The theme of the Motherland and revolution in the works of A. A. Blok
According to Blok, he devoted his life to the theme of the Motherland. The poet claimed that absolutely all of his poems are about the Motherland. The poems of the “Motherland” cycle confirm this statement of the author.
Like most poets of the Silver Age, Blok was concerned about the historical future of the country; his poems sounded doubts and anxiety. At the same time, the poet fills his works with great filial love for the Motherland. He believes in the talent and spiritual strength of the people, believes that Russia will go through the cleansing fire of disasters and emerge from them unharmed and renewed:
You won't be lost, you won't perish,
And only care will cloud
Your beautiful features.
The main thing in the cycle is the motive of the road, the path. The historical paths of the country can be traced back to hoary antiquity. In the poem “Rus,” the poet creates an atmosphere of mystery and paganism:
Rus' is surrounded by rivers
And surrounded by wilds,
With swamps and cranes
And the dull gaze of the sorcerer.
In the poems of this cycle, the poet gives both the real features of the Motherland and its symbolic appearance, shows the country from different sides, multifaceted and majestic in its vast breadth. A huge country has a difficult, thorny path. Its uniqueness lies in the coexistence on one territory of many different peoples with different cultures, but with a Russian soul:
...where there are diverse peoples
From edge to edge, from valley to valley
They lead night dances
Under the glow of burning villages.
In the poem “On the Kulikovo Field,” the poet tries to find answers to modern questions in the history of Rus', in the events of the Battle of Kulikovo. Ancient world contrasted with Russia at the turn of the 19th–20th centuries. The hero acts as a nameless warrior, thereby identifying the fate of the lyrical hero with the fate of the Motherland. Fighting in the army of Dmitry Donskoy, he is full of patriotism and love for his Fatherland. Nameless Russian warriors are ready to lay down their heads for the salvation and freedom of the Motherland. The poet believes in victory over the enemy, his poems are full of hope.
In the poem “Russia” Blok appears as a citizen and patriot who cannot imagine himself without his Motherland. He experiences with her a bitter fate, her poverty, and sees the hard life of the people. Russia appears before us in the image of a woman with a difficult life, but a strong-willed character:
And the impossible is possible
The long road is easy
When the road flashes in the distance
An instant glance from under the scarf.
The tragic history of the country and its people is the way of the cross that it must go through in order to achieve true greatness.
Blok perceived the Motherland as “a huge, dear, breathing creature, similar to a person, but infinitely more comfortable, affectionate, helpless than an individual person.” In ancient, “sluggish”, huge Russia, the poet saw powerful forces. Motherland is a mother who loves and loses her children. Blok predicted that the time would come when “the borders will be erased and the whole earth will become our homeland, and then not just the earth, but the endless universe.”
Long before the revolution, Alexander Blok foresaw the onset of great changes in the country and the world. This can be seen in the poet’s lyrics, full of dramatic anticipation of disaster. The events of 1917 served as the basis for writing the poem “The Twelve” (1918), which became Blok’s largest and most significant post-revolutionary work. The poet believed that any event is predetermined; first it takes place in higher spheres, inaccessible to man, and only then on earth. What the poet observed immediately after the revolution, he captured in his poem.
Blok managed to show the scale of the events that took place, to recreate the alarming, tense and ominous atmosphere of the consequences of the political coup at a very early stage, at the stage of comprehension, when nothing is yet certain. Blok perceived the revolution as an element that rages, regardless of the people; Only the strong can survive in it. In the poem, a cold wind, a blizzard, a blizzard sweeps away all the rubbish of the old, clearing the world for the new, unknown.
The image of twelve Red Guards appears in the second chapter. They walk in a snowstorm, and their very movement forward signifies impending changes. Symbolic images of a crossroads, a bourgeois at a crossroads, a “mangy dog” mean Russia at a crossroads, a confused person trying to hide from frightening changes. The poet is trying to figure out what the revolution brings with it: renewal or darkness and cruelty.
In Chapter 12, Jesus Christ appears “in a white crown of roses” ahead of a detachment of Red Guards. He holds a red flag in his hands, which turns bloody at the end of the poem. Blok understood that the path to a new life would not be without bloodshed. But the poet could not explain where this image came from in his poem. Christ is “invisible behind the blizzard,” he is ahead of the time when the revolution took place. Blok believed that Christ carried the “holy banner”, and the revolutionaries felt “holy malice” towards the whole world. In the poem, the image of Christ is given as a high moral ideal to which one must strive. The poet believed that people would find their way to goodness and beauty.
Short biography.
Alexander Alexandrovich Blok was born in 1880 in St. Petersburg. His grandfather
mother A.N. Beketov was a prominent scientist, rector of St. Petersburg University.
The poet's father was a professor of philosophy and law at the University of Warsaw.
Blok’s wife is the daughter of the famous Russian chemist D.I. Mendeleev. Childhood
the future poet spent time in the Beketov family, lived on his grandfather’s estate Shakhmatovo
(near the city of Kalinin). The Blok family paid a lot of attention to literature
and art. Blok’s grandmother, mother and her sisters were engaged in artistic and
scientific translations. The atmosphere that reigned in the Beketov family contributed to
the fact that Alexander Blok began to write poetry early. In 1906 Blok
Graduated from the Faculty of History and Philosophy of St. Petersburg University, also
while a student, he began to write poetry. Blok’s memory retains a characteristic
An episode from my student years. Your own poems, written based on paintings
V. Vasnetsov, he took it to V. P. Ostrovsky, editor of the democratic magazine
"God's Peace". “Having run through the poems,” recalls Blok in his later autobiography,
He said: “Shame on you, young man, when God is at the university
knows what’s going on!” - and sent me away with ferocious indifference. Then this
it was a shame, but now it’s more pleasant to remember this than many later ones
praises." Blok lived difficult life, in difficult times.
Russia at the turn of the XIX-XX centuries. Life changes quickly and becomes more complicated.
The development of industry and transport, communications, technical progress makes
its intense. All this is accompanied by a social crisis, active
searches in philosophy and religion. Towards a new century, something new is emerging in the country
art, which we now call the art of the “Silver Age”. Naive and
flat “realism”, the truisms of “positivism” cease to satisfy;
The “harmonic” means of 19th-century verse are largely erased.
Boldly and defiantly, new forces enter literature: Konstantin Balmont,
Valery Bryusov occupy key places on the poetic Olympus, and Dmitry
Merezhkovsky justifies the change in a special treatise “On the Causes of Decline
and about new trends in modern Russian literature." This is the manifesto of the new
trends in literature. These are the so-called “senior symbolists”.
A decade later, the “younger” ones also appeared. Two young poets, no one
Famous, not even familiar with each other, mystically inclined, intently
We peered into everything new that the new twentieth century brought with it. Even varied and
The bright sunsets of that time seemed to both an extraordinary “age of dawns” and
Associated with mystical expectation, an omen of something new,
Unusual, globally significant.
One of these people, Alexander Blok, watched these sunsets in St. Petersburg,
the other is Boris Bugaev, who entered literature under the pseudonym “Andrey Bely”,
in Moscow. Both were influenced by modern poetry, lived in the world of Ibsen,
philosophy of Nietzsche and Schopenhauer, music of Wagner, novels of Dostoevsky, poetry
Tyutchev and Fet, philosophy and poetry of Vladimir Solov. A. Bely theoretically
He substantiated symbolism as the art of higher synthesis, which has not only
artistic, but also prophetic, life-creative significance.
The poems of young A. Blok had not yet been published anywhere, and his mother sent them
to Moscow, to his cousin, the artist O. Solovyova, was there at that time
Andrey Bely, who lived next door. In letters to Zinaida Gippius, the famous
The St. Petersburg poetess O. Solovva wrote that Borya Bugaev (A. Bely) from
I am delighted with the poems of the newly minted St. Petersburg poet A. Blok.
In January 1903, their correspondence began, and both wrote at the same time
so that the letters met and missed each other on the road, which was given a mystical
significance. A year later in January 1904, when A. Blok arrived in Moscow with his
their young wife had a personal meeting.
Bely in Moscow became the head of the “Argonauts” circle, members of the circle
Having become acquainted with A. Blok’s poems, they took him to heart and considered him theirs.
The St. Petersburg poet, who had not yet been published, began to “rattle” in a group of enthusiastic
his followers.
Blok began to write poetry very early, but he did not immediately define himself as a poet;
More interested in the career of a dramatic artist, he took part in several
amateur and semi-professional performances. Lyrical poems
were created along the way, as if for themselves, as a means of self-expression. The block is not
I was in a hurry to publish, although there were already several hundred poems. And when in 1903
two collections of Blok’s poems appeared in print, and then the first collection
“Poems about a beautiful lady” - it turned out to be an incomparable debut. The block did not immediately act
as a beginner, but as an established poet, who began to be compared with Fet.
He enters the literary circles of both capitals, meets Merezhskovsky,
Bryusov, gets closer to A. Bely and S. Solovyov - becomes a noticeable figure
a young movement at that time - symbolism.
The collection “Poems about a Beautiful Lady” was not a mechanical collection of everything
what was written by the poet by this time (1905), it was carefully compiled and
was distinguished by the unity of theme and composition, where each poem developed a common
idea. This idea was instilled in Blok by the poetic philosophy of V.S. Solovyov: the idea
Eternal Femininity and the signs and “premonitions” associated with it. Premonitions
associated with the beginning of a new century, which the poet felt as new not only
calendar, but also in essence. These mystical premonitions in social language
(alien at that time to Blok himself) were caused by a turning point in the life of the country at
the turn of two centuries, the complication of the mental life of the creative intelligentsia.
Symbolism gained a strong influence, expressing complex
the experiences of a person living the spiritual aspirations of the new century. Blok the poet
developed within this current. But even before meeting him directly
the poetic quests of the young Blok were also connected with the poets who preceded him -
with the works of Tyutchev, Fet, Apukhtin, Polonsky and especially Vl. Solovyov.
Idialistic mood, service to Femininity and Beauty, estate
motives, a combination of intimate love and philosophical themes, musicality,
the melodiousness of the verse—such is Blok’s young lyrics, adopted by his predecessors.
Pushing away from rationalism and positivism that he hated, mastering technology
symbolism, Blok creates mystical-romantic works based on
bewitching reticences and ambiguities, becomes a master
indistinct poetic speech, similar to the paintings of other impressionists.
The theme itself required such a darkening of the verse: a vague myth about the Mysterious,
Incomprehensible Femininity and Beauty, capable of transforming the world.
“Poems about a Beautiful Lady” became the basis of the first book of lyrical
Blok's works, which the poet himself gave the appearance and meaning of a lyrical diary.
However, these early lyrics with their mystical experiences were not accepted
traditional liberal criticism. The ideal of serving the Eternal Feminine in
“Poems about a Beautiful Lady” is contrasted with the base concerns of people “about gold
and bread”, but this motif is rare, and it is wrong to think that in the early poems of the poet there is no
no sociality: the expectation of a Beautiful Lady is combined with a vague consciousness
trouble, a cosmic cataclysm, a threatening global catastrophe.
The poet closely peers into life and sees its realities, even the hardships
factory work and everyday city life. These motives are reinforced
in book two (poems 1904-1908). The revolution of 1905 awakened in the poet
consciousness of civic responsibility: there is no peace and happiness when the world is divided into
hungry and well-fed. A rare openness bursts into the poet’s work.
political lyrics: “Fed”, “Rally”, “Hanging over the world city...”,
however, Blok accepted the revolution only emotionally, sacrificially
As a personal drama, there is no direct glorification of the revolution in Blok’s poems.
The volume was based on a collection of poems - “Unexpected Joy” (1907).
The title indicated the poet's discovery of the "image of the coming world" associated
with the movement of the people, the social lower classes. In the opening volume of the program
In the poem, the one who was a beautiful Lady “went into the fields without returning.”
The turmoil of city life gave rise to the appearance of “attic” poems depicting
a city in the traditions of Nekrasov, Gogol, Dostoevsky - in all its factory-
factory and household ugliness. Gradually from mystic-romantic
The troubadour Blok turns into a poet who cares about the fate of Russia.
Another theme is nature, “bubbles of the earth” – with its material plane
also destroyed the style of “Poems about a Beautiful Lady”. Blok quarreled with
by his friends “Solovyovites” - A. Bely and S. Solovyov, who saw here
betrayal of the canons of symbolism.
The central poem of the collection, “Stranger” (1906), brought Blok
great fame. Here the woman is a vision, the embodiment of an ideal, but in contrast
from the Beautiful Lady, the image is earthly, earthly, real and, moreover, restaurant-like, although
and contrasted with the vulgarity of everyday life.
The image of the lyrical hero also changes - this is a lonely person in a state of
psychological depression, the causes of which are social, is filled with despair
alcohol. This image is autobiagrophic, lyrical, corresponds to the worldview and
the poet’s “vagrant life” during these years. The figure of a tramp, a wanderer,
renouncing the traditional values of the urban culture and being
on the way, in wanderings through the homeless, poor native land, which he selflessly
loves. The poem “Autumn Will” was written, it is not by chance that it is marked not only
- New!
Most poets approached the question of their native land, one way or another, and each in his own way comprehended the Motherland known to old and small - Russia. Among them is Alexander Alexandrovich Blok. One of the central themes in his poetry is the theme of the homeland....
- New!
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“I consider Blok not only the greatest poet of the first quarter of the twentieth century, but also a man of the era, that is, the most characteristic representative of his time...” wrote Anna Akhmatova. Alexander Blok was a dreamy man. But the dream...
As you know, A. Blok divided his lyrics into three books, each of which marked a certain stage of his creative path and was dedicated to a certain range of thoughts and feelings. All books constituted the “incarnation trilogy.” This is how the poet formulated the goal...
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Plan I. A theme that is close and understandable to me in Blok’s poetry. II. The evolution of the poet’s vision of his homeland throughout his work. 1) Russia in the early work of the writer 2) “A terrible world” and the world of a “beautiful dream” 3) Highest courage...
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 confrontation. 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 towards 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 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 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:“a snowy 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, which does not accept 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..
Topic: Revolution in the work of A. A. Blok
Although Blok was one of the leaders of a movement that was generally far from real life - symbolism, in his works he constantly sympathized with the working people, especially workers. In the famous poem “Factory” he talks about how “a motionless someone, a black someone” “spoke 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 - “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 shoulder are gun belts...”, then naturalistically: “There is a cigarette in his teeth, he is 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.”