his creation, decomposition into components of his wonderful magical world, probably would not approve. Yes, it won't do anything! Each reader must decide everything for himself.

Make a more detailed analysis? "The Stranger", Blok, as well as his other poems, hardly need it. It is better to read, to feel, to follow the poet's imagination, and to derive untold pleasure from the beauty and musicality of his fantasies!

A poem by A.A. Blok "Neznokomka" was written in 1906. In this poem, the poet unites two worlds. In one, a "pernicious spirit" prevails, and "drunks with rabbit eyes" sit at the tables. This first part of the poem displays the hard-hitting side of the suburbs of St. Petersburg. Descriptions of this part can be compared with A. Blok's poem "Factory". That is, the first part of the poem "Neznokomka" refers to the theme of the "terrible world" that is important for the poet's work.

The author of the poem draws attention to a society that is losing its moral foundations and lives only by desires. Wits appear who "among the ditches walk with the ladies." These are not mysterious strangers, but girls of easy virtue who, for the sake of money, will laugh at anyone's jokes. The poet fills his description with sounds: somewhere “a woman’s squealing is heard”, and behind the barrier one can hear crying, “drunkards” are shouting in the restaurant. The lyrical character of the poem says that he is deafened, that is, he first indicates the number of sounds, and then says that they deafened him.

The second part of the poem is a contrast to the "terrible world." An image appears that is not connected with all the horror of the restaurant. This part is connected with another theme in the poet's lyrics "poems about a beautiful lady". The stranger breathes spirits and mists, her world is completely different. She came from the "enchanted distance". The poet is not even sure whether the beautiful woman is real or just a figment of his imagination. In the penultimate quatrain, it becomes more and more obvious that the girl at the table ceases to be a distinct image: “And bottomless blue eyes // Bloom on the far shore.”

As a result, the author is again transported to the world of reality, where his intoxicated mind begins to think in a different way. The author admits that "the truth is in the wine", essentially referring to the fact that he is the same drunkard as the other visitors to the establishment. And whether the mysterious lady is a reality or an illusion will never be known not to the lyrical character, not to the reader.

Analysis of the poem Stranger briefly

The great writer of the twentieth century, Alexander Blok, wrote the poem "The Stranger" in 1906. It is this work of the poet that is considered the most romantic, and therefore the best. The work "The Stranger" is very romantic, and this is not without reason, because Alexander Blok once experienced a family drama at a certain time. After all, his wife, whom he loved and respected very much, went to another person - to Alexander Bely, who was also a poet.

Alexander Blok could not survive this, because he was abandoned and betrayed by a person who was once so dear and beloved. Naturally, nothing could be changed, but the poet was very worried, because, moreover, his male pride and pride were greatly hurt. That is why Blok began to experience the moment when he began to go to various pubs and bars, where one could get very drunk in order to forget from grief. It was in that one institution, where everyone drank, walked and debauched, Alexander met a creature that caused a storm of emotions in his heart, the main of which was admiration. It was this feeling that made him write this poem, which was soon called “The Stranger”. And not without reason, because the bloc never found out who was hiding the sweat of this lonely and fragile woman. Yes, it was a woman who, however, never drank. She just regularly went to the establishment and sat near the window, although it was clear that she herself was experiencing some kind of grief, and yet she never drank alcohol while other men and women got drunk.

In the work, the poet first describes the whole atmosphere of the pub, when suddenly a tender and fragile woman appears, whose face is hidden under the veil of a hat. This woman is unknown to anyone, but only it is clear that she constantly, without passes, goes to this particular institution. This impression makes her even more mysterious. She is a strong woman who, in grief, yet does not drink, while others just get drunk, especially men. In this situation, Blok singles out her alone, since she is like a ray of light in all this dirt.

Analysis of the poem Stranger Blok

The poem "The Stranger" was written by the great Russian poet Alexander Blok in 1906. It was one of his best creative works. The poem was due to the personal tragedy of the poet, and to some extent it became crucial in his life. It intertwines - romance, love and nostalgia.

The prehistory of the poem "The Stranger" had a real sensation. Alexander Blok, at the time of writing this poem, experienced sovereign mental suffering in connection with the betrayal of his own wife with another Russian poet, Alexander Bely.

Alexander Alexandrovich Blok could not come to terms with this fact, and soon he became addicted to alcohol. He could spend hours and even days on end in various wretched drinking establishments. They seemed to him very meager and unremarkable, but all the same, for some reason he was drawn to such places. And it was in such a place that he liked one special lady who came every evening in the same outfit, sat at the same table, and was given a view from the window of this institution, while she herself was filled with sadness.

She stood out in all directions and, according to Alexander Blok, did not belong to the castes of the poor and the poor. It was the image of this lady that prompted the great Russian poet to create the poem "The Stranger". Perhaps Alexander Blok saw in this stranger some important feeling for himself. In any case, after writing the poem "The Stranger", his life was filled with a sense of spirituality, and he never again began to treat his problems so sensitively.

In the poem "The Stranger", the author describes the spirit of the environment of the dacha drinking village. He describes all the filth and stench, as well as the melancholy that makes this place feel. The atmosphere of debauchery reigns in this restaurant, and the people in it are awkward. The lyrical hero of this poem completely loses his mind over himself. He seeks salvation at the bottom of the glass and at the same time longs for loneliness.

He is uncomfortable in the crowd of drunken visitors and he moves away from them. He no longer believes in anything, longing in his soul and outside the window. The world seems somehow hopeless. But one day our hero sees her, the very stranger, because of which his whole idea of ​​the world changes. Mysterious and unique, she is like a ray of hope in this sinful world.

She makes the hero of the poem look at life from above again. And now we are no longer some drunkard who has lost the meaning of life, but a man who has gained hope and faith in himself. Real romance unfolds in his soul, a rush of spiritual feelings flares up. Now nothing can convince him. He will continue to live in hope for the best.

It turns out that in order to radically rethink your life, sometimes you need to go through a lot, and sometimes the most difficult. This indicates how limitless a person is in his abilities, because any, even the smallest detail, can play in a person a feeling of sincerity and warmth. The hero of this poem rethought his life and entered a new stage of its formation.

Complete, comprehensive analysis. Grade 11

Analysis of the poem Stranger according to plan

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Analysis of the lyrical work of A. Blok "The Stranger"

poet zabolotsky block stranger lyrical

In the evenings above the restaurants

Hot air is wild and deaf

And rules drunken shouts

Spring and pernicious spirit.

Far above the lane dust,

Over the boredom of country cottages,

Slightly gilded bakery pretzel,

And the cry of a child is heard.

And every evening, behind the barriers,

Breaking pots,

Among the ditches they walk with the ladies

Proven wits.

Oarlocks creak above the lake

And a woman screams

And in the sky, accustomed to everything

The disk is pointlessly twisted.

And every evening the only friend

Reflected in my glass

And moisture tart and mysterious

Like me, humble and deaf.

And next to the neighboring tables

Sleepy lackeys stick out,

And drunkards with rabbit eyes

"In vino veritas!" scream.

And every evening, at the appointed hour

(Is this just a dream?)

Maiden's camp, seized by silks,

In the foggy window moves.

And slowly, passing among the drunk,

Always without companions, alone

Breathing in spirits and mists,

She sits by the window.

And breathe ancient beliefs

Her elastic silks

And a hat with mourning feathers

And in the rings a narrow hand.

And chained by a strange closeness,

I look behind the dark veil

And I see the enchanted shore

And the enchanted distance.

Deaf secrets are entrusted to me,

Someone's sun has been handed to me,

And all the souls of my bend

The tart wine pierced.

And ostrich feathers bowed

In my brain they sway

And bottomless blue eyes

Blooming on the far shore.

There is a treasure in my soul

And the key is entrusted only to me!

You're right, drunk monster!

I know: the truth is in wine.

"The Stranger" was written on April 24, 1906 in Ozerki. This poem is not only one of the poet's best, but also one of the most perfect creations of all Russian lyrics.

"The Stranger" by Alexander Blok belongs to the period of writing "The Terrible World", when the main thing in the poet's perception of the world were feelings of longing, despair and disbelief.

Having created in his youthful time "Poems about the Beautiful Lady", delightful in their ideological integrity, where everything is covered with an atmosphere of mystical mystery and a miracle taking place, Blok captivated readers with the depth, sincerity of feeling, which his lyrical hero told about. The world of the Beautiful Lady will be for the poet the highest standard to which, in his opinion, a person should strive. But in his desire to feel the fullness of life, the lyrical hero of A. Blok will descend from the heights of lonely happiness and beauty. He will find himself in the real, earthly world, which he will call "a terrible world." The lyrical hero will live in this world, subordinating his fate to the laws of his life.

The gloomy motives of many poems of this period expressed Blok's protest against the cruelty of the terrible world, which turns all the highest and most valuable into bargaining items. It is not beauty that reigns here, but cruelty, lies and suffering, and there is no way out of this impasse. The lyrical hero surrenders to the poison of hops and violent revelry:

And every evening the only friend

Reflected in my glass

And moisture tart and mysterious,

Like me, humble and deaf.

During this period, the poet breaks with his symbolist friends. His first love left him - Lyubov Dmitrievna, the granddaughter of the famous chemist Mendeleev, went to his close friend, the poet Andrei Bely. Blok seemed to be drowning despair in wine. But, despite this, the main theme of the poems of the period of the “Scary World” is still love. But the one about whom the poet writes his magnificent poems is no longer the former Beautiful Lady, but a fatal passion, a temptress, a destroyer. She torments and burns the poet, but he cannot escape from her power.

Even about the vulgarity and rudeness of the terrible world, Blok writes soulfully and beautifully. Although he no longer believes in love, does not believe in anything, but the image of a stranger in the poems of this period still remains beautiful. The poet hated cynicism and vulgarity, they are not in his poems.

“The Stranger” is one of the most characteristic and beautiful poems of this period. Blok describes the real world in it - a dirty street with sewers, prostitutes, a realm of deceit and vulgarity, where "tested wits" with ladies walk among the pouring slops.

In the evenings above the restaurants

Hot air is wild and deaf

And rules drunken shouts

Spring and pernicious spirit.

The lyrical hero is lonely surrounded by drunkards, he rejects this world that terrifies his soul, similar to a booth, in which there is no place for anything beautiful and holy. The world poisons him, but a stranger appears amidst this drunken frenzy, and her image awakens bright feelings, it seems that she believes in beauty. Her image is surprisingly romantic and alluring, and it is clear that faith in goodness is still alive in the poet.

The contrast between the Stranger and the situation at the restaurant counter is so striking that the poet doubts the reality of what is happening: “Is this just a dream for me?”

It seems that the signs of the Stranger are real, but we do not see her face, the figure of a woman is beautiful, but mysterious and enigmatic. Her silhouette is only outlined, symbolically conditional. With light strokes (with the help of epithets), the poet draws a woman-vision: her “girlish figure”, “elastic silks”, “mourning feathers” of a hat, “dark veil”, “narrow hand in rings”.

It is impossible not to pay attention to the wonderful assonance: “Breaking with spirits and fogs, she sits down at the window” (s-a-u-a-i-i-u-a-a-i ...), “and her elastic silk "(i-u-u-u-i-i-u-u-u-i-i-i-u-u-u-u-i-i-i-i-u-u-u-i-i-i-i-u-u-u-i-i-i-i-u-u-u-i-i-i-i-u-u-u-i-i-i-i-u-u-u-i-i-i-i-i-u-u-u-i-i-i-i-i-u-u-u-i-i-i-i-i-u-u-u-i-i-i-i-i-u-u-u-i-i-i-i-i-u-u-i-i-i-i-i-u-u-u-i-i...), he conveys the element of femininity that dawned on this country restaurant, makes the lines musical, light, weightless. The poet minimizes unpronounceable consonants, turning to sonorous sonorants, which he sets off with hissing and whistling sounds, reminiscent of the rustling of silk.

Vulgarity, dirt cannot tarnish the image of a stranger, reflecting Blok's dreams of pure, selfless love. And although the poem ends with the words “In vino veritas” (“Truth is in wine”), the image of a beautiful stranger inspires faith in a bright start in life.

The poem has two parts, and the main literary device is antithesis, opposition. In the first part - the dirt and vulgarity of the surrounding world, and in the second - a beautiful stranger; this composition allows you to convey the main idea of ​​Blok. The image of a stranger transforms the poet, his poems and thoughts change. The everyday vocabulary of the first part is replaced by spiritualized lines that amaze with their musicality. Artistic forms are subordinated to the content of the poem, allowing them to be more deeply imbued with it. Alliterations in the description of a dirty street, heaps of rough consonant sounds are further replaced by assonances and alliterations of sonorous sounds - [p], [l], [n]. Thanks to this, the most beautiful melody of the sounding verse is created.

This poem does not leave anyone indifferent, it cannot be forgotten once read, and a beautiful image excites us. These verses touch to the depths of the soul with their melodiousness; they are like pure, magnificent music flowing from the very heart.