The 1917 revolution left an indelible mark in the history of our state. After her, much changed, much rethought. In the poem "" the block gives its assessment and analyzing the events.
Analyzing this work should be noted that the author has created a system of symbols that show us the whole scale of revolutionary events.
One of the first image characters with which we meet on the pages of the poem becomes the wind. Being a spontaneous natural phenomenon, the wind becomes a symbol of the spontaneous and destructive nature of the revolution. The revolution, like the wind, sweeps everything in its path and no one can hide from it.
The next symbol in the poem "Twelve" is the "world fire", which reflects the global scale of revolutionary events. The block compared the revolution with the "snow buran." The author said that the revolution was able to spread to the whole world, that is, to turn into a "world cyclone".
The driving force of this "world cyclone" was to be twelve. Twelve is ordinary Russian soldiers who stepped through the streets of revolutionary petrograd. They are the twelve apostles of the revolution, which make the way and convey revolutionary ideas into the masses. Their road is impregnated with blood and pain, twelve ready to kill and deal with each. The block did not condemn the actions of twelve, because she believed that the path to the bright future was lying through blood and ruin.
The symbols of the old bourgeois society becomes an old woman, which revolutionary slogans are not clear. Pop and burzhuy now have to fear for your life, because they know that they will not have a place in the "New World".
Old "rooted" dog becomes a symbol of the "old world". He woves for twelve in the hope of pardon and condescension.
An important place in the "Twelve" poem occupies the image of Christ. Christ here becomes a symbol of a harmonious and bright future. He goes ahead of twelve, as if pointing to them the road to the "New World". On the other hand, the block wanted to show us that Christ, as many centuries ago came up again to the ground, to help mankind to overcome dirt and ruin.
The revolutionary city becomes the symbols of a huge country that the revolutionary struggle covered. In general, the struggle of the "old" and "new" world becomes the main theme of the work. This struggle block shows through the struggle of colors. So, "Black Sky" is opposed to "white snow"; The red flag on one side becomes a victory symbol, and on the other - a symbol of the bloody present.
With the help of the poem, the "twelve" block wanted to show us how a new person is born in the dirt and in the blood. It was in this that the author saw the main purpose of the revolution.
In the sensible dictionary of the Russian language symbol - (from Greek. Symbolon is a conditional sign), the subject or word conditionally expressing the essence of any phenomenon.
Symbol for symbolists is not a conventional sign. It differs from the realistic image by the fact that it transmits not an objective essence of the phenomenon, but its own individual representation of the poet of the world, most often vague and indefinite.
Symbols - a set of any characters.
The symbol is a special communication model that integrates individual consciousness into a single semantic space of culture. Its function is associated with the "integration of collective consciousness within the framework of a single semantic space" and with the "marginal individualization of the semantic" worlds ". The diatic structure of the symbol performs integrative and individualizing functions. The symbol is one of the central concepts of philosophy, aesthetics, philology, without it it is impossible to build neither theory of language nor the theory of knowledge. Despite the illusion of general constructions, the concept of a symbol is one of the most foggy and contradictory. The symbol has more than a two-year-beldly history of understanding ("The symbol is as ancient as the human consciousness in general," he received diverse interpretations, but there is still no holistic idea of \u200b\u200bit.
In philology, the substitution of the concept of the concept is often observed, which is such a modification of a symbol, which in its equilibrium unity nominates cultural and collective values, and individual shades of meaning refers to the "periphery". While the symbol is the dialectical unity of individual and universal, in which the universal experience is the most versatile. The terminological confusion in the concept theory can be eliminated during the support on the theory of the symbol.
Also, for the definition of the symbol, we can turn to the book L. I. Timofeev. It is possible to give a quote: "The symbol is a substantive or verbal sign, conditionally expressing the entity of the phenomenon from a certain point of view, which determines the very character, the quality of the symbol (revolutionary, reactionary, religious, etc.)." "At the heart of its character is always figuratively. Taken in verbal expression is a trail. The symbol is always a hidden comparison, one or another connection with life phenomena, with historical order phenomena, with historical legends, beliefs, etc. ". "In art, the symbol has always (has now) is particularly important. This is due to the nature of the image, the main art category. For in one way or another, every image is conditional and symbolizable because in a single embodies the general. In the artistic literature, famous symbolism lures in any comparison, metaphor, parallels, even sometimes the epithet. Elimination in bass, allegics of fairy tales, allegory generally - this is the essence of the variety of symbols. "
Goethe determined the symbol as the unity of the scheme and allegory. For example, such a symbol like a pigeon of the world is both a dove, and a sign of the world (going ascending to the Christian tradition). In understanding the symbol, it is impossible to separate schematically from the allegorical, it is this inseparality and distinguishes a symbol from a sign or trail.
Pavel Florensky: "The symbol is such a creature, the energy of which is coordinated with the energy of another, higher be creature, so it can be argued - although it might seem paradoxical - that the symbol is such a reality that is more than yourself. The symbol is such a reality, which, being akin to another from the inside, according to its strength, from the outside, only it is similar to this other, but it is not identical. The symbolism is not fulfilled by anyone, it does not occur, but it opens in the depths of our creature, in the middle-generation of all the forces of life and from here is rented, embodied in a number of consecutive, on each other of the layering shells, to finally be born from the contemplator who has given and who gave her to bring to her. It depends on us - to study or not learn the language of the symbols, to deepen your study, or stop, finally - Study it is predominantly in one or another direction. The basis of symbols is the most reality. "
Symbols of images of the poem of Alexander Blok "Twelve"
"The artist's case, the duty of the artist - to see what is conceived," "arrange so that everything becomes new; To lie, dirty, boring, ugly, our life has become a fair, clean, cheerful and beautiful life, "Listen to the revolution with all my heart, with all the consciousness," he wrote Alexander Blok in the article "Intelligentsia and Revolution". These words are truly and rightly send us to a correct understanding of the content and ideas of his poem "Twelve"
Poem "Twelve" (1918) - the work is sharply innovative. Here, the reception based on the contrast effect is sequentially applied. Small and pathetic combined with great and majestic, sinful with saints, lowland with elevated, satire with romance, grotesque with heroic. Caricature outlined shadows of the old world with cosmic vortices, a tearing chastushca with a solemn march, "Life" with Jesus Christ. The integrity of the poem is in the undistribution of these intersecting plans. Not a gift, finishing the poem block wrote in his diary: "Today I am a genius."
After analyzing the poem Alexander Blok "Twelve", we found the following symbols, which as the poem itself, allegorically opposed to each other:
The number "twelve". The most symbolic in the poem "Twelve" is its name. This number, similar to various aggregate states of the same substance, appears before the reader in a wide variety of opportunities. The first thing that rushes into the eyes due to the number of "twelve", these are twelve parts of the poem, each of which differs in rhythm, stylistics and content from all previous and subsequent, and, although the poem has a consistent statement of events, each part is completely independent Semantic and emotional load. Also, the number of "twelve" is midnight, some border, the frontier of the completion and the beginning, the death of the old and birth of the new one. The symbol of cyclicity of all processes and the inevitability of change is also contained in the number of months in the year, which are also twelve. However, the most important symbol in the poem, directly related to its name, are twelve Red Guards. The first mention of their number makes the reader think about the meaning of this number. Something missionary reigns in all their actions, words, in their very existence:
And go unnamed saint
All twelve - away.
Everyone is ready
Nothing sorry.
These twelve coming are subordinate to a single goal. They are holy believe in the righteousness of the idea they serve. They, as if crusaders, put faith in the bright communist future "fire and sword."
The number of "Twelve" personifies collective heroes - guys from urban illuminations, from the "working people" who voluntarily entered into the Red Guard and ready, in the case of which, "buoyed their heads to fold" for the bright ideas of the revolution. Also, the author emphasizes that they are the reckless "Golyutba", ready on robbery, stabbing, all sorts of rampant. They will not be sealed for irresponsible shouts: "Now there will be robbery!", I drink the root! ". At the same time, they say: "Comrade, looked into both!", "Revolutionary keep a step!", "Forward, forward, working people!". That is, in the souls of twelve mix and snubous delets, and a feeling of revolutionary debt.
On the other hand, "twelve" - \u200b\u200bthe number of apostolic: it was so much elected by Jesus Christ of the first associates, twelve apostles - members of the Christian Symbol of Faith. Evangelical motives in the poem are not limited to the final manner of Christ. The number of walking "in the distance", "without a cross," "without the name of the Sacred", shooting in a vision "in a white wedding of roses," corresponds to the twelve students of Christ. It seems to me that a comparison of the revolutionary patrol with the apostles of the Christian teaching for the author himself was multivalued, as any other symbol.
I believe that the block with the help of the image of this small detachment operates in the poem the terrible truth of the "cleansing force of the revolution": anti-imagination, universal abnormality, manifestation in man of light and vices. From all this follows the loss of pure human feelings and the "saint name", hate and blood
The symbol of the "world fire" in the fiction in the figurative sense is always associated with large shocks, cataclysms in this case with a revolution - a radioturn in the entire socio-economic structure of society, leading to the transition from one historically established public building to another.
The names of the heroes of the poem are used in everyday-spoken style with an understated lexical meaning. Vanka, Petka, Andryukha - Beshasha "Golyutba", ready on robbery, stabbing, all sorts of rampant. And Biblical stories -Ioanne - the first favorite student of Christ, whom he entrusted the care of the mother after his crucifixion. Peter is the founder of the Church of Christ, the first apostle, standing at the gates of Paradise with the keys, Andrei - Andrei wasporn - was called by Jesus for the first one, one of the most revered on Russia's Russia.
A very bright symbol is a female image embodied in the image of Katki, as well as in the "White Went of Roses" on the head of Jesus Christ, the unit introduces a female image into a revolutionary poem is not accidental. Thus, he emphasizes that the coup committed in society concerns all spheres of life, including the sphere of "eternal femininity", that is, love and her ideal. Katka - the beloved of one of the main characters, the girl of easy behavior, walking with the officer - the enemy of the "working people", voluntarily entered into the Red Guard, and on the other hand, Ekaterina - (from Greek. "Clean") - the Great Martyr, executed by order of the Roman Emperor Maximian, unsuccessfully offered to her instead of a martyr's crown of the royal throne, is one of the most distortions in the Christianity of the Saints: the monastery with her relics on Mount Sinai is a favorite pilgrimage place.
The symbols of the revolution are, above all, the "wind", "blizzard", "snowstorm", "Purga". Logically, the poem can be divided into two parts. In the first part of the poem (before the episode of the chase and subsequent murder) there is a wind: "The wind curls white snow", "the wind whistest! So far and frost! "," The wind walks, snow flies. " The image of blizzards, PURGI shows not only a vague incomprehensible time, but also the forced physical blindness of heroes, which, as a result, is evidence of the blindness of spiritual:
"And the blizzard is dusty to them
Days and nights
Incredible strength wind covers all the light, takes off the legs of passersby. The fact is that the image of the swelling element always played in the poetry of the block special, significant, can be said, a huge role. Wind, storm, blizzard - all this is the usual concept of romantic worldship. In this context, the wind symbolizes changes, and chaos, reigning in the world. But the phenomenon of nature not only creates a background of action, the blizzard becomes as if by the person. It seems to me that the blizzard, first of all, personifies the revolution. In the rampant wind and snow, the poet hears the "music of the revolution", which is opposed to the most terrible for the author - the solar peace and comfort, the possibility of returning to the old orders.
Black and white. Present in the poem black and white background (black wind, white snow) personifies the struggle of light and dark forces, the struggle of good and evil.
Black evening.
White snow.
Black, black sky.
Symbols of good and evil, truth and lies, spirituality and uncleanness always considered these two opposite colors. Here they also symbolize the opposing parties, but whom the reader itself is solved in what color. Black Evening, Black Sky and "Black, Black Evil in the Breast" - These characters help us with all the sharpness to imagine what anger has accumulated from those twelve who go down the street. Black color tells us about the cruelty of the plans of these people who are ready because of their hatred for everything. The souls of twelve black, empty and cold.
And white snow is a symbol of a new life, purification. And, which draws attention to, it falls from black sky, from black clouds. This is also deeply symbolic. The poet wants to say that the new life will come from the most "black" depths. From those depths of the spiritual emptiness of the twelve, which "nothing sorry." White color is used by the block to express his thoughts about the ability of the revolution. Clear the old world from the whole dirty - the poet in it sincerely believed.
The block shows the duality of twelve actions. On the one hand, they go to a new life, to a fair violence with the "shelivny dog", on the other hand, their hands were washed by the blood of a real person. The meaningless murder of Katki is another confirmation of complete spiritual devastation. "Eka Darkness!" - says one of them. Darkness is also a symbol, the darkness symbol of the darkness. No wonder they joyfully chant: "Freedom, eh, eh, without a cross!" What is this freedom?
Red color appears with twelve Red Guards:
The wind walks, snow flies.
There are twelve people.
In the teeth - Tsygarka, the cards will take
On the back b it is necessary to the Bubnov Ace!
Such a red-colored card symbolizes the university; This is a sign of prisoners. These twelve people voluntarily stole themselves in the shackles of the idea of \u200b\u200bthe revolution, and now they holy belong to their common cause, their cherished goal, which justifies any means. At the same time, white and red are antagonistic colors, for the red is a symbol of revolution, and white - monarchy. And it is them that connects the block in the image of the leader of the twelve walking Jesus Christ:
Ahead - with a bloody flag,
In the White Went of Roses -
Ahead - Isus Christ.
The red flag on the hands of the twelve - attached to the string of a red color - a symbol of the struggle, the blood of the fighters who fell over the revolution.
Cross and crown thorns. The red flag is opposed to the cross and the crown of the thorns on the hands of Jesus Christ. The cross is a symbol and the subject of the Christian cult, because Christ is crucified on such a cross. The crown is a headdress, a crown as a symbol of power and glory of the monarch.
At the end of the poem, Jesus Christ is God - the Redeemer, a preacher of high moral truths, the leader of the ceremony, rejected, hungry, dark and sinners, which is the embodiment of holiness, purity, humanity, justice. This image, banning the spontaneous, rebar - democratic, liberation start and celebration of a new world-historical idea. This poem is the most difficult. Gumilev, discussing this topic with the block, expressed the opinion that this place in the poem seems to be "artificially glued." The block answered this: "I also do not like the end. When I finished, I myself was surprised: why Christ. But the more I looked around, the clearer I saw Christ. " Some link the presence in the poem of this symbol with an excuse of the revolution block, others, on the contrary, argue that he wanted to warn about her terrible devastating strength. Be that as it may, Alexander Block with the help of the symbol of Christ - God and the Messenger of God, reminds us of eternal values \u200b\u200b- good, beauty, love. They should not be forgotten by people in favor of even the most equitable social acts.
put this product of the block into a number of the most vibrant and truthful works on this topic.
And the Antichrist is the main opponent of Christ, who should appear before the end of the world.
The dog faded symbols are in the poem the main means of the image. They are diverse and different, and all deep on the semantic load. For example, the old world block compares with faded dogs:
Worth burgundy like a hungry dog
It costs silent as a question.
And the old world, like a dog shy,
Standing behind him, pushing the tail.
The old world is presented in the poem with several more symbol images: ladies in the doodle, an old woman, a sad "comrade pop", "writer, Vitia".
Conclusion.
Non-traditional reading of the poem's images allows us to understand the meaning and meaning of the blocking interpretation, which allowed the poet to make an entry in your diary: "Today I am a genius." And the main point of the poem is that the whole Russian culture of Christcentric, and understand their culture outside of its spiritual basis - it becomes in the ranks of Ivanov, who do not remember kinship. Throughout 12 parts of the poem, all twelve newaapostas are blind, are not limited in their actions neither by law nor morality, they trample almost every of 10 Christian commandments, they could not see the leading enemy of the human race - Antichrist.
The role of the symbols in the poem of the twelve block is very large. If they are generalized, we penetrate the least in the meaning of the poem - this is not only the struggle of the new one with the old, but also more widely - the confrontation of light and darkness, good and evil.
The symbol is an allegoric image that has many interpretations (or, in a different way, cannot be unambiguously interpreted), causes readers a whole chain of associations. At the beginning of the 20th century, during the heyday of Russian literature, a symbolism was considered one of the most significant directions of literature and art. Poets included in this movement used symbols as an essential tool for the knowledge of reality, the tool to approach the comprehension of the true essence of things. Of great importance in their artistic world, individual symbols, which expressed the worldview, the result of the understanding of the world with individual poets.
A.A. At the initial stage of his creativity, also belonged to the symbolists, and doubting the truth of creative and ideological search for symbolists, marched from them, but continued to use symbols in an attempt to convey their feelings and experiences associated with the contact of the poet with the outside world.
The poem was among the last works written by the block, it can be considered the most ambiguous creation of the poet, because of which most contemporaries turned away from the block. The poem was written in 1918, when the poet was at the peak of inspiration the idea of \u200b\u200bthe revolutionary struggle, the revolutionary transformation of the world. In the same year, he writes the article "Intelligentsia and Revolution", in which he considers the revolution from an epochal point of view, writes that she could not not happen. The article ends with a call: "To all the body, with all my heart, listen to the revolution."
Thus, the poem can be considered an attempt to listen to the poet and understand what revolution carries with him. The block itself wrote: "... those who see in the" twelve "political poems, or very blind to art, or sit on the ears in political dirt, or are obsessed with a big malice, - whether they are enemies or friends of my poem." The poet did not want his work to consider as a political manifesto. Everything was quite the opposite. In the "Twelve" poem, the block set more questions exciting primarily to himself than answered them. Therefore, the use of symbols in the poem more than justified: so the poet tried to display the ambiguity and multi-facetedness of the revolutionary movement, tried to understand what hopes to communicate with the World Fire.
The central symbol of the poem becomes the symbol of the element. They open the poem, immediately creates a feeling of neutility and chance:
Black evening.
White snow.
Wind, wind!
There is no man on the legs.
Wind, wind -
For all God's light!
Razca Natural Element: Playing a blizzard, "Snow Funcher took up", in the lugs of "Dust Purga" - symbolizes rampage of historical, revolutionary elements, mixing and chaos at a turning point of Russian history. The "global fire" is associated with the elements, which "on the grief of all bourgeois" are going to inflate the Red Army. The consequence of the female element is freedom - freedom of action, freedom of conscience, exemption from old moral and moral norms. So it turns out that freedom of the revolutionary detachment turns out to be "Eh, Eh, without a Cross!". Freedom to violate Christ the commandments, that is, the freedom to kill ("And where is Katka?" - Dead, dead! / Smelted head! "), Blood (" Eh, Eh, Because! / Heart Embed into the chest "), transformed into the element of permissiveness (" Pool Pool in Holy Rus - / in Conduction, / Posted, / in Tolstoza! "). Red Guards from the revolutionary detachment are ready to shed blood, whether it changed to his beloved Katka or Bourgeois: "You fly, bourgeoi, a groove! / We drink the blood / for the gap / blackbone. " So flashes in the ruined city of the element of passions. Urban Being acquires the nature of the spontaneity: Likhach "rushes to Skrich", he "flies, screaming, yelling", on the strap "Vanka with chuck flies." After the murder, new villains are expected, and it is not clear whether the revolutionary watch will be robbed, whether his "free" actions "unleash the hands" by this criminals - "Goleutbe":
Eh, Eh!
Nothing sin!
Put the email
Today there will be robbery!
Lock the cellar -
Walks now Golyutba!
The Red Army seems that they control the revolutionary elements, but it is not. At the end of the poem, the wind begins to fool the fighters: "- Who else there? Come out! / This is the wind with the Red Flag / spiked in front ... ", and the blizzard" long laugh is flooded in the snow. "
A special role is played in the poem color symbolism. In the "Twelve" block uses three colors: black, white and red. Russia, the old and revolutionary Russia of 1917 were associated in the consciousness of the block with black, he recorded in the diary: "In Russia, everything is black and will be black and will be the former?" Black color in the poem is associated with sin, hatred, revolutionary detachment: black evening, black sky, black human malice, called and angry holy, black rifle belts. White color - the color of the snow - connected with the blizzard, rampant of the elements. So the poet expressed hope for the revolutionary, the spontaneous transformation of Russia is black in Russia. And the head of this transfiguration will be "Isus Christ" ("in a white wedge of roses"; goes "Snow Mossery Pearl"). An important place in the color symbolism of the poem takes and red. It is he who characterizes the revolutionary era - blood, murder, violence, "world fire", a bloody flag of the detachment of twelve - "Red Guard". The block believed in overcoming the bloody sin, into the outcome of the bloody real to the harmonious future, which personifies in the way of Christ. He wrote: "This is just first - blood, violence, atrocity, and then - clover, pink bash."
If the launched element personifies the revolutionary beginning, the symbol of the "old world" speaks in the poem is an hungry, a lousy dog \u200b\u200bappearing in the poem together with the bourgeois:
Worth burgundy like a hungry dog
It costs silent as a question.
And the old world, like a dog shy,
Standing behind him, pushing the tail.
"The dog is cold - the dog rootless", not behind, follows the revolutionary detachment, rescue from the bourgeois. So, it seems to the block, there will be a choice of the "old world": he will not remain "at the crossroads" with the bourgeois, but will turn into the Red Guards, or because they have power, or because they carry a update with them.
The revolutionary detachment of twelve itself is the central symbol of the poem. Describing them first, the block compares them with criminals and convicts: "In the teeth - Tsygarka, the cards will take place, / on the back b it is necessary to the Bubn Ace!" But they can also see Christian symbolism. According to the Association with the evangelical apostles, which also twelve, the watch can be called "the apostles of the revolution", because at the end of the poem it turns out that before the detachment goes "Isus Christ". The image character of Christ has many interpretations, each of which makes its contribution to his understanding. Jesus carries with him purity, whiteness, redemption, termination of suffering. It is in a different plane, far from the street elements, an impeller land, on which the apostles of the revolution are marching. He is above the story, chaos, blizzards. The author shows the disagreement of the Earth and Heaven, Jesus remains only a reminder of holiness, unattainable for those who remained on Earth. This interpretation contradicts the fact that Jesus holds in his hands the Red Flag - there is its admission to earthly, natural, revolutionary affairs. The poet of M. Voloshin suggested the Russian Poet of M. Voloshin, strikingly different from others. In the final scene, he saw a picture of the shooting. Christ does not go at the head of the twelve, on the contrary, the apostles of the revolution pursue him, but do not notice - Jesus is visible only to the author. Thus, the poet believed that the poem was written against the Bolsheviks.
The block itself was repeatedly recognized that the image of Christ in the final arose as if in addition to his will: "I myself was surprised: why Christ? But the more I looked out, the clearer I saw Christ. "
The "Twelve" poem is an attempt to listen to the music of the revolution, "rush" into its "multiple shaft". Multivissal symbols that fill the poem impede the unequivocal interpretation of the meaning of the revolution. This and the author of the poem, offering his readers, not to judge unambiguously revolutionary transformations, and with it to plunge into the "whirlwind of atoms of the cosmic revolution". Unfortunately, not all of his contemporaries understood the appeal of the poet.
The artistic and conceptual semantic world of the poem "Twelve", written by A. Block in early 1918, is immeasurably great, which allowed a number of researchers of the poet's creativity to perceive this work:
- Total for all his literary path
- The embodiment of the symbolistic world-uponym
- Text with multiple contextual relations
Meanwhile, for the analysis of this particular blocking work, as part of the usual method of literary studies, to begin with, consider its main theoretical positions in the plot, theme, genre, images and symbolism.
The history of the creation of "twelve" and the world view of the poet
This artwork was written by a block at a time with a famous article. Because of this, it can sometimes be simplified or even an illusion that "twelve" was created as a poetic illustration of the basic ideas of the poet, proclaimed in their journalism. Of course, there is a certain sense "roll call" between these two works, but the poem itself can not be interpreted only in such a "investigation" plan. Recall that the poet's journalistic creativity was special, the block operated in it in words not in its conceptual or terminological quality, but as an artistic clutch of different meanings. Therefore, in poetry, and in journalism is characterized by the use of an associative and metaphorical principle.
It is well known that the poet adopted the revolution in Russia - and February, and October 1917 for the block became events both important and desirable. This explanation is located in his special world ethics and even the historiosophical concept of understanding the story, in which there are significant positions of two categories - elements and music.
The concepts of "elements" and "music" at the block
The concept of "element" the poet invested a whole complex of categories and states - natural and cosmogonical, social and psycho-emotional, spiritual and historical. This category itself appeared in his lyrics long before the revolutionary events. Already in 1910, the poet is trying to divide and structuring it according to the principles of ethics. So the block appears the following category - music for his work. This concept of the poet is also multi-valued and volume. Under its purpose, the block understands the organization and harmonization of the entire history and universe. Of course, the category of "music" was introduced by a poet in its art historical meaning, but in the sense
"..Mistical first-axis" of the world, "primality" of the whole story (F. Stepon).
Therefore, in the world of the poet, the revolution that happened in Russia was perceived as the origin of "new music", which block and called. That is, "the music of the revolution" in the poem "Twelve" is not just the direct sounds of urban noise with shots, shouts, songs, and almost mystical sound of wind ("world cyclone", wind with the "orange grove smell", etc.) . And the elements of the revolutionary mass is the restoration of the law of morality in society, so it can be justified (and is justified by the poet). When the element of the revolution is "fraught" with music, then all destruction are a creative act, which leads to the further spirituality of life. These conclusions from the article of the block make it possible to understand exactly how the poet himself the revolution itself was perceived - for him she was the balance of these two categories - music and elements.
Analysis of the poem "Twelve" - \u200b\u200btheme, images, genre and symbols
Image of time-space
The city in the poem at the block is simultaneously served as the entire "God's Light", that is, does not have topographic specifics. His:
- "Urban signs" are buildings (mention of them appears in the text only twice)
- Social signs are markers of Kabakov, cellars
In the space of the poem "dominates" and the natural element is the drifts, ice, the wind is the task of which the contours of the created by man becomes, i.e. cities. The block brings into text in this way and the cosmogonical sound that "complements" also color symbolism. Black and white, the poet is indicated not specific objects, namely the cosmological phenomena:
- Time - "Black Evening"
- Sediment - "White Snow"
- Mytho - "In the White Went"
The lighting function here is to designate the light and the shadow of the very universe.
For the Red Light, the block leaves the "marking" of the energy of an accident of the explosion.
Time in "Twelve" has no usual linearity from the past to the coming. Here they are not separated from each other, but are connected in the present, which pulsates from their interaction.
Time is connected in the poem also through the Red Army.
Images of Krasnoarmeysev
Logically, these characters must express the coming, but the block remains "carriers of the old world":
"In the teeth - Tsigarka, the cards will take place, / on the back, it is necessary to the Bubn Ace!"
The tasks of the characters include the "world fire", the destruction of the "invisible enemy", etc. That is, they are for a block not a "new man", but rather - "Vetchim". In the fellow workers, the Red Army detects the "lousy dog", which is considered:
- The "old world"
- The shadow side of the entire universe (dog - as a symbol of the devil)
Genre "Twelve"
The block defines the genre of the "twelve" as a poem. But the work is not constructed in it as a lyrol-epic text. Rather, there is an obvious connection of the separated fragments, transitions between which are also not due to the specific tasks of aesthetics. The main characteristic of the genre solution can be called disorders by which the whole system of the poem is organized:
- Lyrical retreat - speech characteristics of the lyrical hero
- Narration - narrator speech
- Dialogue, Chastushka, Romance, Soldiers' Song - Speech of Characters
Let us summarize, such genre heterogeneity was required by the block for the transmission of the very elemental state, disorder of the universe and the premonition of its revolutionary update.
Composition of the poem
But the creative possibilities of the elements, its potential "to balance" the music block is in the "twelve" in their compositional decision. The integrity of the poem, such a heterogeneous genre, gives the rhythm march. His predominance over other text intonations is felt as a common dominant. Marshmaking rhythm is applied not a separate subject, but by all the participants of the work - from the narrator and the Red Army team to the lyrical hero. It can be said that so the poem "voiced" by the element itself, showing its self-organization potential in a creative act.
Plot Poems
The plot construction in this work is very simple, although his "outlines", according to M.Volshina, "somewhat clouded". This critic and the contemporary of the block believed that the headquarters of the whole poem was not its essence. The main thing in it was determined by the "waves of its lyrical sentiment", passing through the souls of 12 main characters.
Meanwhile, the work researchers determine the plot of poems as the history of the Hero Petrukhi.
The poet in it realizes its understanding of the essence of a person who is in its path:
- dwells in the stage of the spontaneous (at first he is just a "dilapidated man")
- may respond to the challenge of the world (spiritual conflict)
- ensure rhythmic harmony of the universe (transformed)
These stages passes the Red Armyman, making the tour of the night city.
- Petrucha can feel this world only bodily. His attitude to Katka is inadvertent with nothing. His perception of the world is egocentric. Having got offense, he is puzzled by revenge. These are the actions of the "Old Man"
- The crime is happened, a woman killed to whom Petruch felt feelings. The offender is alive. The devastating rush becomes a crime against the hero itself, i.e. self-destruction
- The repentance who came after the murder, Petrukha "reborn" - this process at the block is filed as definitely creating. Moreover, the poet even highlights this character from the general group of Krasnoarmeys - Petruch "got down" from the rhythm, lost the "face" as a killer, and then, hovering by the general "musicality", becomes part of the general "we".
- An angry goes with the words of forgiveness- "Prayer": "People ..."
The image of Christ in the "Twelve" poem
Did you like it? Do not hide your joy from the world - shareWriting on the work on the topic: Images and symbols in the poem of A. Blok "Twelve"
The poem "Twelve" was written by a block in January 1918, when the October events were already behind, but there was still no time to comprehend them and give an objective historical assessment. The 1917 revolution flashed like a storm, like a hurricane, and it was difficult to definitely say that they had a good and that she brought with her. It was under such a spontaneous impression that the poem "Twelve" was written.
Bright, multivalued images and symbols play an important role in the poem A. Blok, their meaningful load is large; This allows you to longer submit revolutionary Petersburg, revolutionary Russia, to understand the author's perception of the revolution, his thoughts and hope. One of the main symbols of the revolution in the "Twelve" poem is the wind, like him, he demolings everything in his path.
Wind, wind!
There is no man on the legs.
Wind, wind -
For all God's light!
The wind curls
White snowball.
Under the snowball - Ice.
Sliply, hard,
Every walker
Slip - ah, poor thing!
In this part of the poem A. Blok sought to convey to the reader atmosphere of time when everyone can "slip" on the "Ledge" of the revolution, captured by the rupture of hurricane change.
The poem meets another bright symbol - "world fire". In the article "Intelligentsia and Revolution", the block wrote that the revolution is similar to the natural phenomenon, the "thunderstorm whirlpool", "Snow Buran"; For him, "the scope of the Russian revolution who wants to cover the whole world, such: she cherishes hope to raise the world cyclone ..." This idea was reflected in the "twelve" poem, where the author talks about the "world fire" - the symbol of the Universal Revolution. And this "fire" promise to inflate the twelve redarmeys:
We are on the grief to all bourgeois
World fire blow
World Blood Fire -
Lord, bless!
These twelve redarmeys personify the twelve apostles of the revolutionary idea. They are entrusted with a great business - to defend the revolution, although their path lies through blood, violence, cruelty. With the help of the image of twelve redarmeys, the unit reveals the theme of blood shed, violence during the period of great historical changes, the topic of permissiveness. "Apostles of the Revolution" are able to kill, rob, disrupt the commandments of Christ, but without this, according to the author, it is impossible to carry out the tasks of the revolution. The block believed that the path to the harmonious future lies through chaos, blood.
In this sense, the image of Petrukhi, one of the twelve red-Armenians, who killed Katka from jealousy, is important. On the one hand, A. Blok shows that his villainism is quickly forgotten and justifies even greater coming villain. On the other hand, through the images of Petrukhi and Katki, the block wants to convey that, despite the important historical events, love, jealousy, passion - the eternal feelings that lead a person's deeds.
Also important in the poem "twelve" are the images of the old woman, the pops, bourgeois - they are representatives of the old, who has learned peace. For example, the old woman is far from the revolution, from political affairs, she is incomprehensible to the meaning of the poster "All Power to the Constituent Assembly!", It does not accept the Bolsheviks ("Oh, the Bolsheviks will drive into the coffin!"), But the old woman believes in the Virgin, "Mother's Mother ". For her, pressing problems are important, not a revolution:
On the rope - poster:
"All power to the constituent assembly!"
The old woman is killed - crying,
I will not understand what it means
What is such a poster,
Such a huge flap?
No matter how much ports for guys come out ...
Pop and Burzhuy are afraid of the consequences of the revolution, fear for their fate, for a failure of a further life:
The wind whister!
Do not lag and frost!
And burzhuy at the crossroads
The collar has stared his nose.
And won and long-oil -
Side - for a snowdrift ...
What is now awesome
Comrade Pop?
Old, whoe, unnecessary world in the poem is also represented as "rooted", "cold" dog, which barely woves for twelve redarmeys:
Scalis teeth. - Wolf hungry -
The tail was subllipated - no lag -
Dog Cold - Dog Flammable ...
Ahead - Isus Christ.
The image of Christ in the poem personifies the faith of the block into overcoming the bloody sin, in the outcome of the bloody real to the harmonious future. Its image symbolizes not only the author's faith in the holiness of the tasks of the revolution, not only the excuse of the "holy evil" of the revolutionary people, but also the idea of \u200b\u200badopting Christ the next sin of a person, the idea of \u200b\u200bforgiveness and the hope that people will come to his covenants, to the ideals of love, to eternal values . Jesus goes ahead of the twelve redarmeys who pass the way from the freedom of "without a cross" to freedom with Christ.
Revolutionary Petersburg, in which the "Ecumenical Elements" are played, personifies all revolutionary Russia. A. Blok depicted it as a split in the world, as the confrontation of black and white. The color symbolism plays an important role in the "twelve" poem: on the one hand, black wind, black sky, black malice, black rifle belts, and on the other - white snow, Christ in a white wedge of roses. Black, evil real is opposed to white, bright, harmonious future. The symbolism of the red color is expressed by the motive of a bloody crime. The red flag, on the one hand, is the symbol of the victorious end, on the other hand - the symbol of the bloody present. Colors are associated with the image of the time: black past, bloody present and white future.
Thanks to the image and symbolism system in the "twelve" poem, the unit was able to show that the formation of a new person and the transition from chaos to harmony in the bloody. This is the thought of the poet, the true meaning of the revolution.
