There ladies flaunt fashion analysis. “Creative searches of Blok Ballad “Stranger. Designation of lesson objectives
A lesson in the development of speech in literature in grade 11.
Analysis of the lyrical text on the example of A. Blok's poem "The Stranger"
Goals:
educational : to consolidate the basic knowledge, skills, skills of analyzing a work of art in the unity of content and form; to teach a holistic perception of a work of art; to teach students to analyze the text, draw conclusions and generalizations.
developing : develop oral speech and emotional-figurative, analytical thinking;
educational : educate interest and instill love for Blok's poetry; the study of his poems should be a discovery for students, the comprehension of higher spirituality.
Forms of work: frontal, individual, group.
Equipment: computer, multimedia projector, interactive whiteboard.
The lesson is accompanied by a PowerPoint presentation.
Every poem is a veil stretched out on the points of a few words. These words shine like stars. Because of them, there is a poem.
From "Notebooks" by A.A. Blok
During the classes
Introduction by the teacher.
Blok's lyrics are a unique phenomenon in Russian poetic culture. With all the diversity of its problems and artistic solutions, with all the difference between the early poems and the latest ones, it acts as a single whole, as one work unfolded in time, as a reflection of the “path” traveled by the poet.
The poet himself called the combination of his lyrics "the trilogy of incarnation" and perceived it as a three-volume "novel in verse", and not just as a collection of his most significant poems.
The poetry of A. Blok is the poetry of hints that the reader must understand, decipher on their own and, in accordance with them, complete the picture of reality, or fantasy, or, relatively speaking, the “spiritual landscape” - the poet’s experience or worldview. And in order to understand the secrets of poetry, let us recall Blok's passion for Solovyov's philosophy about the ideal of eternal femininity. We do not forget the time of the life and work of the poet. Genuine life, with its sharpness of social contradictions, gradually enters Blok's work. "A Terrible World"... This is the name of the central cycle (second book) of Blok's poems. This is how Blok called the world he came to at the beginning of the 20th century. The feeling of life's troubles, its tragic contradictions, the "deaf darkness" generated by them is the prerequisite for all of Blok's work.
2. Checking homework.
Name the main types of literature.
Let's remember what the lyrics are?
List the main genres of poetry.
What is the purpose of the lyric?
What means of expression are used to create an image and mood
lyrical hero?
3. Designation of the objectives of the lesson.
Today we will turn to a poem inspired by all sorts of images - symbols, “The Stranger”. Analyzing the poem, we will try to see behind the outer row of images the second row, which cannot be unambiguously interpreted, to hear the music of the verse, to comprehend its deep essence, its invisible secret, and through this to understand, to feel the inner world of the lyrical hero, his feelings and mood.
To do this, we will work according to the following plan:
the time of writing the poem, the history of creation;
composition;
keywords - images - symbols (associations);
theme, (micro-themes);
how expressive means help to reveal the theme (micro-themes) (be sure to pay attention to the sound writing, color symbolism of the poem);
images of lyrical heroes;
the mood of the lyrical hero;
to connect this poem with all the work of the poet, to reveal the idea of the work to comprehend his worldview.
4. Work according to plan.
- Describe the timing of the poem.
Individual report on the history of the creation of the poem (homework implementation).
In 1903, Blok married Lyubov Dmitrievna Mendeleeva and in many poems began to combine the ideal features of an invented image with the features of a specific, real woman. In "Poems about the Beautiful Lady" Blok was looking for his ideal, longed for unearthly love, and his beloved did not have a single real feature. It was an unearthly creature. "The Stranger" was written later, in 1906. During this period, the poet breaks with his symbolist friends. The relationship of the spouses was difficult, they soon broke up. L.D. Mendeleev left, went to his close friend - the poet Andrei Bely. On the other hand, the pre-revolutionary and revolutionary reality of the beginning of the century persistently and from different sides broke into the life and work of Blok. This poem belongs to the period of writing the "Terrible World". By this time, significant changes had taken place both in the life of Blok and in Russia. In the mind of the poet there was a conflict between the sublime dream and reality. He is still looking for the eternally feminine, but now, unfortunately, in taverns and in the alleys of dusty country towns. Cruel reality, social contradictions - one of the themes of the "City" cycle, where "The Stranger" entered. The poem can be attributed to symbolism, but its beginning is a completely realistic picture. A similar picture is also found in other works: “In a restaurant”, “There ladies flaunt fashion ...”
The poem was born from wanderings around the St. Petersburg suburbs, from the impressions of a trip to Ozerki, a holiday village near the station of the Finnish Railway. Blok had long chosen this provincial suburb of St. Petersburg, located along the Primorskaya railway, which began at Bolshaya Nevka, opposite Kamenny Island. There was a small wooden station here.
Once upon a time, in the 80s, Ozerki began to flourish. Dachas grew up on the banks of the Suzdal lakes covered with pine forests, theater and concert halls, a restaurant, and a tower for viewing the surroundings were built. By the time Blok began to come here, only the decrepit theater building "Chantecleer" was reminiscent of its former splendor.
Unpretentious dachas stretched along the dusty streets, where an average audience gathered for the summer. Shabby front gardens, petty shops, cheap taverns. There was a modest railway buffet where local drunkards gathered. Blok fell in love with dropping in and, sitting aloof over a bottle of wine, surprised with his posture, habit, costume, with his whole appearance of a "noble foreigner" and waiters, and visitors, and the station gendarme.
The poet sat down in his chosen place at the wide Venetian window overlooking the station platform. The sight was dull: stunted bushes, rails, arrows, semaphores. The streets of the village were visible to the side.
Then Blok brought a young writer Yevgeny Ivanov to Ozerki, who on May 9, 1906 wrote in his diary a story about a trip with Blok out of town. The poet showed him everything that is mentioned in his poems, and told in detail how the Stranger appeared in the window from the steam of a flying locomotive.
5. A.A. Blok’s poem “The Stranger”. The stage that reveals the perception of a lyrical work.
Let's go with the poet to the country restaurant.
Expressive reading by the teacher of the poem by heart. Students follow the text.
Try to talk about what you saw, heard, felt while listening to the poem?
What impression did you see, hear, feel?
What seemed strange, what attracted attention, what remained incomprehensible?
Teacher's word.
K. Chukovsky recalled the impression The Stranger made on the poet's contemporaries:
“I remember the night before dawn when he first read The Stranger, I think shortly after it was written by him. He read it on the roof of the famous tower of Vyacheslav Ivanov, the symbolist poet, at whose place every Wednesday all aristocratic Petersburg gathered for an all-night vigil. From the tower there was an exit to the roof, and on a white St. Petersburg night, we, artists, poets, artists, excited by poetry and wine - and we were intoxicated with poetry then, like wine - went out under a whitish sky, and Blok, slow, outwardly calm, young, tanned (he always sunbathed in early spring), climbed onto a large iron frame that connected the wires of telephones, and, at our persistent plea, for the third, fourth time he read this immortal ballad in his restrained, deaf, monotonous, weak-willed, tragic voice. And we, absorbing her brilliant sound writing, already suffered in advance that now her charm would end, but we wanted it to last for hours, and suddenly, as soon as he uttered the last word, from the Tauride Garden, which was right there, below, like a wave of air we heard the many-voiced nightingale's singing. At that time in our distant youth, Blok's poetry acted on us like the moon on lunatics.
6. Analysis of the poem.
Group work, with leading, guiding questions of the teacher, leading to certain reflections of students.
As the work progresses, students complete the table in groups.
1 group
Word, image, symbol, detail
2 group
Means of artistic
expressive
3 group
Associations, conclusions, mood of the lyrical hero
Step by step commentary reading of the poem.
Composition.
How is the poem structured, what is its composition? How many parts can a poem be divided into?
Student responses: The poem can be divided into 2 parts. The first half of the poem paints a picture of self-satisfied and unbridled vulgarity, in the second part a contrasting image of the Stranger appears.
Generalizations and teacher additions: The poem has two parts, and the main literary device is antithesis, opposition. In the first part - the dirt and vulgarity of the surrounding world, and in the second - the beautiful Stranger; this composition makes it possible to convey the main idea of Blok: the image of the Stranger transforms the poet, his poems and thoughts change.
Features of the composition of the poem: consists of 13 quatrains, the work itself is divided into two parts: a description of the real situation (1-6 stanzas) and a part associated with the appearance of the Stranger (7-12 chapters). Both parts are united by feelings, the relationship of the lyrical hero to the depicted. The poem is built on the contrast of pictures and images, opposed and reflected in each other.
Vocabulary work.
Quatrain - quatrain.
The first part of the poem paints a picture of self-satisfied, unbridled vulgarity, the signs of which are artistic details. The beginning conveys the general atmosphere and its perception by the lyrical hero:
In the evenings above the restaurants
Hot air is wild and deaf
And rules drunken shouts
Spring and pernicious spirit.
What artistic details depict a picture of vulgarity? Determine the key images of the real world and the author's attitude towards them.
Students answer:
A) restaurants, hot air, the shouts of drunkards, the spirit of spring and pernicious;
B) dust, boredom, pretzel, children's crying;
C) evening, barriers, ditches, experienced wits with ladies;
D) a lake, oarlocks, a female squeal, a disk in the sky;
D) evening, glass-friend, tart and mysterious moisture;
E) neighboring tables, sleepy lackeys, drunkards with rabbit eyes.
– What can be said about this world and the author’s attitude towards it?
Before us is a picture of unbridled vulgarity that infects everything around.
Key words - images - symbols of the 1st stanza. Associations.
Where and when does the poem take place?
Students answer: in the evening in the spring.
We find ourselves out of town on a beautiful spring evening. However, we do not feel the joy of nature's renewal. Everything is saturated with a "pernicious" spirit. The artist would need the most gray and boring colors to depict "lane dust", ditches and barriers.
Let us note the oxymoronism of the image: epithets opposite in meaning are combined - “spring” and “pernicious”.
- "Perilious" air, that is, what kind? Maybe the air is pernicious in spring? Why does Block have such air?
Vocabulary work.
Pernicious - harmful, decaying.
Spring cannot be associated with decay. This is an oxymoron.
And every evening, behind the barriers,
Breaking pots,
Among the ditches they walk with the ladies
Proven wits.
Oarlocks creak above the lake,
And a woman screams...
Vulgarity infects everything around with its pernicious spirit. Even the moon, the eternal symbol of love, the companion of mystery, the romantic image becomes a soulless disk, becomes flat, like the jokes of "tried wits."
How do poetic vocabulary and syntax emphasize the monotony, familiarity, and repetition of such a picture?
Student response: using a metaphor
And in the sky, accustomed to everything,
The disk is pointlessly twisted.
and anaphoras: “And rules”, “And every evening”, “And it is distributed”.
The situation is pumped up with the help of cutting sounds. Let's trace the phonetic structure of the poem.
Find these cutting sounds in the poem.
The ear perceives the disharmony of sounds: “baby crying”, “shouts of drunkards”, creaking of oarlocks, “female screeching”. The accumulation of sharp consonants, squealing and scraping (unique block's alliteration), helps the reader to feel the disharmony of life itself (creak, squeal, disk, deaf, wild, dust). Blok's sound painting loses here its tenderness, smoothness, and musicality. The words used by the poet to evaluate the Russian outback convey the ugliness, rudeness, primitiveness of this very outback (either geographical or spiritual): barriers, oarlocks, lanes, lackeys, drunkards, rabbits, etc. In “Poems about the Beautiful Lady They would simply be impossible.
And suddenly the eye notices something golden. What? It turns out that here they mistake for gold a shiny sign above the door of the store - "bakery pretzel." But what about the moon, the patroness of lovers, sung by poets? But in this world there is not even a celestial body, there is simply a disk that "meaninglessly curves." Well, in a world where only signboards play with gold, and the moon looks bored at the human flickering, and lovers are a match: "among the ditches, experienced wits walk with ladies." There is no lofty feeling, no lofty relations, and, consequently, Poetry disappears. If earlier in "Poems about the Beautiful Lady" Blok did not notice the signs of the outside world at all, now he is painfully wounded by them. There is no escape from this world, it spreads its miasma, and these miasma penetrate even into poems about a woman, a mysterious Stranger. In a terrible spiritless world, even nature loses its beauty: it is defiled by everyday life. There is nothing to breathe here: "the hot air is wild and deaf."
Key words - images - symbols of the 2nd stanza. Associations.
Student responses:"... over the dust of the lane, Over the boredom of country cottages", a bakery pretzel. The theme of gray everyday life continues, which is invaded by “a bakery pretzel that is a little golden”.
.
Student response: at kinship "terrible world" showsymbolically, color plays a special role here. WITHgray and black color - the personification of some kind of spiritual crisis, stagnation, everyday life, they inspire feelings of hopelessness, mortification of the soul. The pretzel is golden - perhaps some kind of gap in the distance, hope, the yellow color changes to golden.In the symbolism of color at Bloka yellow means wilting, smoldering; black - disturbing, disastrous,catastrophic.
Who inhabits this vulgar, soulless world?
Students answer: vulgar women and men playing at love, "rabbit-eyed drunkards," "drowsy lackeys," weeping children, and squealing women. The only entertainment for the inhabitants of this town is boating on the lake and visiting the local "spiritual" center - a restaurant.
Key words - images - symbols 3-4 stanzas. Associations.(16 slide)
Student responses: among the ditches, experienced wits, oarlocks creak, a woman's squeal. Vulgar routine is depicted ironically. The barrier is a symbol of an obstacle. Blocking the way for people, he does not let them out of this vulgar circle of restaurant amusements.
by sound writing.
In the paired lines of the third stanza, only two sounds are given in a strong position: a-s, u-s. In the same lines, multi-syllable words make reading difficult, and this well reflects the vulgar, painful situation that is described here. Alliterations in the description of a dirty street, heaps of rough consonant sounds.
Key words - images - symbols of 5-6 stanzas. Associations.
The next two stanzas are a continuation of the picture and, at the same time, a transition to the second part.
Reading 5.6 stanzas.
What is the image of the lyrical hero before us?
In these lines, the main thing is the despair from the loneliness of the lyrical hero. This motive sounds in a humble and bitter confession:
And every evening the only friend
Reflected in my glass
And moisture tart and mysterious,
Like me, humble and deaf.
Who is this "friend only"?
The student's answer: this "only friend" is a reflection, the second "I" of the hero. The lyrical hero is lonely surrounded by drunkards, he rejects this world that terrifies his soul, similar to a booth, in which there is no place for anything beautiful and holy.
Let's look at the vocabulary of these two stanzas. What are its features?
The vocabulary of the first stanza (“And every evening is the only friend ...”) is high, similar to the vocabulary of the second part of the poem. The vocabulary of the second stanza (“And next to the neighboring tables ...”) is low (“lackeys”, “stick out”, “drunkards”, “shout”), gravitates towards the vocabulary of the first part. Thus, these two stanzas, as it were, hold together parts of the poem, penetrating into the fabric of the lyrical narrative.
Analysis of the second part of the poem.
Images are symbols of the second part of the poem.
What image appears in the second part of the poem?
In the second part, the image of the Stranger appears.
How is the title character of the poem portrayed? What is the reason for the appearance of the image of the Stranger?
The student's answer: the appearance of the Stranger is somehow connected with the "terrible world" surrounding her - her arrival is also accompanied by the formula "And every evening." The third time the line begins with these words. This is an anaphora. Here everything is sublime and beautiful, mysterious and very conditional.
What expressive means help to emphasize the features of the heroine's beautiful appearance, convey the mystery of the image of the Stranger?
Student's answer: a number of epithets call us to the mysterious, fabulous world of love and beauty: "foggy window", "ancient beliefs", "elastic silk", "mourning feathers", "dark veil", "enchanted distance", "blue eyes , bottomless"; metaphors: "a girl's camp, seized by silks."
What embodies the image of the Stranger?
The student's answer: the heroine is devoid of realistic features, she is all shrouded in silks, perfumes, fogs, mystery. This image is full of poetic charm, fenced off from the dirty reality by the sublime perception of the lyrical hero:
And breathe ancient beliefs
Her elastic silks
And a hat with mourning feathers
And in the rings a narrow hand.
How does the image of the Stranger compare with the image of the lyrical hero?
The student's answer: the world that the Stranger brought with her is the only world in which a lyrical hero can live. There is an undoubted mysterious connection between the lyrical hero and the heroine: she comes “at the appointed hour”, and she, too, is “always without companions, alone”. The surrounding vulgarity does not concern her - "And slowly, passing between the drunks ...". She is depicted by the poet against the backdrop of light and open space, "she sits by the window." The hero feels a “strange intimacy” with her, like a knight, the lady entrusts him with some “deep secrets”, hands over the “sun”, her feathers “swing” in his brain, the key to the treasure is handed over only to him. She brought with her peace, the only thing needed by the hero. The loneliness of the heroes distinguishes them from the crowd, attracts them to each other:
And chained by a strange closeness
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance.
What is the significance for the lyrical hero of the appearance of the image of the heroine?
The student's answer: the appearance or vision of the Stranger for the hero is a secret for everyone, he carefully keeps it: "Deaf secrets are entrusted to me, Someone's sun has been entrusted to me ...". The sun is a symbol of femininity, happiness, love, light. The hero imagines "the enchanted coast and the enchanted distance." He rises with his thoughts above the “boredom of country cottages” and rushes to the “far shore” of hope, love, dreams. The coast is Blok's symbol, the meaning of which is new life, new discoveries, a new understanding of life and poetry. This association acquires the meaning of a real-life opportunity to sail to the other side of life, to go into the “enchanted distance” from vulgarity, which a minute ago seemed invincible.
Individual task at the blackboardthe symbolism of the poem. (The student works with the interactive whiteboard)
Blok explained where he saw the Stranger - it turns out, in the paintings of Vrubel: “Finally, what I (personally) call “The Stranger” arose before me: a beautiful doll, a blue ghost, an earthly miracle ... The Stranger is not at all simple lady in a black dress with ostrich feathers on her hat. It is a diabolical fusion of many worlds, predominantly blue and purple. If I had Vrubel's means, I would have created a Demon, but everyone does what is assigned to him ... ". The blue color means for Blok the starry, high, unattainable; lilac - disturbing.
The lyrical hero feels his dedication to the "deaf mysteries", his mind is filled with a magical image:
And ostrich feathers bowed
In my brain they sway
And blue eyes, bottomless
Blooming on the far shore.
Now he is different from all the regulars of the restaurant. He has a secret in his soul that is beyond their control. But what is this secret? The last stanza completes the revolution in the soul of the lyrical hero, speaks of his chosenness, of the imperishability of the beautiful ideal:
There is a treasure in my soul
And the key is entrusted only to me!
You're right, drunk monster!
I know: the truth is in wine.
What is the meaning of the rhyme "treasure" - "monster"?
The student's answer: this is the collapse of hope, the recognition of the reality and unattainability of beauty. And the fact that the hero repeats in Russian the phrase that drunkards shouted in delight in Latin (“In vino veritas”) is especially bitter, because this is a sentence to himself. The phrase "truth in wine" is now devoid of vulgarity, it is a formula of discovery - the true world can be seen through wine.
What is the meaning of the last sentence of the poem? What does wine symbolize?
Wine is also a symbol of revelation, the key to the secrets of beauty, newly acquired faith and hope. Beauty, truth and poetry find themselves in an inseparable unity. The lyrical hero discovered a new beautiful world, poetry, truth. It is important that the human soul for a moment came into contact with the world of beauty.
So was this woman? Did the hero see it, or is it really the truth at the bottom of the glass?
The vision suddenly disappears. The stranger was just an illusion. Therefore, the final stanza is so sad and ironic at the same time. This is not a real Stranger, but only the poet's vision, an image created by his imagination. The guessed secret, which opened up the possibility of another, wonderful life "on the far shore", far from the vulgarity of reality, is accepted as a "treasure" found.
The main compositional device of this poem is the antithesis. What did Blok want to convey to us by choosing such a construction?
Student's answer: in the first part of the poem, the dirt, vulgarity of the world around is depicted, and in the second - the beautiful Stranger. Such a composition makes it possible to convey the main idea of Blok: the image of the Stranger transforms the poet, his poems and thoughts change. Artistic means are also subordinated to this technique: epithets, metaphors, comparisons, sound writing.
Quite right. The opposition of the parts of the poem finds expression both in images, and in vocabulary, and, especially, in the sound organization of the verse. Let's find more examples of sound writing in the poem.
Student's individual taskby sound writing.
In the first part - a pronounced alliteration, the repetition of difficult-to-pronounce consonant combinations: Ch, X, T, G, D, K. The vocabulary of this part is negative.
Since the main compositional technique of this poem is an antithesis, alliterations in the description of a dirty street, heaps of rough consonant sounds are further replaced by assonances and alliterations of sonorous sounds - [p], [l], [n]. Thanks to this, the most beautiful melody of the sounding verse is created.
The second part is the harmony of sounds.The appearance of the heroine is accompanied by a sound recording of rare beauty(assonances and alliterations), creating a feeling of airiness of the image:“And every evening, appointed at the hour ...”; "Girlish camp, silkscaught, / In the fog (A) m moves (A) about (A) kne ... ". Assonansy on "y" give refinement to the image of the Stranger: "And I wind (U) t ancientaccording to my beliefs / Her elastic silks, / And a hat with mourning feathers, / And inrings narrow hand.
Blok’s ingenious assonance: “Breathing in spirits and mists, she sits down by the window” (s-a-u-a-i-i-u-a-a-i ...), “and her elastic silks breathe ancient beliefs” (and -e-u-e-i-i-a-e-a-i ....) conveys the element of femininity that dawned on this country restaurant, makes the lines musical, light, weightless. The poet minimizes unpronounceable consonants, turning to sonorous sonorants, which he sets off with hissing and whistling sounds, reminiscent of the rustling of silk.
Innokenty Annensky wrote about the poem "The Stranger":
“Oh, read Blok’s The Stranger as many times as you like, but if you are anything but a Petersburger, your heart cannot but ache sweetly every time when the Beautiful Lady dissipates and answers from you, finally, all this now definitely pernicious spirit. And in an instant all these ridiculous frills seem to change. For a minute, but the city - worse, the dacha - becomes the only valuable and beautiful thing for you, because of which it is worth living. The chest expands, you want to breathe freely, say A:
And slowly passing between the drunks,
Always without satellites, alone,
Breathing perfumes and fogs... (do not find fault, for God's sake, do not ask why fogs - and not, for example, too spicy, fogs are better - it is impossible otherwise than fogs)
She sits at the window.
Her narrow hand is the first thing that the poet discerned in the lady. And now the wide A is inferior to the narrow E and U. Behind the wide A, only the dignity of masculine rhymes has been preserved.
And they breathe ancient beliefs
Her elastic silks,
And a hat with mourning feathers,
And in the rings a narrow hand.
The dream blooms so powerfully, so inexorably - that you are really afraid to cry. You almost feel sorry for someone. And now only lips whisper, only lips, and verses can only rely on O and U:
And ostrich feathers bowed
In my brain they sway (yes, brain, brain - a thousand times the brain, unfortunate pedants, only dancing from the stove!)
And the eyes are blue, bottomless
Bloom on the far shore.
I do not know from Blok another, more coquettish, but also more masculine poem.
7. The word of the teacher.
In the course of the conversation, analysis of the poem, you filled out a table in which all the important details were noted for a complete understanding of the poem.
Let's highlight these key points:
What is the theme of the poem? (The theme of this poem can be defined as follows: the ideal, the need for beauty comes into contact with a repulsive reality, the poet reflected this duality in the composition of the work.)
The basic principle of construction? (Antithesis - opposition)
What are the symbols - images in the poem?
How do expressive means help to reveal the theme of the poem?
What is the place of the lyrical hero in the work? (In this poem, a subtle psychologism is manifested in revealing the image of the lyrical hero, it is his condition that is very important for Blok. Therefore, the inseparable connection between the lyrical hero and the poet himself becomes clear.)
How is this poem related to all the work of the poet?
8. The result of the lesson.
This poem does not leave anyone indifferent, it cannot be forgotten once read, and a beautiful image excites us. These verses touch to the depths of the soul with their melodiousness; they are like pure, magnificent music flowing from the very heart. After all, it cannot be that there is no love, there is no beauty, if there are such beautiful verses.
Let's listen to this poem again and watch the video to really enjoy its meaning and "music".
9. View video.
What do you feel now?
Can you tell how your feelings differ from the initial sensations?
What new things have you discovered for yourself?
So, the lyrical hero of Blok goes through everything that the poet himself experienced. This is a thirst for life and despondency, ups and downs, faith and emptiness ... He finds faith in his homeland.
10. Giving and commenting on grades for work in the lesson.
11. Homework.
Read the poems “Russia”, “The river spreads, flows widely”, “By the railroad”, learn one by heart (optional), prepare a message “The theme of the Motherland in Blok’s lyrics”, an individual task - the history of the creation of poems.
Above the dust of solar lakes
There beckons with scarlet fingers
And summer residents worry in vain
Over dusty train stations
unattainable dawn
Where I miss so painfully
Comes to me sometimes
She is shamelessly delightful
And humiliatingly proud.
For thick beer mugs
Behind the sleep of the usual bustle
Through the veil covered with flies,
Eyes and small features
What am I waiting for, enchanted
My lucky star
And deafened and excited
Wine, dawn and you?
Sighing with ancient beliefs,
Noisy with black silks,
Under a helmet with mourning feathers
And you're stunned with wine?
In the midst of this mysterious vulgarity,
Tell me what to do with you -
unattainable and unique
How is the evening smoky blue?
There is no maiden camp, there is only a veil; behind the veil, not “the enchanted shore” and not “bottomless blue eyes”, but “eyes and small features”. She is "shamelessly ravishing And humiliatingly proud." Beauty is vulgarized. And yet the heroine of the poem remains "unattainable and the only one" - she is opposed to "mysterious vulgarity", is interpreted as its victim. The poem “There ladies flaunt fashion” was written simultaneously with “The Stranger”, but Blok completed it 5 years later.
The symbolism of Blok's sound images developed under the sign of the incessant deepening of the semantic sphere of poetry. The mysterious world of sounds, incomprehensible and fatal, opened its circle over the years, approaching living life and people, until it merged with them in one indissoluble unity, becoming part of the indivisible whole "sound - living life".
In the evolution of the symbolism of sound in the figurative structure of Blok, a movement from a particular, concrete, random to a generalized typological, all-encompassing meaning of sounds, to the elements of sound pressure and from it to universal sound harmony is clearly noticeable.
Conclusion.
In a 1902 poem entitled Religio, Blok wrote:
I loved tender words
I was looking for mysterious inflorescences.
In fact, it is color symbolism and visual imagery in general that is the main feature of the poetic model of the world created by Blok. But Blok was not only looking for mysterious color correspondences: he also listened to the mysterious sound correspondences of the surrounding world. In 1919, in the preface to the poem "Retribution", he says: "I am used to comparing facts from all areas of life that are accessible to my vision at a given time, and I am sure that all of them together create a single musical pressure." The musical sensation of phenomena finds expression in Blok both through repetitive images, similar to the leitmotifs of his lyrical cycles and poems, and through a fine study of the sound fabric and the rhythmic diversity of his verse. Rhythm and sound in his poetry very often carry very specific information that the reader catches synesthetically, on a subconscious level.
Explain the concept of synesthesia.
The word "synesthesia" comes from the Greek synaisthesis and means a mixed sensation (as opposed to "anesthesia" - the absence of sensations). Synesthesia is a phenomenon of perception when, when one sense organ is irritated, along with sensations specific to it, sensations corresponding to another sense organ arise, in other words, the signals emanating from different sense organs are mixed and synthesized. A person not only hears sounds, but also sees them, not only touches an object, but also feels its taste.
First of all, intersensory connections in the psyche, as well as the results of their manifestations in specific areas, are called synesthesia - poetic paths of intersensory content; color and spatial images caused by music; and even interactions between the arts (visual and auditory) (according to B.M. Galeev).
What is the essence of the concept of "intersensory communication" (synesthesia), its functions in art? We are talking about interactions in the polysensory system of sensory reflection, arising on the principle of association. The simplest connections, as you know, are "associations by contiguity", and the most significant for art are "associations by similarity". The similarity can be a similarity in form, structure, gestalt (form / appearance) of auditory and visual images (for example, an analogy is built on this: a melody-drawing). The similarity can be both in content and in emotional impact (this is the basis, for example, of the synesthetic analogies "timbre-color", tonality-color"). The last type of synesthesia is most characteristic of art, and when recognizing the binding mediation of higher, "smart" emotions , in the formation of synesthesias, one can see the participation of mental operations (even if they are carried out most often on a subconscious level).In this regard, synesthesia should be attributed to complex specific forms of non-verbal thinking that arise in the form of "co-representation", "sympathy", but by no means not "co-feelings", as it is interpreted according to the etymology of this word.
Thus, being a specific form of interaction in an integral system of human sensibility, synesthesia is a manifestation of the essential forces of a person, but by no means an epiphenomenon, and of course, not an anomaly, but a norm - although due to the possible "hiddenness" of its origin in each specific case, it inaccessible to superficial scientific study. Moreover, synesthesia can be characterized as a concentrated and simultaneous actualization of the sensual in a wide range of its manifestations: firstly, "multiplied" sensory and, secondly, emotions that mediate this "multiplication".
We did not aim to dwell on the personality of Blok as a typical synesthete, however, we consider it our duty to note how the tonality of sound images of A. Blok's lyrics is reflected in the perception of his poems. Alexander Blok, being one of the brightest representatives of symbolism, possessing a synesthetically developed mental structure, was a true singer of the colors of the era, its “voice” in world history.
Blok's poetic images cannot be regarded as mere reflections of real objects or as ordinary metaphors and metonymies, simply loaded with some abstract meaning. His images always retain both concrete and abstract meaning, that is, they are symbols. Blue visions, pink horizons, white temples over the river in his early poems - and the yellow Petersburg sunset, purple dusk, night, street, lantern, pharmacy in his later poems - all this equally resists interpretation at the level of meaning alone, because everything it is loaded with complex polysemic information.
The central image of Blok's early lyrics (1901-1902), the image of the Beautiful Lady, sometimes embodies the real features of Lyubov Dmitrievna Mendeleeva, the future bride and wife of the poet, but much more often it is an exalted symbol of Eternal Femininity. The name "Beautiful Lady" itself contains two compact "a" sounds in its stressed syllables. The distinctive feature of compactness is usually associated with a feeling of spaciousness, fullness, completeness, grandeur, balance, strength and power. All these and similar sensations can be reduced to the concept of sustainability. Therefore, it is not surprising that in some poems about the Beautiful Lady, these shock "a" dominate in the very first lines: "She was young and beautiful".", "She grew up behind the distant mountains.", "She is slender and tall.", "You went into the fields without a return."
The work of the great Russian poet A.A. Blok, like the work of any great poet, is inextricably linked with the events of his personal life and the time in which he lived. During the years of Blok's life, there is a period of the greatest upheavals that have ever happened in human history. Also, when considering his work, one should take into account the fact that this is mainly the work of a young man. That is why the image of the Muse, the Eternal Maiden, the Maiden-Dawn-Kupina, the Majestic Eternal Wife, the Beautiful Lady, the Stranger, the Motherland-Wife is central in his work. (Blok died at the age of 40, in recent years he has stopped writing poetry, his last works, in particular "The Twelve", are out of the general structure of his work).
Blok himself, adhering, in general, to the chronological sequence, divided his lyrics into three books. The first book included poems from 1898-1904, the second - from 1904-1908, and the third - from 1907-1916. However, the chronology in this case has a deeper meaning, each book marks not just a segment of the path, but a certain stage of its internal development, colored in its own color. The same can be said about the image of the Muse. In the verses of the first book, the Muse appears as an abstract image of a medieval, almost alchemical Beautiful Lady, then becomes a more mundane Stranger, or rather an ideal image, immersed in the dark colors of reality, and, finally, when turbulent historical events finally pull the poet out of the world of lyrical, abstract images , the Muse appears in her third incarnation - in the image of the Motherland.
The first hypostasis of Blok's Muse, inspired on the one hand with the aesthetics of symbolism and with the philosophy and poetry of Vl. Solovyov (the doctrine of the World Soul or Eternal Femininity, designed to renew and revive the world), on the other - love for his wife Lyubov Dmitrievna Mendeleeva. “Poems about the Beautiful Lady” is, of course, autobiographical, as far as this word can be applied to a poetic work. Blok embodied in them the intimate and lyrical experiences of his youth. The Muse is a real young woman (the image of the Muse is based on the image of the beloved woman), and more precisely, it is what the beloved personifies in the mind of the lover, something unearthly, alluring, promising something unimaginable and unattainable. The beloved girl becomes in verse the Holy, Most Pure Virgin, a symbol of femininity and beauty.
The entire cycle of poems about the Beautiful Lady is permeated with the pathos of chaste love for a woman, chivalrous service to her and admiration for him, as the personification of the ideal of spiritual beauty, a symbol of everything sublimely beautiful. There is no image of a specific woman. His Muse appears in the form of eternal femininity, tenderness, purity. The beautiful Lady of Blok personifies an ordinary earthly woman, something sublime, combining the best female features:
Transparent, unknown shadows
They swim to you, and you swim with them,
In the arms of azure dreams,
Incomprehensible to us - You give Yourself.
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 enter dark temples")
But it is inaccessible to the hero, because he is just a man, earthly, sinful, mortal:
And here, below, in the dust, in humiliation,
Seeing for a moment immortal features,
Unknown slave, filled with inspiration,
Sings you. You don't know him...
("Transparent, unknown shadows")
A knight, a kneeling monk, a slave, he performs his service to the beautiful queen, the Blessed Virgin:
I enter dark temples
I perform a poor rite
There I am waiting for the Beautiful Lady
In the flickering of red lamps.
("I enter dark temples")
At the same time, the heroine is almost ethereal, incorporeal, her image does not imply anything concrete, “tangible”, because everything earthly is alien to her:
There, in the howling cold of the night
In the field of stars I found a ring.
Here's a face emerging from lace,
Emerges from the lace face.
Here float her blizzard trills,
The stars are bright with a train dragging.
("There, in the howling cold of the night")
To describe the object of his worship, the author uses epithets such as "radiant", "mysterious", "indescribable", "illumined", "pleasant". But in some verses about the Beautiful Lady, her image takes on more concrete, earthly features, devoid of a touch of mysticism:
I'll get up in the foggy morning,
The sun hits your face.
Are you a desirable friend?
Are you coming up to my porch?
("I'll get up in the foggy morning")
Before us is no longer an abstract image, but an earthly woman; it should be noted that, speaking of her, the poet refuses capital letters. Undoubtedly, one thing, in his early poems, Blok is based on his experiences, feelings, he opens his soul, and is who he really is - a dreamy young man in love.
In his early youth, Blok, in his own words, was still “protected from a rough life” both by an abstract idealistic turn of mind, and by a hothouse upbringing in the bosom of a noble, highly cultured, but very closed family, by the nature of his emotional experiences. But here comes the inevitable crisis of youthful daydreaming, which gives way to awareness of reality. It has to do with biographical details. With his young wife, Blok moved in 1903 to St. Petersburg. Here, after some time, relations between Blok and his wife become complicated, in the winter of 1906-1907 she is fond of the poet A. Bely, he is fond of the actress N.N. Volokhova, to whom he dedicates a collection of poems.
Peaceful rural landscapes, against which the poet's romance with his Beautiful Lady develops, are replaced by sharply defined, often phantasmagoric pictures of a big city, the imperial capital. He perceives and portrays the lush Northern Palmyra as the scene of "strange and terrible" incidents. The city is "creepy", "demonic", inhabited by silent "black men", "drunk red dwarfs", laughing "invisibles", apocalyptic characters. Under the yoke of disappointment, unrealizability, a person inevitably grows up and it is no longer possible to ignore reality, with its rudeness, dirt, and vulgarity. But this man is a poet, and he cannot surrender to reality without ceasing to be himself. The very everydayness and vulgarity of everyday life becomes "mysterious" in Blok's verses. The high image of the Muse is alive, the poet continues to believe in the high, in his Muse and inevitably, it no longer depends on him whether to place it or not to place it in reality. The maiden finds herself in a tavern, but this does not make her ordinary, does not become corrupted, but, on the contrary, gives reality itself a reflection of the best.
Star Maiden suddenly falls to the ground:
You flowed like a bloody star
I measured your path in sorrow
When you started to fall
poet block muse creativity
The metaphysical fall of the Virgin disturbs and saddens the hero, but then he realizes, having found his beloved on the unconsecrated ground, in the “unlit gate”, that:
And this look is no less bright,
Than was in the misty heights.
("Your face is paler than it was")
Having descended from "heaven", the heroine has not lost her beauty, charm, charm. So the Stranger is born - an angel descended to earth. In the poem “A Train Spattered with Stars”, the heroine is compared with a comet falling down, connecting heaven and earth with this fall:
A train splattered with stars
Blue, blue, blue eyes.
Between earth and heaven
Whirlwind raised fire.
Inevitably, the image of the mystical "Eternal Femininity" is transformed into the image of the Stranger living on earth. And then there is another conflict:
In the midst of this mysterious vulgarity,
Tell me what to do with you -
unattainable and unique
How is the evening smoky blue?
("Where the ladies flaunt fashion")
The heroine is doomed to stay in a world of vulgarity and dirt. How is it possible for the coexistence of the beautiful and the ugly, the sublime and the mundane? There is only one condition: understatement, the existence of a secret, the comprehension of which will give answers to all painful questions and abolish vulgarity and dirt. Thus, a new hypostasis of the Muse arises - the Stranger.
The Beautiful Lady acquires certain features, becomes more earthly. In The Stranger, Blok, depicting his new Muse, transfers her from the sublime environment to the usual, characteristic of every simple woman:
In the evenings above the restaurants
Hot air is wild and deaf
And rules drunken shouts
Spring and pernicious spirit.
She is still beautiful, proud, rises above the monotony and vulgarity. However, there have been some changes:
And every evening, at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.
And slowly, passing between the drunks.
Always without companions, alone,
Breathing spirits and mists.
She sits by the window.
And breathe ancient beliefs
Her elastic silks
And a hat with mourning feathers.
And in the rings a narrow hand.
("Stranger")
This description leads us to think about her aristocratic, noble origin. Her face is covered with a veil, which symbolizes some kind of mystery. We still don’t know everything about the new Beautiful Lady, it seems that there is something unknown behind her wonderful appearance:
And chained by a strange closeness,
I look behind the dark veil.
And I see the enchanted shore
And the enchanted distance.
Deaf secrets are entrusted to me.
Someone's sun has been handed to me,
And all the souls of my bend
The tart wine pierced.
("Stranger")
Perhaps it was this mystery that formed the basis of the title of the poem.
The first two lines of lyrical creativity ("The Beautiful Lady" and "The Stranger") reach the highest point of development in the cycle "Snow Mask" (January 1907). The metaphorical style, the musical verbal flow, the bewitching "magic of sounds" reign supreme here. The themes and motifs of The Snow Mask are tragic passion, suffering, despair, doom and death unfolding against the background of snow blizzards, blizzard flights and chases. "Snow Mask", in essence, ends the love-lyrical stage of Blok's work. It already contains a premonition of change.
And entering the new world, I know
That there are people and there are things ...
("Second Baptism")
The cycle "Snow Mask" Block described as "subjective to the last degree." And he, in fact, more and more confidently entered the world of "people and affairs", began a direct conversation about life and man, boldly expanded the boundaries of his work and asserted the new nature of the "lyrical element" itself.
Finally, external events, a whirlwind of changes capture the poet, and the image of the Muse moves further and further away from the image of the Beautiful Lady and the Stranger. During this period, Blok dedicated most of his creations to the Motherland. Many poets represented the Motherland in their works as a mother. Blok spoke of her as a wife, as a lover:
Oh, my Rus'! My wife! To pain
We have a long way to go!
This is how Blok writes about Russia in the cycle “On the Kulikovo Field”. In the poem "Autumn Day" Blok again presents his homeland as his wife:
Oh my poor country
What do you mean to the heart?
Oh my poor wife
What are you crying about?
Thus, Blok was constantly changing, and with him the image of his Muse was constantly changing. These poems, filled with great love for femininity, the Motherland:
The whole horizon is on fire, and the appearance is near,
But I'm scared - you will change your appearance,
And daringly arouse suspicion,
Replacing the usual features at the end.
("I anticipate you")
Composition
A departure from mysticism and symbolism, a craving for the knowledge of life, the mighty element of which Blok felt and fell in love with, leads him to intense creative searches. He joyfully perceives the surrounding nature (a cycle of poems "Bubbles of the Earth"). In merging with the natural life of nature, with its elemental forces, the poet saw the overcoming of solitude, subjectivism. The search for new ideals, new themes, new poetic means was carried out in another direction. Back in 1902, Blok wrote to his father about his closeness to Dostoevsky, about realism bordering on fantasy. In 1906, he had the idea of "mysticism in everyday life."
Is it possible to consider that in "The Stranger" simple sketches are given of what accidentally fell into the field of view of the poet who visited a country restaurant? No, Blok selects only such details, the combination of which should most convincingly reveal the vulgarity of petty-bourgeois "life prose" and recreate the suffocating, "pernicious" atmosphere of bourgeois society. It is not enough to say only that Blok successfully selects the objects and phenomena he needs. It is also interesting to pay attention to how, out of several possible synonyms, the poet chooses exactly those that convey a very definite author's assessment of the depicted. The patrons of the restaurant are "rabbit-eyed drunkards"; walking with the ladies - "tested wits"; "sleepy lackeys stick out"; the voices sounding around are called “drunken shouts” and “female squealing”; about a shining full meadow it is said: "And in the sky, accustomed to everything, the disk was pointlessly twisted." In Blok, the air is wild and deaf, the spirit is pernicious, the boredom of suburban dachas, etc. Although in The Stranger we see concretely realistic, accurate sketches of everyday life, nevertheless, we do not have a photographic copy of reality, but a pointed image of the “pernicious” spirit of the bourgeois world.
Blok distinguished between "musical" and "non-musical" events in history and in modern times. "Unmusical" for him was synonymous with injustice, falseness, ugliness, dirt. The first part of "The Stranger" (the initial six stanzas) is a picture of the world of "unmusicality" hated by the poet. To the pernicious world of "non-musicality", vulgarity, Blok contrasts the world of a lofty ideal. The symbol of the poet's dream of an ideal, harmonious world is a beautiful woman - the mysterious Stranger. Her image appears at the intersection of reality and fantasy (Blok himself called this "fantastic realism").
Blok is able to take us from everyday life, "from the world of prose" to the world of the ideal, the desired. Let's see, for example, how the poet writes about the eyes of the Stranger (this is one of the brightest examples of transformation, the transformation of the real into the ideal):
* And bottomless blue eyes
* Blossom on the far shore.
Our consciousness is already prepared to perceive this "far shore" as a beautiful charming dream. We have just read how the poet, behind a dark veil, saw "the enchanted coast and the enchanted distance." What is this coast? In the preface to the collection of poems "Unexpected Joy" (1907), where "The Stranger" was first published, Blok wrote: "Unexpected Joy" is my image of the coming world ... Unexpected Joy is close. She looks into my eyes with blue, bottomless and unfamiliar eyes... The world surrounding me also looks into the still unfamiliar eyes of Unexpected Joy. And she looks into his eyes. But they already know about the imminent meeting - face to face ... The hearts of the peoples will light up with new Joy when large ships appear beyond the narrow cape ”(2, 369-370). Unexpected Joy with its "blue, bottomless and unfamiliar eyes" was not only a symbol of personal happiness for Blok. This is the bright hope of all people. (She is expected, as the large ships were expected in the poem "Her Arrival").
To understand Blok's intention, to understand and partly "decipher" some of the images of the ballad, an appeal to the so-called "adjacent poems" and to the lyrical drama "The Stranger" will help. The closest thing to the "Stranger" is the poem "There ladies flaunt fashions ...". It is based on the contrast between "mysterious vulgarity" and a beautiful vision "unattainable and unique, like a smoky blue evening."
