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A.A. Block. The main motives of the lyrics

Far and near at the same time he was our era ... He was looking for a merger with the cosmos, and not with humanity. He lived with a premonition of mystery and wonder ... P.S. Kogan

For creativityA.A. Blok (1880-1921) were seriously influenced by Russian romantic poetry, Russian folklore, and the philosophy of Vladimir Solovyov. A significant mark in his poetry was left by strong feeling to L.D. Mendeleeva, who became his wife in 1903. Blok's lyrics act as a single work deployed in time:“... I am firmly convinced that this is due and that all the poems together are a “trilogy of incarnation” (from a moment of too bright light - through the necessary swampy forest - to despair, curses, “retribution” and ... to the birth of a “public ", an artist who courageously looks into the face of the world ...)" , - this is how Blok characterized the stages of his creative path and the content of the books that made up the trilogy.

The wind brought from afar
Songs of spring hint
Somewhere light and deep
The sky opened up.

In this bottomless azure
In the twilight of near spring
Weeping winter storms
There were starry dreams.

Timidly, darkly and deeply
My strings were crying.
The wind brought from afar
Sound songs are yours.

I anticipate you...

And the heavy dream of worldly consciousness

You will shake off, yearning and loving.

Vl. Solovyov

I anticipate you. Years pass by

All in the guise of one I foresee You.

The whole horizon is on fire - and unbearably clear,

And silently I wait, longing and loving.

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

But I'm afraid: you will change your appearance,

And daringly arouse suspicion,

Replacing the usual features at the end.

Oh, how I fall - both sadly and lowly,

Not having overcome deadly dreams!

How clear is the horizon! And radiance is near.

But I'm afraid: you will change your appearance.

I enter dark temples,

I perform a poor ritual.

There I am waiting for the Beautiful Lady

In the flickering of red lamps.

In the shadow of a tall column

I tremble at the creak of doors.

And he looks into my face, illumined,

Only an image, only a dream about Her.

Oh I'm used to these robes

Majestic Eternal Wife!

Run high on the ledges

Smiles, fairy tales and dreams.

Oh, Holy One, how gentle are the candles,

How pleasing are Your features!

I hear neither sighs nor speeches,

But I believe: Honey - You.

I'm scared to meet you.It's scarier not to meet you.I started to wonderI caught a seal on everything.Shadows walk down the streetI don't know if they live or sleep.Clinging to the church stepsI'm afraid to look back.They put their hands on my shoulders,But I don't remember the names.Sounds are heard in the earsA recent big funeral.And the gloomy sky is low -Covered the temple itself.I know you are here. You are close.You are not here. Are you there.

However, social motives were also reflected in the first volume of poems. In the cycle "Crossroads" (1903), the finalfirst volume , the theme of the Beautiful Lady is connected with social motives - the poet seems to turn to face other people and notice their grief, the imperfection of the world in which they live (“Factory”, “From the Newspapers”, “A sick man trudged along the shore”, etc.)

In the neighboring house, the windows are zholta.
In the evenings - in the evenings
Thoughtful bolts creak,
People come to the gate.

And the gates are closed,
And on the wall - and on the wall
Motionless someone, black someone
He counts people in silence.

I hear everything from my top:
He calls with a brass voice
To bend tormented backs
The people gathered below.

They will enter and scatter
Coolies will be piled on their backs.
And in the yellow windows they will laugh,
What these beggars spent.

"From the newspapers" Alexander Blok

I got up in radiance. Baptized children.
And the children saw a joyful dream.
She laid it down, bowing her head to the floor,
Last earthly bow.

Kolya woke up. He sighed happily
Blue dream is still happy in reality.
The glass rumble rolled and froze:
The jingling door slammed downstairs.

Hours passed. a man came
With a tin plaque on a warm hat.
A man knocked and waited at the door.
Nobody opened. Played hide and seek.

There were cheerful frosty Christmas time.

They hid my mother's red scarf.
She left in a scarf in the morning.
Today I left a handkerchief at home:
The children hid it in the corners.

Twilight crept up. Baby shadows
They jumped on the wall in the light of lanterns.
Someone was walking up the stairs, counting the steps.
Counted. And cried. And knocked at the door.

The children listened. They opened the doors.
The fat neighbor brought them cabbage soup.
She said, "Eat." Got on my knees
And, bowing like a mother, she baptized the children.

Mommy doesn't hurt, pink kids.
Mommy lay down on the rails herself.
Good man, fat neighbor,
Thank you, thank you. Mom couldn't...

Mom is good. Mom died.

A sick man trudged along the shore.

Beside him crawled a string of carts.

A booth was brought to the smoking city,

Beautiful gypsies and drunken gypsies.

And poured jokes, squealed from the carts.

And a man was dragging along with a bag.

He moaned and asked for a ride to the village.

The gypsy girl gave her swarthy hand.

And he ran up, hobbling as best he could,

And he threw a heavy bag into the cart.

And he overstrained himself, and foam at the lips.

The gypsy woman took his corpse in a cart.

I sat with me in a cart in a row,

And the dead man swayed and fell face down.

And with the song of freedom carried to the village.

And she gave her dead husband to his wife.

Also in this cycle, a Hamlet motif appears (“Song of Ophelia”).

Parting with a sweet girl,

Friend, you swore to love me! ..

Leaving for a hateful land,

Keep this oath!

There, behind happy Denmark,

Your shores are in the mist...

Val angry, talkative

Washes the tears on the rock...

Dear warrior will not return

All dressed in silver...

It will shake heavily in the coffin

Bow and black feather...

Looking closely at the world around him, the lyrical hero notices his troubles, comes to the conclusion that life in this world is ruled by the elements. This new perspective is reflected insecond volume , in the cycles: "Unexpected Joy" (1907), "Free Thoughts" (1907), "Snow Mask" (1907), "Earth in the Snow" (1908), "Night Hours" (1911). In parallel with these cycles, A. Blok creates a number of lyrical dramas: "Puppet Show", "Stranger" (1906), "Song of Fate" (1908), "Rose and Cross" (1913). Creationsecond volume coincided with revolutionary events in the country. The poet's thoughts about the fate of the Motherland resulted inpoems about Russia , about his attitude to her past, present and future (“Autumn Will”, “Rus”, “Russia”, etc.).

"Autumn Will" Alexander Blok

I go out on the road, open to the eyes,
The wind bends the elastic bushes,
The broken stone lay down on the slopes,
Yellow clay meager layers.

Autumn roamed in the wet valleys,
She laid bare the cemeteries of the earth,
But thick mountain ash in passing villages
The red color will dawn from afar.

Here it is, my fun, dancing
And ringing, ringing, missing in the bushes!
And far, far away waving invitingly
Your patterned, your colored sleeve.

Who lured me to the familiar path,
Smiled at me through the prison window?
Or - drawn by a stone way
A beggar singing psalms?

No, I'm going on a path not called by anyone,
And let the earth be easy for me!
I will listen to the voice of Rus' drunk,
Rest under the roof of a tavern.

Will I sing about my luck
How I ruined my youth in hops ...
I will cry over the sadness of your fields,
I will love your space forever ...

There are many of us - free, young, stately -
Dies without love...
Shelter you in the vast expanses!
How to live and cry without you!

RUS

You are extraordinary even in a dream.

I won't touch your clothes.

And in secret - you will rest, Rus'.

Rus' is surrounded by rivers

And surrounded by wilds,

With swamps and cranes,

And with the cloudy gaze of a sorcerer,

Where are the diverse peoples

From edge to edge, from valley to valley

Conduct night dances

Under the glow of burning villages.

Where is the sorcerers with a fortune tellerI mi

Enchant cereals in the fields

And witches amuse themselves with devils

In road snow pillars.

Where the blizzard sweeps violently

Up to the roof - fragile housing,

And girl on an evil friend

Under the snow it sharpens more sharply.

Where are all the ways and all the crossroads

Exhausted with a living stick,

And a whirlwind whistling in the bare bars,

Sings the legends of old...

So - I learned in my slumber

Country native poverty,

And in the patches of her rags

Souls hide nakedness.

Path sad, night

I trampled to the graveyard,

And there, in the cemetery, spending the night,

I sang songs for a long time.

And he did not understand, did not measure,

To whom did I dedicate the songs,

What god did you passionately believe in?

What girl did you love?

I rocked a living soul,

Rus', you are in your expanses,

And behold - she did not stain

original purity.

I doze - and behind the slumber is a mystery,

And Rus' rests in secret.

She is extraordinary in dreams,

I won't touch her clothes.

Russia
Again, as in the golden years,
Three worn out harnesses fray,
And painted knitting needles
In loose ruts...
Russia, impoverished Russia,
I have your gray huts,
Your songs are windy for me, -
Like the first tears of love!
I can't pity you
And I carefully carry my cross ...
What kind of sorcerer do you want
Give me the rogue beauty!
Let him lure and deceive, -
You won't disappear, you won't die
And only care will cloud
Your beautiful features...
Well? One more concern -
With one tear the river is noisier
And you are still the same - forest, yes field,
Yes, patterned to the eyebrows ...
And the impossible is possible
The road is long and easy
When it shines in the distance of the road
Instant glance from under the scarf,
When ringing melancholy guarded
The deaf song of the coachman! ..

The lyrical hero of Blok is connected with the Motherland by inextricable ties. The poet creates the initial image of Russia in line with the folklore tradition: Rus' is a mysterious, semi-fairy land, surrounded by forests and surrounded by wilds,"with swamps and cranes and with the cloudy gaze of a sorcerer" ("Rus", 1906). However, this imagefluid : already in the poem "Russia" (1908), the image of the ancient land is imperceptibly transformed into a female image:"to whatever sorcerer you want, give the robbery beauty" . The lyrical hero is convinced that Rus' is not afraid of anything, that she is able to withstand any trials ("You will not be lost, you will not perish" ). The lyrical hero confesses his love for the Motherland, with which"and the impossible is possible" . Special place in Blok's lyrics takescycle "On the field of Kulikovo" (1908). The poet believed that history repeats itself, so it is necessary to comprehend its lessons:“The Battle of Kulikovo belongs to the symbolic events... Such events are destined to return. Their solution is yet to come." The lyrical hero of this cycle is ancient Russian warrior, who is preparing for a mortal battle, and a philosopher, reflecting on the fate of Russia: “... Painfully / The long way is clear to us! / Our path - with an arrow of the Tatar ancient will / Pierced our chest" . Despite"blood and dust" despite the threat"mist - night and foreign" , foreshadowing trouble"sunset in blood" , the lyrical hero does not think of his life separately from Russia. To emphasize the inseparability of fate - his own and the Motherland - Blok resorts to a bold metaphor, unusual for the traditional perception of his native land - the poet calls Russia "wife":“Oh, my Rus'! My wife!" . The cycle ends on an alarming note: the“beginning / of lofty and rebellious days /… No wonder the clouds have gathered” . The epigraph prefaced by the fifth part of the cycle is also not accidental:“And the mist of irresistible troubles / The coming day was clouded (V. Solovyov)” . Blok's forebodings turned out to be prophetic: revolutions, repressions and wars regularly shook our country throughout the entire 20th century. Really,And eternal battle! Rest only in our dreams…" . However, the great poet believed in Russia's ability to overcome all trials:"Let the night. Let's get home ... " . Acutely perceiving social upheavals, Blok experiences a premonition of an impending catastrophe. His tragic attitudeespecially evident inCycle "Scary World" (1910-1916), openingthird volume . In the "terrible world" there is no love, no healthy human feelings, no future ("Night, street, lamp, pharmacy ..." (1912)).

"Scary World" Theme sounds incycles "Retribution", "Yamba" . Retribution in the interpretation of Blok is the judgment of one's own conscience: the retribution for those who have betrayed their destiny, succumbing to the destructive influence of the "terrible world", is fatigue from life, inner emptiness, spiritual death. In the Yamba cycle, the idea that retribution threatens the entire “terrible world” sounds. And yet the lyrical hero does not lose faith in the victory of light over darkness, he is directed to the future:Oh, I want to live insanely: All that exists - to perpetuate, Impersonal - to humanize, Unfulfilled - to embody! The theme of Russia also continues here. The fate of the Motherland for the lyrical hero is inseparable from his own fate ("My Rus', my life, can we toil together? .." , 1910). A. Blok was deeply convinced that they did not choose their homeland, he was able to love Russia, terrible, ugly in its lack of spirituality - recall the poem “To sin shamelessly, soundly” (1914):To sin shamelessly, soundly, To lose count of the nights and days, And, with a head of hops difficult, Walk sideways to God's temple. Bow down three times, Seven - cross yourself, Secretly to the spat on the floor Hot touch your forehead. Putting a copper penny on a plate, Three, and even seven times in a row Kiss the hundred-year-old, poor And kissed salary. And when you return home, measure Someone for the same penny, And a hungry dog ​​from the door, Hiccup, push with your foot. And under the lamp near the icon Drink tea, snapping off the bill, Then spit on the coupons, Having opened the chest of drawers, And on the downy feather beds In a heavy sleep to fall ... Yes, and such, my Russia, You are dearer to me than all the edges. August 26, 1914

Lyrics by A. Blok extraordinarilymusical . According to the poet, music is the inner essence of the world.“The soul of a real person is the most complex and most melodious musical instrument...” , - Blok believed, - therefore, all human actions - from extraordinary ups to falling into the abyss of the "terrible world" - are manifestations of a person's loyalty or infidelity to the "spirit of music". Like all symbolists, A. Blok attached particular importance to the rhythmic-melodic pattern of the work. Ver libre and iambic, white verse and anapaest are widely represented in his poetic arsenal of versification tools. Block also attached great importance tobloom . For his work, color is a means of symbolic representation of the world. Primary colors in Blok's poetry- white and black, due to aestheticssymbolism , considering the world as a contrasting combination of the ideal and the real, the earthly and the heavenly. White color primarily symbolizes holiness, purity, detachment. Most often, the white color is found in the first volume - images-symbols of purity, purity and unattainability are associated with it (for example: white birds, white dress, white lilies). Gradually, the white color acquires other meanings:

1) passion, liberation:Silvery, snowy hops I'll get drunk and get drunk? With a heart devoted to blizzards, I'll fly away to the heights of the sky. Oh, lost count of weeks In a whirlwind of white beauty!??1906-1907 2) death, death:<…>But she does not hear - Hears - does not look, Quiet - does not breathe, White - is silent ... She does not ask for food ... The wind whistles through the crack. How I love to listen to the blizzard flute! Wind, snowy north, You are my old friend! Give a fan to your young wife! Give her a white dress like you! Put Snow flowers on her bed! You gave me grief, Clouds, and snow... Give her dawns, Beads, pearls! To be elegant And, like snow, white! So that I look greedily From that corner!.. Sweeter sing you, blizzard, Into the snow pipe, So that my friend sleeps In an ice coffin!<…>December 1906

Frequency of use white color decreases as Blok's poetry develops from symbolism to the realism of the "terrible world" and revolution, and the use of black increases. The black color in Blok's lyrics symbolizes obsession, fury, tragedy, despair, restlessness:

1) In the soul, spring wakes her spring, But the mind is squeezed by the black devil ... 2) A slave, mad and submissive Until the time I hide and wait Under this look, too black. In my flaming delirium... 3) Only the wild black wind Shaking my house...

Black color is also a sign of philosophical understanding of life - a sign of monastic service, and a symbol of the fullness of life:

1) I am an exemplary brother to sad brothers, And I carry a black cassock, When in the morning with a faithful gait I sweep away dew from pale grasses. 2) And black, earthly blood Promises us, inflating the veins, Destroying the frontiers, Unheard-of changes, Unseen revolts...

There are other color symbols in Blok's lyrics, due to the traditions of medieval aesthetics, which the poet followed in his work: Yellow is a sign of vulgarity, social injustice, hostile force; Blue is a sign of betrayal, the fragility of a dream, poetic inspiration. The poetic perfection of the lyrics of A. Blok allowed him to take an honorable place among the Russian classics who created great Russian literature.

Preview:

Abstract

open lesson in literature

on the topic of:

“A.A. Block. Lyric Motifs.

Catherine

Alexandrovna,

Russian teacher

Language and Literature

MOU Gymnasium No. 56 "

P. Kraskovo

Lesson topic

A.A. Blok. Lyric motifs.

Lesson Objectives:

Educational

1. Reveal the main motives of Blok's lyrics.
2. Through creativity, get acquainted with the biography of the author.

Educational

1. Contribute

Formation of students' skills of search and research activities,

Expanding horizons through the acquired skills and abilities,

2) Consolidate the skill

According to the systematization of the material,

Participation in the discussion

To improve the ability of students to draw independent conclusions after getting acquainted with several works,

Reasonably express your opinion, defend it,

improve expressive reading and the ability to analyze poetic text.

Educational

Contribute to the moral and aesthetic education of the individual:

Raise attention to the word, form interest in Blok's lyrics,

To form an idea of ​​eternal values,

Cultivate love for the motherland,

Bring up high attitude to a woman.

Technologies:

design technology,

advanced learning technology,

group learning technology,

Block-modular technology,

Exploratory learning technology.

Interdisciplinary connections:

Story,

Music,

Painting,

Movie,

Philosophy,

Psychology.

Equipment:

Blok's portrait,

Reproductions of paintings by Russian artists,

Fragments from the feature film "Yesenin",

Recording of Blok's poem "Stranger" performed by

Yartseva,

Schemes, reference notes,

Computer and multimedia board.

Previously, the children received a task for the lesson: to independently familiarize themselves with Blok's poems, his diary entries, letters, articles. Based on their observations, divided into groups, the students had to develop projects on the topics:

1) "Poems about the Beautiful Lady."

2) Cycle "City".

3) The theme of the Motherland in Blok's poetry.

4) What are the sources of patriotism in Blok's lyrics?

Lesson plan

1. teacher's word
2. Checking homework:

Project "Poems about a Beautiful Lady",

Conversation on the project "City"

3) new material(moral thought of the poem "Stranger"

4) Checking homework:

Project "Motherland in Blok's lyrics",

Conversation on the project "What are the sources of patriotism in Blok's lyrics?"

5) Lesson summary:

images,

motives

6) Homework

A.A. Block. Lyric motifs.

teacher's word

When under the fence in the nettles

Unfortunate bones will rot

Some later historian

Will write an impressive work ...

That's just torture the damned,

Nothing innocent guys

Years of birth and death

And a bunch of bad quotes...

The sad fate is so difficult

It's so hard to live painfully

And become the property of an associate professor,

And produce new critics...

To burrow into the snowy weeds,

Forget about sleep forever!

Shut up, damn books!

I never wrote to you.

Therefore, we will talk about the personality of Blok, about his fate, we will be a little unconventional:not from biography to creativity, A through creativity to biography. We will rely on works, diaries, articles, letters.

Subject today's lesson: “A.A. Blok. Lyric Motifs. Which means target classes - to find out what the author's attitude is, what worried him, what motives are the main ones in his work.

Let's start with the poet. By the way, many people dreamed of meeting this person: fans, novice authors. Let's see how the first meeting between Blok and Yesenin took place.

See how A.A. Blok in a fragment from the feature film "Yesenin"?

(The block is presented as intelligent, serious, thoughtful.

It seems that he is disappointed in life, he knows how to discern talent, to adequately appreciate it. Block is delicate, reasonable, pessimistic)

This is 1915. Blok is thoughtful and pessimistic. Has he always been like this? There are different opinions in block science. We will do our research. Fast forward to 1901. At this time, Blok created the cycle “Poems about the Beautiful Lady”.

Let's find out what are motives his lyrics of this period? What is Blok's attitude?

But first with explanatory dictionary clarify the meaning of the word"motive".

(Motive - component plot or theme in a work of art.)

So, let's look at the project "Poems about a Beautiful Lady", find out what topics excite the author, what images arise in his work?

(Speech by students: verses from the cycle “Poems about the Beautiful Lady” are read, a description of the poetry of this period is given, a conclusion is made about the author’s attitude.)

Question to the group that spoke

Did you understand everything in the poems of the cycle “Poems about the Beautiful Lady”?

(Much is unclear)

Why did Blok write incomprehensibly during this period? How do you think?

(Firstly, Blok devotes poetry to the mysterious, incomprehensible, that is, a dream. Secondly, Blok is passionate about mysticism at this time. Therefore, there are so many incomprehensible things in the poems of this cycle.)

Question to the class

What images are the main ones in the cycle of poems "Poems about the Beautiful Lady"?

(These are images of nature, women, dreams, reality, society, cities.)

Blok City. Is it a specific city or a city in general?

(This is Petersburg)

What colors does Blok Petersburg paint? What poems?

(In the poems of 1901 - 1902, Petersburg is painted in bright colors, in the cycle "City" - in gloomy colors.)

Do you think Petersburg is a friend or foe for Blok? Justify your answer.

(Blok has a contradictory attitude towards St. Petersburg. On the one hand, this is a friend (there were meetings with L.D. Mendeleeva, the author calls the city “dear friend”, paints it in bright colors), on the other hand, St. Petersburg is the embodiment of evil. this is evidenced by gloomy tones, terrible creatures, dwarfs living in the city, blood on the pavement.)

One of the students working on the City project reads the poem by heart.

Why do you think the picture of the world in this poem is not at all similar to the picture of the world in "Poems about the Beautiful Lady"?

(Firstly, this poem was written in 1908 and is included in the City cycle, secondly, the author shows not a dream, but a real capitalist society, thirdly, if Beautiful lady- good, therefore, is the embodiment of evil.)

Let's listen to another poem by Blok "The Stranger" performed by Yartseva.

What images do we see in it? To which cycle Do you think this poem belongs? Justify your answer.

(Images of the city, a woman-stranger appear. The stranger is shown mysterious, mysterious. This brings her closer to the Beautiful Lady. But when describing the city, gloomy tones are used, such details attract attention:

- "pernicious spirit"

- baby crying

- “disc is crooked”,

- "Drunken Monster"

This indicates that, most likely, the poem is included in the cycle "City")

Of course, each of you introduced your Stranger. Perhaps she is like that (on the board - an illustration to the poem).

The stranger is mysterious, enigmatic. We do not know anything about her life, about her fate, but we can assumeis she happy?

(Hardly. A woman cannot be happy in such a city, in such a society.)

In the poem "The Stranger" is laid in the highest degreemoral thought: if a woman in society is unhappy, if she is humiliated, slandered, deceived, then the whole nation is humiliated and deceived. Therefore, the fate of a woman is for Blok symbol the fate of Russia itself.

Is it only for Blok that a woman is a symbol of the fate of Russia?

(No. Similar motives are found in Nekrasov.)

Let's see another project "Motherland in Blok's lyrics".

(Speech by students: characterization of poems about the Motherland, reading works by heart, presentation of video materials).

Question to the class

What images appear in Blok's works about the Motherland?

Do you have add-ons? Which biographical Does the information confirm Blok's love for the Motherland?

(1. After the revolution, Blok stopped writing. He admitted that he was “suffocating.” But in spite of everything, he not only did not go abroad, but was also annoyed by those emigrants who condemned Russia.

2. Blok believed that it was impossible to leave the Motherlandin difficult times for her.

3. Blok had a very strong blood connection with the Motherland. Being terminally ill, Blok never went abroad for treatment. At first, it took a very long time to draw up documents for departure. As soon as they were formalized, Blok was gone. It turns out that the Motherland-wife did not let go.)

What do you think, what are the sources of Blok's patriotism?

(Patriotism is love for the motherland. The motherland for Blok was first Shakhmatovo, later the Motherland was all of Russia.

Love is formed as a result of aesthetic influence (source - nature) and moral education(Source: family).

Nature, Motherland - words of the same root. They give life to a person, creative forces to a poet. Indeed, difficult times have come for the Motherland, and the poet's strength has been undermined. Already in 1919, contemporaries spoke of Blok: “A dead poet,” and in 1921 ...

Fragment from the feature film "Yesenin"

What is behind Yesenin's phrase? How do you understand it?

Why are Blok's poems close and understandable to contemporaries, regardless of age, origin?

(1. Blok continues the traditions of Russian literature of the 19th century. He writes about what excites any person:

About love,

About the motherland

About a woman

About Russia,

About the revolution.

2. The block is a symbolist, and the symbol is a window to infinity, it allows several interpretations, and the reader becomes a co-author.)

So, we came to the conclusion that the main motives of Blok's lyrics are the themes of love, motherland, city, revolution.

The motives are the same, but the sensations? Psychologists in this case rely on special tests, important for them is color. Let's use this technology. What does color painting say about Blok's worldview?

What colors does Blok use at the beginning of his work and at the end?

(At the beginning of creativity - white, purple, azure, gold, silver, pink. At the end of creativity - black, dull, lead, pewter. Thus, the color scheme changes. This clearly reflects the poet's attitude.)

At the beginning of the lesson, the question was: “Was Blok always pessimistic, withdrawn?”

Based on our research, write an essay “HowI represent Block?

Contemporaries have already noticed how often several keywords. So, K.I. Chukovsky wrote that the favorite words of the early Blok were “fogs” and “dreams”. The critic's observation corresponded to the professional "inclinations" of the poet. In Blok's Notebooks there is this entry: “Every poem is a veil stretched out on the points of several words. These words shine like stars. Because of them, the poem exists." The entire body of Blok's lyrics is characterized by a steady repetition of the most important images, verbal formulas and lyrical situations. They, these images and words, are endowed not only dictionary meanings, but also with additional semantic energy, absorb new semantic shades from the immediate verbal environment. But not only the context of a particular poem determines the semantics of such signal words. The integral body of his lyrics is decisive for the formation of the meanings of individual words in Blok's work.

You can, of course, read and somehow understand any individual poem by Blok. But the more of his poems we read, the richer the perception of each poem becomes, because each work radiates a “charge” of its own meaning and at the same time is “charged” with the meaning of other poems. Thanks to cross-cutting motives, Blok's lyrics acquired a very a high degree unity. The poet himself wanted from his readers that his lyrics be considered as a single work - as a three-volume novel in verse, which he called the "trilogy of incarnation."

What is the reason for such a position of the author of many beautiful lyric poems? First of all, with the fact that at the center of his lyrics is the very personality of modern man. It is the personality in its relationship with the whole world (both social, and natural, and "cosmic") that forms the core of the problems of Blok's poetry. Before Blok, such problems were traditionally embodied in the genre of the novel. Recall that A.S. Pushkin used the phrase “novel in verse” as a genre designation for “Eugene Onegin”. In Pushkin's poetic novel, there is a distinct, albeit incomplete, plot, a multi-heroic composition of characters, many extra-plot elements that allowed the author to freely "retreat" from narrative goals, "directly" address the reader, comment on the very process of creating a novel, etc.

In Blok's lyrical "novel" there is also a peculiar plot, but not an eventful one, but a lyrical one - connected with the movement of feelings and thoughts, with the unfolding of a stable system of motives. If the content Pushkin's novel is largely determined by the changing distance between the author and the hero, then in Blok's lyrical "novel" there is no such distance: Blok's personality became the hero of the "incarnation trilogy". That is why the category of “lyrical hero” is used in relation to him in literary criticism. For the first time, this term, which is now widely used in relation to the work of other lyricists, appeared in the works of the remarkable literary critic Yu.N. Tynyanov - in his articles on Blok's poetry.

The theoretical content of the category “lyrical hero” is the synthetic nature of the subject of a lyrical statement: in the pronominal form “I”, worldview and psychological qualities biographical "author" and various "role" manifestations of the hero. You can say it differently: the hero of Blok's lyrics can appear as a monk or a nameless warrior from the camp of Dmitry Donskoy, Hamlet or a visitor to a suburban restaurant, but each time they are the embodiment of one soul - one attitude, one way of thinking.

The introduction of the new term was due to the fact that Blok's "biggest lyrical theme", according to Tynyanov, was the very personality of the poet. That is why, with all the variety of thematic material that constitutes the "subject" background of Blok's "novel", the lyrical trilogy remains mono-centric from beginning to end. In this regard, the whole body of Blok's lyrics can be compared with such samples of prose monocentric novels as M.Yu. Lermontov's "A Hero of Our Time" and B.L. Pasternak's "Doctor Zhivago". For all three artists, the most important category artistic world there was a category of personality, and the plot and compositional features of their works are primarily subordinated to the task of revealing the world of personality.

What is the external composition of Blok's "novel in verse"? The poet divides it into three volumes, each of which has an ideological and aesthetic unity and corresponds to one of the three stages of "incarnation". "Incarnation" is a word from the theological lexicon: in Christian tradition it denotes the appearance of the Son of Man, the incarnation of God in human form. It is important that in Blok's poetic consciousness the image of Christ is associated with the idea creative personality- an artist, an artist, who throughout his life serves to recreate the world on the basis of goodness and beauty, performing the feat of self-denial for the sake of realizing these ideals.

The path of such a person - the lyrical hero of the novel - became the basis of the plot of the trilogy. Within each of the three stages general movement- many private episodes and situations. In a prose novel, as a rule, a specific episode is the content of a chapter, in a lyrical novel by A. Blok, it is the content of a poetic cycle, i.e. several poems united by a common situation. For the "roman of the path" it is quite natural that the most common situation is the meeting - the meeting of the lyrical hero with other "characters", with a variety of facts and phenomena of the social or natural world. On the way of the hero there are real obstacles and deceptive mirages of "swamp lights", temptations and trials, mistakes and genuine discoveries; the path abounds with turns and crossroads, doubts and suffering. But the main thing is that each subsequent episode enriches the hero with spiritual experience and expands his horizons: as he moves, the space of the novel expands in concentric circles, so that at the end of the path the hero’s gaze embraces the space of all of Russia.

In addition to the external composition, determined by the division into books (volumes) and sections (cycles), Blok's trilogy is organized by a more complex internal composition - a system of motives, figurative, lexical and intonational repetitions that link individual poems and cycles into a single whole. A motive, unlike a theme, is a formal-content category: a motive in poetry serves as a compositional organization of many individual poems into a tangible lyrical whole (genetically, the term “motive” is associated with musical culture and was first used in musicology. It was first recorded in the “Musical Dictionary” ( 1703) S. de Brossard).

Since there are no direct plot connections between the poems, the motif fills the compositional integrity of the poetic cycle or even the poet's entire lyrics. It is created by lyrical situations and images (metaphors, symbols, color designations) that repeat many times and vary from poem to poem. The associative dotted line drawn in the poet's lyrics thanks to these repetitions and variations performs a structure-forming function - it unites poems into a lyrical book (this role of the motive has become especially important in the poetry of the 20th century).

The central cycle of the first volume of Blok's lyrical trilogy - the first stage of the poet's journey - "Poems about the Beautiful Lady". It was these poems that until the end of his life remained for Blok the most beloved. As is known, they reflected the young poet's love affair with his future wife L. D. Mendeleeva and the passion for the philosophical ideas of V. S. Solovyov. In the philosopher's teaching about the Soul of the World, or the Eternal Femininity, Blok was attracted by the idea that it is through love that the elimination of egoism, the unity of man and the world, is possible. The meaning of love, according to Solovyov, is in the acquisition by a person of ideal integrity, which will bring a person closer to the highest good - "absolute solidarity", i.e. fusion of the earthly and the heavenly. Such a “high” love for the world is revealed to a person through love for an earthly woman, in which one must be able to see through her heavenly nature.

"Poems about the Beautiful Lady" is fundamentally multifaceted. To the extent that they talk about real feelings and convey the story of "earthly" love, these are works of intimate lyrics. But "earthly" experiences and episodes personal biography in Blok's lyrical cycle, they are not important in themselves - they are used by the poet as material for inspired transformation. It is important not so much to see and hear as to see and hear; not so much to tell, but to tell about the “unsaid”. “The way of perception” of the world and the corresponding way of symbolization in Blok’s poetry of this time is a way of general, universal analogies and world “correspondences,” notes the well-known researcher L.A. Kolobaeva.

What are these analogies, what is the symbolist "cipher" early lyrics Blok? Let us recall what a symbol is for the poets of the Blok generation. This special type image: it is aimed not at recreating the phenomenon in its material concreteness, but at conveying ideal spiritual principles. The components of such an image are alienated from everyday conditions of life, the links between them are weakened or omitted. The symbolic image includes an element of mystery: this mystery cannot be logically solved, but it can be involved in an intimate experience in order to intuitively penetrate the world of “higher beings”, touch the world of the deity. The symbol is not just polysemantic: it includes two orders of meanings, on an equal footing testifies to the real and the super-real.

The plot of "Poems about the Beautiful Lady" is the plot of waiting for the Meeting with her beloved. This Meeting will transform the world and the hero, will connect the earth with the sky. The participants in this plot are “he” and “she”. The drama of the waiting situation is in the opposition of the earthly and the heavenly, in the notorious inequality of the lyrical hero and the Beautiful Lady. In their relationship, the atmosphere of medieval chivalry is revived: the object of love of the lyrical hero is elevated to an unattainable height, the hero's behavior is determined by the ritual of selfless service. “He” is a knight in love, a humble monk, a schemer ready for self-denial. “She” is silent, invisible and inaudible; the ethereal center of faith, hope and love of the lyrical hero.

The poet widely uses adjectives with the semantics of indeterminacy and verbs with the semantics of impersonality or passive contemplation: "unknown shadows", "otherworldly visions", "incomprehensible mystery"; “the evening will move forward”, “everything will be known”, “I am waiting”, “I am watching”, “I am guessing”, “I am directing my gaze”, etc. Literary critics often call the first volume of Blok's lyrics a "poetic prayer book": there is no event dynamics in it, the hero freezes in a kneeling position, he "waits in silence", "longing and loving"; the rituality of what is happening is supported by figurative signs of religious service - references to lamps, candles, a church fence - as well as the dominance of white, scarlet and gold colors in the pictorial palette.

The main section of "Poems about the Beautiful Lady" was in the first edition (in the form of a lyric collection) called "Stillness". However, the external inactivity of the lyrical hero is compensated by a dramatic change in his moods: bright hopes are replaced by doubts, the expectation of love is complicated by the fear of its collapse, moods of incompatibility of the earthly and heavenly are growing. In the textbook poem “I Anticipate You...”, along with impatient expectation, there is an important motif of fear of the Meeting. At the moment of incarnation, the Beautiful Lady can turn into a sinful creature, and her descent into the world can turn out to be a fall:

The whole horizon is on fire, and the appearance is near.
But I'm afraid: you will change your appearance.
And daringly arouse suspicion,
Replacing the usual features at the end.

Particularly tense is the cycle “Crossroads”, which concludes the first volume. The bright emotional atmosphere of loving expectation gives way to moods of dissatisfaction with oneself, self-irony, motives of “fears”, “laughter”, and anxieties. Signs of "everyday life" fall into the field of view of the hero: the life of the urban poor, human grief ("Factory", "From newspapers", etc.). "Crossroads" anticipate important changes in the fate of the lyrical hero.

These changes are clearly manifested in the second volume of the lyrical trilogy. If the first volume of lyrics was determined by the motives of waiting for the Meeting and high service, then new stage The lyrical plot is associated primarily with motives, immersion in the elements of life, or, using the formula of Blok himself, "rebellion of purple worlds." The consciousness of the lyrical hero is now turned to unimagined life. She appears to him in the elements of nature (cycle "Bubbles of the Earth"), urban civilization (cycle "City") and earthly love ("Snow Mask"). Ultimately, a series of meetings of the hero with the elements leads him to a meeting with the world of reality. The very idea of ​​the hero about the essence of the world is changing. The overall picture of life is dramatically complicated: life appears in disharmony, it is a world of many people, dramatic events, struggle. Most important of all, however, is that in the field of view of the hero now is the national and public life countries.

The second volume of lyrics, corresponding to the second period of the poet's work, is the most complex in terms of the structure of motives and the variety of intonations (tragic and ironic, romantic and "farce"). The element is the key symbol of the second volume of the lyrics. This symbol in the mind of the poet is close to what he called "music" - it is associated with a feeling of deep creative essence being. Music in Blok's view resides in nature, in the feeling of love, in the soul of the people and in the soul of individual person. Proximity to the elements of nature and folk life provides a person with the authenticity and strength of his feelings. However, rapprochement with diverse elements becomes for the hero not only a guarantee of a full life, but also a serious moral test.

The element does not exist outside of earthly incarnations. The extreme embodiments of the "earthly" beginning in the poet's lyrics are the characters of folk demonology from the cycle "Bubbles of the Earth" (devils, sorcerers, witches, mermaids), both attracting and frightening. Among the "rusty swamps" the former impulses upwards gradually disappear, towards gold and azure: "Love this eternity of swamps: / Their power will never run out." Passive dissolution in the elements can turn into self-contained skepticism, oblivion of the ideal.

The appearance of the heroine of the love lyrics also changes - the Beautiful Lady is supplanted by the Stranger, an irresistibly attractive "this-worldly" woman, shocking and charming at the same time. In the famous poem "The Stranger" (1906), "low" reality (a disharmonious picture of the suburbs, a company of cheap restaurant regulars) is contrasted with the "high" dream of the lyrical hero (the captivating image of the Stranger). However, the situation is not limited to the traditional romantic conflict of "dreams and reality." The fact is that the Stranger is at the same time the embodiment of high beauty, a reminder of the "heavenly" ideal preserved in the hero's soul, and the product of the "terrible world" of reality, a woman from the world of drunkards "with the eyes of rabbits." The image turns out to be two-faced, it is built on the combination of the incompatible, on the “blasphemous” combination of the beautiful and the repulsive.

According to L.A. Kolobaeva, “the two-dimensionality is now different than in “Poems about the Beautiful Lady”. There, the figurative movement is aimed at seeing a miracle in the visible, earthly, human, in love, something infinite, divine, from “things” to rise “up”, to the sky ... Now the duality of the image is not mystically elevating, but, on the contrary, debunking, bitterly sobering, ironic. And yet the emotional result of the poem is not in lamenting the illusory nature of beauty, but in asserting its secret. The salvation of the lyrical hero - in what he remembers - remembers the existence of unconditional love ("In my soul lies a treasure, / And the key is entrusted only to me!").

From now on, Blok's poems are often built as a confession that through the "abominations" of the day he is experiencing, the memory of the ideal breaks through - either with reproach and regret, or with pain and hope. "Treading on the shrines", Blok's lyrical hero yearns to believe; throwing himself into a whirlwind of love betrayals, he longs for the only love.

The new attitude of the lyrical hero led to changes in poetics: the intensity of oxymoron combinations sharply increases, Special attention given to the musical expressiveness of the verse, metaphors consistently develop into independent lyrical themes (one of the most characteristic examples of such "weaving" of metaphors is the poem "Snow Ovary"). Here is how Vyach. I. Ivanov - the largest theorist among the symbolists of the 1900s: “In my opinion, this is the apogee of the approach of our lyrics to the elements of music ... Sound, rhythm, assonances are captivating; A delightful, intoxicating movement, the hops of a blizzard ... Marvelous longing and marvelous melodious power!

However, the world of elements is able to captivate the lyrical hero, to interrupt his movement. Blok feels the need to look for some new ways. In the very diversity of the elements, a choice is needed. “Doesn't it mean to understand everything and love everything - even hostile, even that which requires the renunciation of what is most dear to oneself - doesn't it mean to understand nothing and not to love anything? ”- he writes in 1908. There is a need to rise above spontaneity. The final section of the second volume of the trilogy was the cycle "Free Thoughts", which marks the decisive transition to a sober and clear attitude towards the world. What does the lyrical hero take out of the experience of familiarizing himself with the elements? The main thing is the courageous idea of ​​confronting the terrible world, the idea of ​​duty. From the "antithesis" of unbelief and subjectivity, the hero returns to faith, but his faith in the ideal beginning of life is filled with new meanings compared to the early lyrics.

One of the fundamental poems of the second volume is "Oh, spring without end and without edge ...". It develops one of the most important motives of Blok's lyrics - "both disgust from life, and crazy love for it." Life opens up to the lyrical hero in all its ugliness (“languishing slave labor”, “wells of earthly cities”, “weeping”, “failure”). And yet the reaction of the hero to all manifestations of disharmony is far from unambiguous rejection. “I accept” - this is the strong-willed decision of the lyrical hero. But this is not passive humility in the face of inevitability: the hero appears in the guise of a warrior, he is ready to confront the imperfection of the world.

How does the lyrical hero come out of the tests by the elements? He tends to boldly cognize life, not to renounce anything, to experience all the tension of passions - in the name of the fullness of the knowledge of life, to accept it as it is - in conjunction of "beautiful" and "terrible" began, but to wage an eternal battle for its perfection. The lyrical hero now "courageously looks into the face of the world." “At the end of the road,” as the poet wrote in the preface to the collection “Earth in the Snow,” for him “one eternal and boundless plain spreads out - the original homeland, perhaps Russia itself.”

In the third volume of the "novel in verse" the most important motifs of the first two parts of the trilogy are synthesized and rethought. It opens with the Scary World cycle. The leading motif of the cycle is the necrosis of the world of modern urban civilization. A laconic expressive image of this civilization is represented by the famous poem "Night, street, lamp, pharmacy ...". The lyrical hero also falls into the orbit of these forces of spiritual death: he tragically experiences his own sinfulness, a feeling of mortal fatigue grows in his soul. Even love now is a painful feeling, it does not relieve loneliness, but only exacerbates it. That is why the lyrical hero is aware of how sinful the search for personal happiness. Happiness in the "terrible world" is fraught with spiritual callousness, moral deafness. The feeling of hopelessness acquires an all-encompassing, cosmic character in the hero:

The worlds are flying. The years are flying by. empty

The universe looks at us with the darkness of its eyes.

And you, soul, tired, deaf,

How often are you talking about happiness?

The image of a huge generalizing power is created in the poem "Voice from the Choir" that concludes the entire cycle. Here is an apocalyptic prophecy about the coming triumph of evil:

And the last century, worse than all,

We will see you and me.

The whole sky will hide the heinous sin,

Laughter will freeze on all lips,

The longing of nothingness...

Here is how the poet himself comments on these lines: “Very unpleasant verses ... It would be better for these words to remain unsaid. But I had to say them. Difficult to overcome. And after him will be a clear day.

The pole of the "terrible world" evokes in the mind of the lyrical hero the thought of the coming retribution - this thought develops in two small cycles "Retribution" and "Yamba". Retribution, according to Blok, overtakes a person for betraying the ideal, for losing the memory of the absolute. This retribution is, first of all, the judgment of one's own conscience.

The logical development of the plot of the path of the lyrical hero is an appeal to new, unconditional values ​​- the values ​​of the people's life, the Motherland. Russia theme - the most important topic Blok's poetry. At one of the performances, where the poet read a variety of his poems, he was asked to read poems about Russia. “It's all about Russia,” Blok replied. However, this theme is most fully and deeply embodied in the Motherland cycle.

Before this most important cycle in the "incarnation trilogy", Blok places the lyric poem "The Nightingale Garden". The poem recreates the situation of a decisive crossroads in the plot of a lyrical novel. It is organized by an irreconcilable conflict, the outcome of which cannot but be tragic. The composition is based on the opposition of two principles of being, two possible ways lyrical hero. One of them is everyday work on a rocky shore, the agonizing monotony of existence with its "heat", boredom, deprivation. The other is a music-enticing "garden" of happiness, love, art:

Curses do not reach life

In this walled garden...

The poet does not try to find a reconciliation between "music" and "necessity", feelings and duty; they are separated with marked severity in the poem. However, both vital “shores” are undoubted values ​​for the lyrical hero: he wanders between them (from the “stony path” he turns into the nightingale garden, but from there he hears the inviting sound of the sea, “the distant growl of the surf”). What is the reason for the departure of the hero from the nightingale garden? It is not at all that he is disappointed with the "sweet song" of love. This bewitching power, leading away from the "empty" path of monotonous labor, the hero does not judge with an ascetic court and does not deprive him of the right to exist.

Returning from the circle of the nightingale garden is not an ideal act and not a triumph of the “best” qualities of the hero over the “worst”. This is a tragic, ascetic way out, associated with the loss of real values ​​(freedom, personal happiness, beauty). The lyrical hero cannot be satisfied with his decision, just as he could not find spiritual harmony if he stayed in the "garden". His fate is tragic: each of the necessary, dear to him worlds has its own "truth", but the truth is incomplete, one-sided. Therefore, not only the garden enclosed by a “high and long fence” gives rise to a feeling of orphanhood in the hero’s soul, but also returning to the rocky shore does not relieve him of dreary loneliness.

And yet the choice is made in favor of severe debt. This is a feat of self-denial that determines further fate hero and allowing a lot to understand in creative evolution author. Blok most clearly defined the meaning of his path and the logic of the lyrical trilogy in one of his letters to Andrei Bely: “... this is my path, now that it has been passed, I am firmly convinced that this is due and that all the poems together are the “trilogy of incarnation” ( from a moment of too bright light - through the necessary swampy forest - to despair, curses, "retribution" and ... - to the birth of a "social" person, an artist who courageously looks into the face of the world ... who has received the right to study forms ... peer into the contours of "good and evil" - at the cost of losing part of the soul.

Coming out of the "Nightingale Garden", the lyrical hero of the trilogy parted with the "sweet song" of love (the most important song so far love theme gives way to a new supreme value - the theme of the motherland). Immediately after the poem in the third volume of the "lyrical novel" - the cycle "Motherland" - the pinnacle of the "trilogy of incarnation". In poems about Russia, the leading role belongs to the motives of the historical destinies of the country: the semantic core patriotic lyrics Blok makes up the cycle "On the Kulikovo Field". The battle of Kulikovo in the perception of the poet is a symbolic event that is destined to return. Therefore, vocabulary with the semantics of return, repetition is so important in these verses: “The swans screamed for Nepryadva, / And again, again they scream ...”; “Again with age-old anguish / Feathers stooped to the ground”; “Again over the Kulikov field / The haze rose and dispersed ...”. Thus, the threads connecting history with modernity are exposed.

Poems are built on the opposition of two worlds. The lyrical hero appears here as a nameless warrior of Dmitry Donskoy's army. Thus, the personal fate of the hero is identified with the fate of the Motherland, he is ready to die for it. But in the verses, the hope for a victorious and bright future is also tangible: “Let the night. Let's go home. Illuminate with bonfires / Steppe distance.

Another famous example of Blok's patriotic lyrics - the poem "Russia" - begins with the same adverb "again". This lexical particularity deserves a comment. The lyrical hero of the trilogy has already come a long way - from unformed premonitions of grandiose accomplishments - to a clear understanding of his duty, from waiting for a meeting with the Beautiful Lady - to a real meeting with the "beautiful and furious" world of folk life. But the very image of the motherland in the perception of the lyrical hero recalls the previous incarnations of his ideal. "Poor Russia" is endowed in a poem human features. The details of the lyrical landscape "flow" into portrait details: "But you are still the same - a forest and a field, / Yes, patterned cloth to the eyebrows." The portrait strokes of the image of Rus' are expressive in another poem of the cycle - "New America": "Whispering, quiet speeches / Your flushed cheeks ...".

For the lyrical hero, love for the Motherland is not so much a filial as an intimate feeling. Therefore, the images of Rus' and the Wife in Blok's lyrics are very close. In the appearance of Russia, the memory of the Beautiful Lady comes to life, although this connection is not logically revealed. The prehistory of the lyrical "I" is included in the structure of poems about the Motherland, and these verses themselves retrospectively enrich Blok's early love lyrics, confirm the poet's idea that all his poems are about Russia. “... Two loves - for the only woman and for the only country on earth, the Motherland - the two highest divine calls of life, the two main human needs, which, according to Blok, have a common nature ... Both loves are dramatic, in each has its own inevitable suffering, its own “cross”, and the poet “carefully” carries it through his whole life ... ”- emphasizes L. A. Kolobaeva.

The most important motif of poems about the Motherland is the motif of the path (“To the point of pain / The long way is clear to us!”). In the finale of the lyrical trilogy, this is the “cross” path common to the hero and his country. To sum up the trilogy, let's use the formula of one of the largest block experts - D.E. Maksimov: “The path of the Block appears ... as a kind of ascent, in which the “abstract” becomes “more concrete”, the obscure becomes clearer, the solitary merges with the public, the timeless, the eternal - with the historical, in the passive the active is born.

When a poet is truly talented, his poetry is all-encompassing and it is very difficult to single out the main themes of his work. So it is with the poetry of A. Blok. As a symbolist in his early work, he considers three themes: Life, Death, God. In one form or another, these themes are interpreted in different periods creativity and appear either in vague images-symbols of the cycle “Poems about the Beautiful Lady”, or in the ironic lines of later poems. The typical images-symbols of the early Blok were the star, spring, fogs, wind, semi-darkness, shadows and dreams. All this, used in a metaphorical sense, became symbols, with the help of which the poet learns the eternal secret of life. But after blue mists early creativity comes a romantic admiration for the purely earthly features of life. This is how the Stranger appears - the embodiment of Femininity, accessible not only to the Soul of the World, but also to a real woman.

It is interesting that A. Blok also depicts the Motherland as a woman. So in the poems "Rus", "Russia", "On the field of Kulikovo" we meet the image of Russia-Women, Rossi-wife. Homeland is hope and comfort for him. He believes in her resilience, just as he believes in the resilience and courage of a Russian woman, capable of loving recklessly, forgiving generously and worthily enduring life's trials. So the theme of the Motherland is intertwined with the eternal themes of Life, Death, God.

Blok also says a lot about love as the basis of being. The poet objects to the gross interference in the poetry of love of any calculations, love is an element, it is a storm. It is no coincidence that Blok conveyed it with these images-symbols. The search for harmony in the life of the poet is connected with the images of love. Moral problems in society are solved through the search for unity with the world. Dividedness, the search for balance lead at times to sad conclusions: “That happiness was not needed, that this pipe dream was not enough for half a lifetime.” However, a connection with the world is found. And in the later poems of A. Blok, the question of the meaning of being, of Life, Death and God, is again resolved. These themes are eternal, no matter how they appear in the work of A. Blok.

“After all, my theme, I now know it firmly, without any doubt - alive, real theme; she is not only bigger than me, she is bigger than all of us and she is our universal theme... I consciously and irrevocably dedicate my life to this theme.”

Alexander Alexandrovich Blok completely, entirely, immensely loved Russia, gave her soul as a beloved woman. His life was forever intertwined with the Motherland, he sacrificed a part of himself to her, and she healed his soul with her “healing space”.

Blok saw Russia as Gogol saw it - above the clouds and beautiful. She is a child of Gogol, his creation. “She opened up to him in beauty and music, in the whistle of the wind and in the flight of an extravagant troika,” wrote A.A. Blok in the article "Child of Gogol". The poet sits in the same three, in which he flies through the boundless fields, blurred and dirty paths of Russia. And along the way, Blok sees what squeezes his heart - the wretchedness and humiliation of the Fatherland.

And in the patches of her rags

Souls hide nakedness.

The poet's soul is naked, like a naked country. “This is the harmonious dance of Russia, which has nothing to lose; she gave her whole body to the world and now, freely throwing her hands into the wind, she went to dance throughout her aimless expanse, ”wrote Blok in the article“ timelessness ”. And it is precisely with aimless expanse that Russia heals a person. One must fall in love with her, “one must travel around Russia,” Gogol wrote before his death.

I will cry over the sadness of your fields,

I will love your space forever ...

Shelter you in the vast expanses!

Us and live and cry without you.

A.A. Blok created his own commandment of love: “If only a Russian falls in love with Russia, he will fall in love with everything that is in Russia. Without the illnesses and sufferings that have accumulated in her in such quantities and of which we ourselves are guilty, none of us would have felt compassion for her. And compassion is already the beginning of love ... ”Blok lived with love for Russia, and this gave him strength.

In Blok's poetry, there is a prophetic prediction and a sense of the fate of the Fatherland in the past. Of great importance are the verses "Scythians" and "On the field of Kulikovo." The poem "Rus" is saturated with magical and fabulous motifs. Before us appears such Rus' as Gogol created it, full of rituals and secrets. Russia for Blok is a special country, doomed to endure horrors and humiliation, but a semi-victorious one. Key to victory A.A. Blok saw in the revolution, in it, as he believed, lofty ideals. He viewed revolution as an element capable of changing the world. But this did not happen, and the poet's dream was dispelled like an obsession, leaving in his soul only a bitter residue of hopes that did not come true.

"Fatherland is life or death, happiness or death." Life according to this principle for Blok is not fanaticism, but canceled the complete devotion to Russia. The poet believed that the time would come when a ray of sun would fall on the country, and it would sparkle with all the colors of the rainbow. Today, at the turn of the third millennium, only we can choose between life and death and thereby determine our own destiny.

1. Poet A. A. Blok.
2. The main themes in Blok's work.
3. Love in the poet's poetry.

... A writer who believes in his vocation, no matter what size this writer may be, compares himself with his homeland, believing that he suffers from her illnesses, crucifies with her ...
A. A. Blok

A. A. Blok was born into a noble family of intellectuals. According to Blok, his father was a connoisseur of literature, a subtle stylist and a good musician. But he had a despotic character, which is why Blok's mother left her husband before the birth of her son.

Blok spent his childhood in an atmosphere of literary interests, which early aroused in him a craving for poetry. At the age of five, Blok began to write poetry. But a serious appeal to poetic creativity refers to the years when the poet graduated from the gymnasium.

Blok's lyrics are unique. With all the variety of topics and means of expression, it appears to the reader as a single whole, as a reflection of the "path" traveled by the poet. Blok himself pointed out this feature of his work. A. A. Blok went through a difficult creative path. From symbolist, romantic poems to an appeal to real revolutionary reality. Many of Blok's contemporaries and even former friends, having fled from revolutionary reality abroad, shouted that the poet had sold himself to the Bolsheviks. But it wasn't. Blok suffered from the revolution, but he also managed to understand that the time for change was inevitable. The poet felt life very sensitively, showed interest in the fate of his native country and the Russian people.

Love for Blok is the main theme of creativity, be it love for a woman, for Russia. Early work the poet is distinguished by religious dreams. The cycle of "Poems about the Beautiful Lady" is filled with anxiety, a sense of an approaching catastrophe. The poet longed for the ideal of a woman. Blok's poems are dedicated to his future wife, D. I. Mendeleeva. Here are the lines from the poem "I enter the dark temples ...":

I enter dark temples
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering of red lamps.
In the shadow of a tall column
I tremble at the creak of doors.
And he looks into my face, illumined,
Only an image, only a dream about Her.

The poet's love for his future wife in "Poems about the Beautiful Lady" was combined with a passion for the philosophical ideas of V. S. Solovyov. The philosopher's teaching about the existence of the Great Femininity, the Soul of the World, turned out to be closest to the poet. Inextricably linked with the Great Feminine is the idea of ​​saving the world through its spiritual renewal. The philosopher's thought that love for the world is revealed through love for a woman evoked a special response from the poet.

In "Poems about the Beautiful Lady", the ideas of dual worlds, which are a combination of the spiritual and the material, were embodied through a system of symbols. The appearance of the heroine of this cycle is ambiguous. On the one hand, this is a very real woman:

She is slim and tall
Always haughty and harsh.
On the other hand, it is a mystical image.
The same applies to the hero.

Blok's story of earthly love is embodied in a romantic symbolic myth. "Earthly" (lyrical hero) is opposed to "heavenly" (Beautiful Lady), there is a desire for their reunion, due to which complete harmony should come.

But over time, Blok's poetic orientation changed. The poet understood that when hunger and devastation, struggle and death are around, it is impossible to go to “other worlds”. And then life in all its diversity burst into the work of the poet. The theme of the people and the intelligentsia appears in Blok's poetry. For example, in the poem "The Stranger" the collision of a beautiful dream with reality is shown:

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

Blok wrote in his diary: “She is a kind of ideal of beauty, capable, perhaps, of recreating life, expelling everything ugly and bad from it.” Duality - the contact of the image-ideal and repulsive reality - is reflected in this poem. This is reflected even in the two-part composition of the work. The first part is filled with the expectation of a dream, perfect image Strangers:

And every evening the only friend
Reflected in my glass...

But the meeting place with the ideal is a tavern. And the author skillfully escalates the situation, preparing the reader for the appearance of the Stranger. The appearance of the Stranger in the second part of the poem temporarily transforms reality for the hero. In the poem "The Stranger" the image of the lyrical hero is surprisingly psychologically revealed. The change of his states is very important for Blok. Love for the motherland is clearly manifested in Blok's poetry. Blok's love for his native country clearly echoes a deep feeling for a woman:

Oh, my Rus'! My wife! To pain
We have a long way to go!

Blok sought to continue the traditions of Russian classical literature, saw his task in serving the people. In the poem "Autumn Will" Lermontov's traditions are visible. M. Yu. Lermontov in his poem “Motherland” called love for the motherland “strange”, the poet was not “glory bought with blood”, but “the cold silence of the steppes”, “trembling lights of sad villages”. Such is the love of Blok:

I will cry over the sadness of your fields,
I will love your space forever ...

Blok's attitude to his homeland is more personal, intimate, like his love for a woman. No wonder in this poem Rus' appears before the reader in the form of a woman:

And far, far away waving invitingly
Your patterned, your colored sleeve

In the poem "Rus" the homeland is a mystery. And the solution to the mystery is in the soul of the people. The motif of a terrible world was reflected in Blok's poetry. Most clearly, all the hopelessness of life is manifested in the well-known poem "Night, street, lamp, pharmacy ...":

Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.
If you die, you start over again
And everything will repeat, as of old:
Night, icy ripples of the channel,
Pharmacy, street, lamp.

The fatal cycle of life, its hopelessness is surprisingly clearly and simply reflected in this poem.

Blok's poems are tragic in many ways. But tragic was the time that gave birth to them. But the essence of creativity, according to the poet himself, is in serving the future. In his last poem Pushkin House Block says it again:

Skipping days of oppression
short term deception

The days to come were seen
Blue-pink mist.

To understand the poet's work, the image of his lyrical hero is in many ways important. After all, as we know, people reflect themselves in their works.

In the poem "Factory" we see the appeal of the symbolist poet to reality, to social topics. But reality correlates with symbolic philosophy, the lyrical hero's awareness of his place in life. Three images can be distinguished in the poem: a crowd of people gathered at the gate; a mystical character ("immobile someone, black someone") and a lyrical hero saying: "I see everything from my top...". This is typical for Blok's work: to see everything "from the top", but at the same time the poet himself acutely felt life in all its diversity and even in tragedy.