Krasichkova Olga
Famous poet of the early 20th century A.A. The block witnessed the largest historical events: revolutions of 1905, February and Great October revolutions. These important points reflected in his poetry, primarily in the poem “The Twelve,” which became the result of A.A.’s thoughts. Blok about revolution, the highest level of his creativity.
The action of the poem takes place against the backdrop of raging nature: “a snowy whirlwind has risen,” “a blizzard is singing in the distance,” “a blizzard is blowing dust,” “the wind, the wind - all over God’s world!”, “some kind of blizzard has broken out.” Through these symbolic images of the cleansing element, the poet conveys the revolutionary storm that has engulfed the country: the element of wind cannot be controlled , as well as You can't control a revolution.
The central theme of the work is the collision of two contrasting masses, “black and white bone”, old and new Russia. Opposite colors emphasize their fierce opposition. White symbolizes the new, bright, and black symbolizes the outgoing, unnecessary (“Black Evening. White snow"). The surrounding reality seemed to Blok scary world which was supposed to be destroyed. In the poem, the denial of this world was manifested in a satirical depiction of the bourgeoisie, which does not accept change, hiding from the revolution: “The bourgeoisie is standing at the crossroads And hid his nose in his collar,” “the lady in karakul” “turned up to another: “We were already crying, crying... ”, “the priest is cheerful these days” - “side behind the snowdrift”, “Long hair and speaks in a low voice... He must be a writer...". The natural elements treat all representatives mercilessly: they knock them off their feet, tear their clothes, push them into a snowdrift, they don’t know where to go. This is how Blok shows his negative attitude to them. He compares the old world to a hungry rootless dog doomed to death. According to the poet, to move on, you need to give it up. Therefore, the poet accepted the revolution of 1917 as a phenomenon that was regenerating and transforming society. The author portrays posters and flags with revolutionary slogans as a sign of serious political changes. At the same time, the poet emphasizes the temporary nature and futility of this fuss: next to these posters simple people like the old lady who « no way won’t understand what it means.”
However, with all the greeting of the revolution, the belief in its cleansing power (“We will fan the world fire on the grief of all the bourgeois”), Blok also depicted its terrible side: cruelty, lawlessness, complete devaluation of human life and concepts of morality. The Red Guards are fighting for a just cause, but they are overcome by a feeling of permissiveness: “ Lock the floors There will be robberies today!"," Freedom, freedom, eh, eh, without a cross! Because of the revolution, faith in God was lost (“What did the golden iconostasis save you from?”). In the scene of Katka's murder, the author kills the absurd, uneducated past, shows that the revolutionary element cannot do without bloodshed. Russia is engulfed in the rampage of dark passions and permissiveness, but Blok believes that through chaos, darkness and harshness the country can come to the light. The desire to elevate and establish the revolution is associated with the comparison of the twelve Red Guards with the twelve apostles and the appearance in the poem of the image of Christ with the “bloody flag”, who stood at the head of the revolution, leading his disciples. Only he can save the world, cleanse it from the inside, lead it to the holy and beautiful. The Red Guards shoot at him, but still follow the path he indicated.
The theme of revolution in the works of A.A. The block is ambiguous. In the poem “The Twelve,” the poet, although he accepts the revolution as a struggle for freedom, is worried about the future, afraid of the horrors that are happening, the loss moral guidelines, the victory of evil in the souls of people. However, he hopes that the bright beginning will triumph and the revolution will not only destroy old world, but will also be able to build a new, bright and clean one.
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The peculiarity of the sound of the revolutionary theme in the poetry of A.A. Blok.
Famous poet of the early 20th century A.A. The block witnessed major historical events: the revolution of 1905, the February and Great October revolutions. These important points were reflected in his poetry, primarily in the poem “The Twelve,” which became the result of the thoughts of A.A. Blok about revolution, the highest level of his creativity.
The action of the poem takes place against the backdrop of raging nature:“here a snow whirlwind arose”, “a blizzard began to sing in the distance”, “a blizzard is blowing”, “wind, wind - all over God’s world!”, “some kind of blizzard is breaking out.” Through these symbolic images of the cleansing element, the poet conveys the revolutionary storm that has engulfed the country: the element of wind cannot be controlled, as well as You can't control a revolution.
The central theme of the work is the collision of two contrasting masses, “black and white bones,” old and new Russia. Opposite colors emphasize their fierce confrontation. White symbolizes the new, bright, and black symbolizes the outgoing, unnecessary (“Black evening. White snow”). The surrounding reality seemed to Blok to be a terrible world that had to be destroyed. In the poem, the denial of this world was manifested in a satirical depiction of the bourgeoisie, not accepting change, hiding from the revolution:“The bourgeois is standing at the crossroads And hid his nose in his collar,” “The lady in karakul” “turned up to another: “We’ve been crying, crying...”, “The priest is cheerful now” - “side behind the snowdrift”, “Long hair and says in an undertone... He must be a writer..."The natural elements treat all representatives mercilessly: they knock them off their feet, tear their clothes, push them into a snowdrift, they don’t know where to go.This is how Blok shows his negative attitude towards them. He compares the old world to a hungry rootless dog doomed to death.According to the poet, tomove on, you need to give it up.Therefore, the poet accepted the revolution of 1917 as a phenomenon that was regenerating and transforming society.The author portrays posters and flags with revolutionary slogans as a sign of serious political changes. At the same time, the poet emphasizes the temporality and futility of this fuss: next to these posters are ordinary people, like the old woman who" no way won't understand what it means".
However, with all the greeting of the revolution, the belief in its cleansing power (“We will fan the world fire on the grief of all the bourgeois”), Blok also depicted its terrible side: cruelty, lawlessness, complete devaluation of human life and concepts of morality. The Red Guards are fighting for a just cause, but they are overcome by a feeling of permissiveness: “Lock the floors, Today there will be robberies!”“Freedom, freedom, eh, eh, without a cross!” Because of the revolution, faith in God was lost (“What did the golden iconostasis save you from?”).In the scene of Katka's murder, the author kills the absurd, uneducated past, shows that the revolutionary element cannot do without bloodshed. Russia is engulfed in the rampage of dark passions and permissiveness, but Blok believes that through chaos, darkness and harshness the country can come to the light. The desire to elevate and establish the revolution is associated with the comparison of the twelve Red Guards with the twelve apostles and the appearance in the poem of the image of Christ with the “bloody flag”, who stood at the head of the revolution, leading his disciples. Only he can save the world, cleanse it from the inside, lead it to the holy and beautiful. The Red Guards shoot at him, but still follow the path he indicated.
The theme of revolution in the works of A.A. The block is ambiguous. In the poem “The Twelve,” the poet, although he accepts the revolution as a struggle for freedom, is worried about the future, afraid of the horrors that are happening, the loss of moral guidelines, and the victory of evil in the souls of people. However, he hopes that the bright beginning will triumph and the revolution will not only destroy the old world, but will also be able to build a new, bright and clean one..
Composition
Poets such as Blok and Mayakovsky, during their short lives, witnessed major historical events: the revolution of 1905, a period of brutal reaction, the imperialist war, the February and, finally, the Great October Revolution. All these are real milestones in Russia’s paths, important moments in its history, to which these poets responded vividly.
“Oh, glory four times, blessed one!” - with these words Mayakovsky greeted the Great October Revolution. Beginning in October 1917 new stage in his work, a stage determined, first of all, by changes in reality. The tonality of his poems changes dramatically. Pathos, a decisive denial of a reality hostile to man, its grotesque image (characters of satirical hymns, the image of the Lord of Everything), gloomy pictures of human grief give way to a major affirmation of the fundamental changes that have begun in the country.
“Ode to the Revolution”, “Left March”, “Mystery Bouffe”, “Stunning Facts” - these first examples of socialist art captivate with their sincerity and faith in the wonderful future that has opened up before humanity. Even his enemies could not blame the poet for his insincerity. Mayakovsky, as before, remained a romantic, but now the poet’s romanticism is aimed at establishing a new world. The “extraordinary”, almost fantastic in his works of those years was born of the surrounding environment. For Mayakovsky, the revolution was an opportunity to make life easier and brighter; it was supposed to save the people from the hated power of the “well-fed”. This is what he writes in his poem “Stunning Facts”:
In vain the plump hands prayed, -
Unstoppable in his silent career.
Republics and kingdoms taking barriers.
In the days of a historical turning point, Mayakovsky confidently joined the ranks of the first literary and artistic figures who joined the gigantic process of life renewal. He is deeply convinced that revolution and poetry need each other, he believes in the effectiveness of words. But for it to become truly effective, everything must be restructured: lyricism and epic, poetry and drama. This is why Mayakovsky works at Windows of ROSTA. The desire to directly participate in the revolutionary renewal of life and art is the source of Mayakovsky’s innovation.
Alexander Blok also had his own perception of the new reality. In January 1918, the poet published the article “Intellectuals and Revolution,” in which he wrote about the great tasks facing the country. At the same time, he wrote the poem “The Twelve.” It became the result of Blok’s thoughts about revolution. With great skill, the poet conveys the revolutionary storm that swept the entire country. Pictures of destroyed life, raging nature, images of the old world constitute the real environment in which the revolution takes place.
Blok's characteristic rejection of the old world was manifested in a satirical depiction of the bourgeoisie, a symbol of the past. Twelve people, twelve “apostles of the revolution”, filled with popular anger, are walking against the past, towards the wind, through devastation and hunger. The revolutionary passion that gripped these people transforms them into soldiers.
main topic And main character poems - the people in the revolutionary era. The story of the Red Guard patrol walking through the streets of revolutionary Petrograd takes on cosmic proportions. With the help of the image of Christ, Blok tried to establish the revolution, since Christ is a symbol of morality, and the twelve guards are inextricably linked with him.
Thus, the depiction of the revolution in the works of Blok and Mayakovsky is different, but what they have in common is that they enthusiastically accepted the changes, although Blok was frightened by their scale. Each poet saw his own face of the revolution: for Blok it was a punishing sword, and for Mayakovsky it was an all-conquering force.
Very much in the structure of Blok’s soul in the pre-revolutionary years is revealed by the cursory lines of his letters. “I am reading Carlyle’s brilliant History of the French Revolution,” he told his wife on June 10, 1911, and wrote to the poet Vladimir Piast a few days earlier that this reading “inexpressibly cleanses the soul.”
Subsequently, the poet more than once repeated the “prophetic word” spoken in Carlyle’s book that democracy comes surrounded by a storm. However, it seems that not only this idea was important for Blok in the work of the English philosopher and historian.
For all his horror at the cruelties of the Jacobin terror, Carlyle understood the inevitability and regularity of the revolution of 1789 and spoke very sarcastically about its “judges.”
On many pages of the book, Carlyle appears as a convinced and passionate advocate for the “rabble.” And there is no doubt that Blok, who wrote about the “multi-stringed voice of the mob,” read the historian’s remark with lively sympathy: “Gluck admits that the main tone of one of the best passages from his best operas was the voice of the mob, which he heard in Vienna and shouted to the emperor: "Of bread! Of bread!" Great is the united voice of people, the manifestation of their instincts, which are truer than their thoughts. This voice is the greatest of all sounds and shadows that can be found in this World of Time."
All this, of course, was most directly and closely connected with thoughts about the fate of the homeland. The poet believed that “the future of Russia lies in the barely touched forces of the masses and underground wealth.”
During the Christmas holidays of 1913, he wrote the poem “New America”:
A joyful holiday, a great holiday,
Yes, the star is not visible because of the clouds...
You are standing under a wild snowstorm,
Fatal, native country.
Behind the snow, forests, steppes
I can't see your face.
Is there only a terrible space before my eyes,
An incomprehensible expanse without end?
These lines speak of anxiety, of the unknown of the path. In this picture, perhaps, there is a certain similarity with Pushkin’s snowstorms in “ The captain's daughter" and "Demons" ("It's scary, scary involuntarily among the unknown plains").
However, this same “terrible space” and “incomprehensible vastness” at the same time seems to Blok to be the guarantee of endless possibilities further development- in contrast to what he saw in Europe.
The lines from “New America”: “You, wretched Finnish Rus', do not rest in a rich coffin!”, become quite understandable only in the context of the poet’s entire previous work, especially “Italian Poems” (1909), where the motif of death, the eternal the dream of the former high culture and its replacement with the spiritless bourgeois civilization hated by the poet:
Grape deserts, Houses and people are all graves. Only the copper of solemn Latin Sings on the slabs like a trumpet.
“The rough vault of the tombs”, sarcophagi, silent tomb halls, “Theodoric sleeping in the coffin”, Dante, who “will not rise from sleep”, “silent tomb gondolas”, “the nasal Mass the lingering groan and cadaverous smell of roses in the churches”, “Christ , a tired cross to carry” - all these are perhaps the central images of “Italian Poems”.
Mourning culture, Blok furiously curses civilization (a concept for him that is sharply opposite to it). Here it is to the famous Florence, which in Italy was often called a beauty (Be11a):
Oh, Bella, laugh at yourself,
Your cars wheeze
You are no longer beautiful!
Your houses are ugly
A rotten grave wrinkle
Pan-European yellow dust
Your features are distorted!
You betrayed yourself!
It is no coincidence that this “dust” is called yellow: in the color symbolism of Blok (and of the Symbolists in general) it is a sign of philistinism, lack of spirituality, and vulgarity (it is characteristic that the factory, hostilely depicted in the poems of 1903, has “zholty windows”).
“Here the voice of passion is impossible,” says the “Italian Poems.” Impossible, because - “the sea has receded far”, a symbol of the life-giving element - the historical movement, the “underground riches” of the people’s soul. It is characteristic that, responding in 1907 to the writer L.Ya. Gurevich, who sent him a book about the first Russian revolution, Blok wrote that he heard in it “the voice of the waves of the great sea,” and added: “... that’s right, there are only all the ways.”
It’s not at all the same in Russia, where the historical movement, according to the poet, has not yet dried up. IN " New America“The echo of the flight of Gogol’s troika and related motifs of the poet’s own previous poems arise again:
The steppe path has no end, no outcome, Steppe, yes, wind, yes, wind...
Let us remember: “Past, past!” (" Dead Souls"); “And there is no end! Miles and steep slopes flash by...” (“On the Kulikovo Field”).
Reflecting on his main goal - the theme of Russia, Blok wrote to K.S. Stanislavsky: “Despite all my deviations, falls, doubts, repentances, I still do.”
A person without a path, without a goal, without his own theme - love - is pitiful for Blok. " Where will it go“It’s still impossible to say,” he writes, reading a book by the successful Igor Severyanin, “what will happen to him: he has no theme.” God bless him."
There are many of us - free, young, stately -
He dies without loving...
Shelter you in the vast distances!
How to live and cry without you!
("Autumn Will")
An appeal to the homeland, to life as a guiding star, even if sometimes hidden behind fog, runs through all of Blok’s work. This image in the poet’s soul “was... bright forever,” he reproached and called, gave birth to the will to overcome the “idleness” of the soul, and led him out of life’s dead ends:
You, who knows the distant goal
Or you can do better: without forgiving,
Guiding beacon,
Wake up my bells
Will you forgive me my snowstorms,
So that the night thaw
My delirium, poetry and darkness?
Didn’t she take you away from your homeland?
(“Under the monotonous noise and ringing...”)
A wonderful image: the “bells” that prevent one from getting lost in snowstorms do not sound from the outside, their echoing call arises in the very soul of the poet - the homeland awakens all the best, strong, living in him, makes all the strings of the soul sing especially powerfully.
“... The concept of “citizen” grows before me,” he writes at the same time, “and I begin to understand how liberating and healing this concept is when you begin to discover it in your own soul.” This liberation and healing quality were clearly revealed in many of Blok’s lyrical masterpieces and in such significant works of his as the poems “Retribution”, “The Nightingale Garden”, “The Twelve”.
The thinnest, but clearly perceptible threads connect moral ideals a poet with revolutionary ferment in the country, with a ripening impulse towards the future. “Man is the future... as long as we have blood and youth in us, we will be faithful to the future,” writes Blok to the young writer.
He professed this loyalty, although its dictates often came into dramatic conflict with much of his personal life, blood ties and preferences. “... Conscience encourages a person to seek the best and sometimes helps him to abandon what is old, cozy, sweet, but dying and decaying...” the poet wrote.
Revolution in the work of Alexander Blok
Hating, cursing and loving:
For torment, for death - I know -
All the same: I accept you!
(Alexander Blok)
Our detachment in the pioneer camp had a motto: “And eternal battle!” We only dream of peace,” which I really liked. Only much later did I find out that the words were written by “a real poet, by the will of God,” according to A.M. Gorky’s definition, Alexander Aleksandrovich Blok (in the cycle “On the Kulikovo Field”), a wonderful patriot who said: “Oh my Rus'!” My wife! "
Although Blok was one of the leaders, in general, far from real life movement - symbolism, in his works he constantly sympathized with the working people, especially the workers. In the famous poem “Factory” he talks about how “a motionless someone, a black someone” “tells a covenant with a copper voice.”
Bend your weary backs.
There are people gathered below.
In another poem, written in the revolutionary year of 1905 (“Fed”), the poet sarcastically says that the rich—the “well-fed”—were “bored and did not live,” while “prays for bread” were heard all around. But then the revolution began, “red laughter... banners” was heard, and
So - everything that is full is indignant,
The dampness of important wombs yearns:
After all, the trough has been overturned,
Their rotten stable is alarmed! ”
However, and it is very important to pay attention to this, Blok does not call for reprisals:
Let them live out their lives as usual -
We are sorry to destroy their satiety.
Accepting the overthrow of the old and outdated in the revolution, he does not want it to be harsh and bloody.
After all, it is known that the lynchings of the 1917 revolution shocked Blok, although, apparently, he found justification for them.
The episode of lynching is precisely the plot core of the complex poem about the revolution, “The Twelve,” which is complex in composition and artistic means. The revolutionary fighter Petrukha kills his beloved Katka because she cheated on him with the traitor Vanka. The latter managed to escape, but he was promised:
Run away, scoundrel! Alright, wait,
I'll deal with you tomorrow!
And these are not empty threats:
Do you remember, Katya, the officer?
He did not escape the knife...
But overall the poem is a hymn to the revolution. It is not for nothing that at the end of it the “first revolutionary on earth” Jesus Christ appears. And in his article addressed to the Russian intelligentsia, “Revolution and the Intelligentsia,” Blok called: “Listen to the revolution!” " It seems that the writer completely blesses the revolution:
We are at the mercy of all bourgeoisie
Let's fan the world fire,
World fire in blood -
God bless!
But the poem leaves an ambivalent impression, because the poet is realistic:
Lock the floors
There will be robberies today!
Twelve people (a symbol of the twelve apostles, in front of whom Christ walks) are depicted either romantically: “There are lights, lights, lights all around... Around the shoulders are gun belts...”, then naturalistically: “There is a cigarette in the teeth, they are wearing a cap.” You should have an ace of diamonds on your back! ”(sign of a convict).
The poem, the language of which is difficult not to admire, introduces us to the atmosphere of the revolutionary months, colored by both the rapture of freedom and the beginning of violence against the will and rights of people.
Today, the question of the role of the revolution is one of the main ones for many of us. From a distance of three quarters of a century, the mistakes and crimes of the revolution are clearly visible, but also the great energy of a great people, which was restrained for so long, is visible.
Historians will argue about the role of October for decades to come, but today we should be very grateful to Alexander Blok for so accurately and vividly capturing the revolutionary era in his short work. And if we remember that he blessed the revolution, in the fire of which his outstanding library burned down (it was collected by generations of his ancestors!), we agree with A.M. Gorky that he is “a man of fearless sincerity,” and we understand the words of K. Fedin, who, after the untimely death of the 40-year-old poet, said that “there will no longer be such courage and such longing for the truth of the future as A. Blok showed.”
Poets such as Blok and Mayakovsky, during their short lives, witnessed major historical events: the revolution of 1905, a period of brutal reaction, the imperialist war, the February and, finally, the Great October Revolution. All these are real milestones in Russia’s paths, important moments in its history, to which these poets responded vividly.
“Oh, glory four times, blessed one!” - with these words Mayakovsky greeted the Great October Revolution. Since October 1917, a new stage in his work begins, a stage determined, first of all, by changes in reality. The tonality of his poems changes dramatically. Pathos, a decisive denial of a reality hostile to man, its grotesque image (characters of satirical hymns, the image of the Lord of Everything), gloomy pictures of human grief give way to a major affirmation of the fundamental changes that have begun in the country.
“Ode to the Revolution”, “Left March”, “Mystery Bouffe”, “Stunning Facts” - these first examples of socialist art captivate with their sincerity and faith in the wonderful future that has opened up before humanity. Even his enemies could not blame the poet for his insincerity. Mayakovsky, as before, remained a romantic, but now the poet’s romanticism is aimed at establishing a new world. The “extraordinary”, almost fantastic in his works of those years was born of the surrounding environment. For Mayakovsky, the revolution was an opportunity to make life easier and brighter; it was supposed to save the people from the hated power of the “well-fed”. This is what he writes in his poem “Stunning Facts”:
In vain the plump hands prayed, -
unstoppable in his silent career.
Crushed
and Smolny rushed further,
republics and kingdoms taking barriers.
In the days of a historical turning point, Mayakovsky confidently joined the ranks of the first literary and artistic figures who joined the gigantic process of life renewal. He is deeply convinced that revolution and poetry need each other, he believes in the effectiveness of words. But for it to become truly effective, everything must be restructured: lyricism and epic, poetry and drama. This is why Mayakovsky works at Windows of ROSTA. The desire to directly participate in the revolutionary renewal of life and art is the source of Mayakovsky’s innovation.
Alexander Blok also had his own perception of the new reality. In January 1918, the poet published the article “Intellectuals and Revolution,” in which he wrote about the great tasks facing the country. At the same time, he wrote the poem “The Twelve.” It became the result of Blok’s thoughts about revolution. With great skill, the poet conveys the revolutionary storm that swept the entire country. Pictures of destroyed life, raging nature, images of the old world constitute the real environment in which the revolution takes place.
Blok's characteristic rejection of the old world was manifested in a satirical depiction of the bourgeoisie, a symbol of the past. Twelve people, twelve “apostles of the revolution”, filled with popular anger, are walking against the past, towards the wind, through devastation and hunger. The revolutionary passion that gripped these people transforms them into soldiers.
The main theme and protagonist of the poem is the people in the revolutionary era. The story of the Red Guard patrol walking through the streets of revolutionary Petrograd takes on cosmic proportions. With the help of the image of Christ, Blok tried to establish the revolution, since Christ is a symbol of morality, and the twelve guards are inextricably linked with him.
Thus, the depiction of the revolution in the works of Blok and Mayakovsky is different, but what they have in common is that they enthusiastically accepted the changes, although Blok was frightened by their scale. Each poet saw his own face of the revolution: for Blok it was a punishing sword, and for Mayakovsky it was an all-conquering force.
