Read the text and complete tasks 1-3.
(1) Based on the analysis of empirical and experimental data, scientists have made convincing conclusions that a person whose main source of information is the Internet has a significant change in perception. (2) Researchers have identified obvious changes in the ability to concentrate attention and remember information: this ability tends to decline. (3) "Nature" of reading<…>has changed: the attention of the reading person has become superficial, “fluttering.”
1. Indicate two sentences that correctly convey the MAIN information contained in the text. Write down the numbers of these sentences.
1) Scientists have found that children who receive basic information from the Internet change their perception, and teachers were the first to talk about changes in their ability to concentrate and remember.
2) Researchers have identified an obvious increase in the ability to concentrate attention and remember information in a person for whom the Internet becomes the only source of information.
3) Based on the analysis of experimental data, scientists concluded that a person whose main source of information is the Internet develops “acquired attention deficit” syndrome.
4) In people whose main source of information is the Internet, scientists have identified obvious changes in the “nature” of reading texts, in the ability to concentrate attention and remember information, and a significant change in perception.
5) Scientists have found that a person who receives information primarily from the Internet has a change in perception: the ability to concentrate and remember information decreases, and the “nature” of reading changes.
2. Which of the following words (combinations of words) should appear in the gap in the third (3) sentence of the text? Write down this word (combination of words).
As soon as
. Same
. because
. if only
. Although
3. Read a fragment of a dictionary entry that gives the meaning of the word NATURE. Determine the meaning in which this word is used in the third (3) sentence of the text. Write down the number corresponding to this value in the given fragment of the dictionary entry.
NATURE, -s, w.
1) Everything that exists in the Universe, organic and not organic world. Dead item (inorganic world: not plants, not animals). Living item (organic world).
2) The entire inorganic and organic world in its opposition to man. Protection of Nature. Relationships between man and nature.
3) Places outside cities (fields, forests, mountains, water areas). Enjoy nature. In the lap of nature. Go out into nature (simple).
4) transfer, what. Basic property, essence (book). P. social relations. Viral disease.
4. In one of the words below, an error was made in the placement of stress: the letter denoting the stressed vowel sound was highlighted incorrectly. Write this word down.
Locked
. ponYav
. dobelA
. self-interest
. wholesale
5. In one of the sentences below, the highlighted word is used INCORRECTLY. Correct the lexical error by choosing a paronym for the highlighted word. Write down the chosen word.
Participation in the forum of such a REPRESENTATIVE audience is due to the global importance of protection and conservation issues water resources countries.
. Collection of initial data and assessment of the TECHNICAL condition of pipes for the design of new heating networks will allow for high-quality repairs by the beginning of the heating season.
. The writer sincerely considers this work to be the most LUCKY of everything written.
. A professor from the Department of STAGE plastic arts at the University of Theater Arts takes part in the work of the jury of the festival of amateur theaters.
. If there is significant human resources setting new tasks is quite realistic.
6. In one of the words highlighted below, an error was made in the formation of the word form. Correct the mistake and write the word correctly.
IN EIGHT HUNDRED AND TWENTY
. factory PRESSES
. picture MORE BEAUTIFUL
. CUT HAIR
. our PASSPORTS
7. Establish a correspondence between the sentences and the grammatical errors made in them: for each position in the first column, select the corresponding position from the second column.
OFFERS
A) A.S. Pushkin in his novel in verse “Eugene Onegin” paints pictures of life in St. Petersburg and Moscow.
B) Those who read the novel by L.N. Tolstoy’s “War and Peace”, remembers the description of the Battle of Borodino.
B) Group of populations different types, inhabiting a certain territory, forms a community.
D) Each person sees the ideal of life in his own way, according to his character and moral principles.
E) When preparing for an oral presentation, you will need the personal conviction of the speaker.
GRAMMATICAL ERRORS
1) incorrect construction of a sentence with an adverbial phrase
2) violation of the connection between subject and predicate
3) an error in constructing a sentence with homogeneous members
4) violation in the construction of sentences with participial phrases
5) violation in the construction of a sentence with an inconsistent application
6) incorrect construction of sentences with indirect speech
7) incorrect use of the case form of a noun with a preposition
8. Identify the word in which the unstressed vowel of the root being tested is missing. Write out this word by inserting the missing letter.
1) confusion
2) d_differentiate
3) ut_pic
4) un_cal
5) pretend
9. Identify the row in which the same letter is missing in both words. Write out these words by inserting the missing letter.
1) and_podtishka, run_run
2) hid, brought
3) pick up, pick up
4) about_ironed, delivery
5) ugly, go away
10. Write down the word in which the letter I is written in place of the gap.
1) tulle_vy
2) undergoing
3) start
4) tempting
5) spicy
11. Write down the word in which the letter I is written in place of the gap.
1) significant
2) shine
3) comfort_my
4) smear
5) gained
12. Determine the sentence in which NOT is written together with the word. Open the brackets and write down this word.
In some places the light (DID NOT) PENETRATE at all under the thick canopy of pine branches.
. (I DON'T WANT TO THINK BADLY ABOUT PEOPLE.
. The (UN)CLEAR outlines of huge trees appeared ahead.
. The far (IN)HOSPITABLE forest stretched all the way to Nerekhta.
. Every writer has a single, main, (NOT)WRITTEN book.
13. Determine the sentence in which both highlighted words are written CONTINUOUSLY. Open the brackets and write down these two words.
. (And) SO, Konstantin claimed that this trip added vitality, I said the SAME.
. TO be happy, you need to strive for success and at the SAME time you need to learn nobility in relation to the people around you.
. Soon the birds (WITH) ALL fell silent, except for one, which (IN) INTERRUPTION of everyone chirped monotonously.
. The stranger disappeared around the bend AS suddenly as he appeared, (THUS) it was not possible to see him.
. (FINALLY) the rain stopped, but SOMEWHERE there were still heavy masses of partially scattered clouds.
14. Indicate all the numbers in whose place NN is written.
Alexander Blok created a special (1) poetic world, permeated (2) with blue and purple colors, weaved (3) with highlights and filled (4) with amazing melody.
15. Place punctuation marks. List two sentences that require ONE comma. Write down the numbers of these sentences.
1) For my part, I only changed the names of some characters This story gave the oral story a written form.
2) Only the dragonfly feels good in such heat and, as if nothing had happened, it dances tirelessly in the fragrant pine needles.
3) With its ridges and potholes with forests and copses, the taiga has dozens of microclimates.
4) Everything shines and basks and joyfully reaches for the sun.
5) In ancient times, the question of life and death often depended on a random combination of circumstances or the balance of power between people and animals.
16. Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentence.
A calm, majestic river with dots of boats and their disappearing traces spread out between the banks and went forward (1) shrinking between huge ledges of rocks (2) and then disappeared (3) into bright green (4) valleys.
17. Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentence.
Roman M.Yu. Lermontov (1) according to scientists (2) are imbued with unity of thought, and therefore it cannot be read in a manner other than the order in which the author himself arranged it: otherwise you will read two excellent (3) in my opinion (4) stories and several no less excellent stories, but you won’t know the novel.
18. Place punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s) in the sentence.
From the entryway the door led directly to the kitchen (1) to the left wall (2) of which (3) a large Russian stove was attached to one side.
19. Place punctuation marks: indicate all the numbers that should be replaced by commas in the sentence.
Hadji Murad was sitting next to him in the room (1) and (2) although he did not understand the conversation (3) he felt (4) that they were arguing about him.
Read the text and complete tasks 20-25.
(1) Tenderness is the most meek, timid, divine face of love. (2) Love-passion - always with an eye on yourself. (3) She wants to conquer, seduce, she wants to please, she preens herself, puts her hands on her hips, measures, and is always afraid of missing out on what she has lost. (4) Love-tenderness gives everything, and there is no limit to it. (5) And she will never look back at herself, because “she is not looking for her own.” (6) She’s the only one who’s not looking. (7) But one should not think that a feeling of tenderness degrades a person. (8)On the contrary. (9) Tenderness comes from above, it takes care of the beloved, protects, takes care of him. (10) But only a defenseless creature in need of care can be looked after and protected, therefore words of tenderness are diminutive words, going from the strong to the weak.
(11) Tenderness is rare and increasingly rare. (12) Modern life is difficult and complex. (13) Modern man, even in love, strives first of all to establish his personality. (14) Love is a martial arts.
- (15) Yeah! (16) Love? (17) Well, okay. (18) Roll up your sleeves, straighten your shoulders - come on, who will win?
(19) Is there any tenderness here? (20) And who to protect, who to pity - all are well done and heroes. (21) He who knows tenderness is marked.
(22) In the minds of many, tenderness is always depicted in the form of a meek woman bending towards the head of the bed. (23) No, that’s not where you need to look for tenderness. (24) I saw her differently: in forms that were not at all poetic, in simple, even funny ones.
(25) We lived in a sanatorium near Paris. (26) We walked, ate, listened to the radio, played bridge, and gossiped. (27) There was only one real patient - a feisty old man recovering from typhus.
(28) The old man often sat on the terrace in a chaise lounge, covered with pillows, wrapped in blankets, pale, bearded, always silent and, if anyone passed by, he turned away and closed his eyes. (29) His wife hovered around the old man, like a trembling bird. (30) The woman is middle-aged, dry, light, with a faded face and anxiously happy eyes. (31) And she never sat quietly. (32) She kept adjusting something around her patient. (33) Now she turned over the newspaper, now she fluffed the pillow, now she tucked in the blanket, now she ran to warm the milk, now she dripped medicine. (34) The old man accepted all these services with obvious disgust. (35) Every morning, with a newspaper in her hands, she rushed from table to table, talked friendly with everyone and asked:
Here, maybe you can help me? (36) Here is a crossword puzzle: “What happens in a residential building?” (37) Four letters. (38) I write it down on a piece of paper to help Sergei Sergeevich. (39) He always solves crosswords, and if he gets stuck, I come to his aid. (40) After all, this is his only entertainment. (41) Patients are like children. (42) I’m so glad that at least this amuses him.
(43) They pitied her and treated her with great sympathy.
(44) And somehow he crawled out onto the terrace earlier than usual. (45) She sat him down for a long time, covered him with blankets, and propped up pillows. (46) He winced and angrily pushed her hand away if she did not immediately guess his wishes.
(47) She, shivering joyfully, grabbed the newspaper.
- (48) Here, Serezhenka, today seems to be a very interesting crossword puzzle.
(49) He suddenly raised his head, rolled out his angry yellow eyes and began to shake all over.
- (50) Finally, get to hell with your idiotic crossword puzzles! - he hissed furiously.
(51) She turned pale and somehow sank.
- (52) But you... - she babbled in confusion. - (53) After all, you were always interested in...
- (54) I was never interested! - he kept shaking and hissing, looking with animal pleasure at her pale, desperate face. - (55) Never! (56) It was you who climbed with the tenacity of the degenerate that you are!
(57) She didn’t answer anything. (58) She just swallowed air with difficulty, pressed her hands tightly to her chest and looked around with such pain and such despair, as if she was looking for help. (59) But who can take such a funny and stupid grief seriously? (60) Only a little boy, sitting at the next table and seeing this scene, suddenly closed his eyes and cried bitterly.
(According to N.A. Teffi*)
* Nadezhda Aleksandrovna Teffi (1872-1952) - Russian writer, poetess, memoirist and translator.
20. Which of the statements correspond to the content of the text? Please provide answer numbers.
1) It cannot be said that a feeling of tenderness degrades a person.
2) Tenderness is often found in our lives; it helps a person to establish his personality.
3) Love-passion ennobles a person, makes him be caring, gentle, attentive.
4) The rudeness of the sick husband offended and upset his caring, gentle and attentive wife.
5) Tenderness is presented to the author in the image of a woman bending towards the head of the bed.
21. Which of the above statements are they true? Please provide answer numbers.
1) Sentences 7-10 contain reasoning.
2) Sentences 11-14 present the narrative.
3) Sentence 30 provides a description.
4) Sentences 44-45 present the narrative.
5) Propositions 57-58 contain reasoning.
22. From sentences 5-10, write down antonyms (antonymous pair).
23. Among sentences 28-34, find one that is connected to the previous one using a conjunction and a personal pronoun. Write the number of this offer.
24. In the fragment of the review of the text that you analyzed in previous assignments, terms are missing. Insert the numbers of terms from the list in place of the letters A, B, C, D.
The text analyzes a problem that has concerned people for centuries. To express his understanding of love and tenderness, the author uses the technique - (A) (sentences 2, 3 - 4, 5) and the syntactic device - (B) (in sentences 1, 9). The writer is helped to create the image of a tender wife by the trope - (B) (“with anxious-happy eyes” in sentence 30) and the syntactic device - (D) (“like a trembling bird” in sentence 29).”
List of terms:
1) spoken words
2) rhetorical questions
3) rows homogeneous members offers
4) parcellation
5) comparative turnover
6) opposition
7) epithet
8) litotes
9) phraseological units
25. Write an essay based on the text you read.
Formulate and comment on one of the problems posed by the author of the text (avoid excessive quoting).
Formulate the position of the author (storyteller). Write whether you agree or disagree with the point of view of the author of the text you read. Explain why. Justify your answer based on your reading experience, as well as knowledge and life observations (the first two arguments are taken into account).
The volume of the essay is at least 150 words.
Work written without reference to the text read (not based on this text) is not graded. If the essay is a retelling or completely rewritten of the original text without any comments, then such work is scored zero points.
Write an essay carefully, legible handwriting.
Task 14
Indicate all the numbers in whose place NN is written.
Option 1
Alexander Blok created a special (1) poetic world, permeated (2) with blue and purple colors, weaved (3) with highlights and filled (4) with amazing melody.
Option 2
The originality of the art of (1) the world of (2) their stories by N.V. Gogol is connected (3) with the use of folklore traditions: in folk tales, semi-pagan legends and traditions, the writer found themes and plots for his works.
Option 3
Maybe the skates were called (1) skates precisely because in the old days they made wooden (2) skates, decorated (3) with a curl in the shape of a horse (4) head.
Option 4
The floors in the room were unattractive (1), dusty (2) oil paintings (3) were hanging on the walls, lopsided, and on the table there was a smoky (4) vessel with a herbal (5) decoction.
Option 5
In his work, Salvador Dali was a tireless seeker, who hated everyday life and created new (2) images and unexpected (3) compositions.
Option 6
The powerful (1) marble-tiled hallway is decorated with (2) glass (3) vases and gold (4) furniture created by (5) the best craftsmen in Italy.
Option 7
Among the ruins of the ancient city, (1) bells with (2) fake Greek writings carved on them were installed on strong pillars. In the cold (4) fogs, these bells replaced a lighthouse for sailors.
Option 8
Nature began to quickly rebuild itself, obeying the unwanted (1) uninvited (2) autumn: the trees were in a hurry to shed their frosty (4) foliage, and in the meadows the unmowed (5) grass was covered with frost.
Option 9
The Church of St. Basil the Blessed (1) is crowned (2) with a huge, rainbow-colored dome, extremely similar to the crystal faceted (3) stopper of an old (4) decanter.
Option 10
A path trodden (1) in berry fields and mosses leads to an experimental field, built (2) in a swamp, the field is surrounded by (3) forest - a swampy mystery (4) of taiga.
Option 11
I can still see the arcs with patterns painted with oil(2) paint, the golden(3) harness of horses with swan(4) necks, which in oil(5) week race for power(6 )cobblestone street.
Option 12
The unwelcome (1) guests approached the plow (2) table, on which were placed (3) village dishes: potatoes, cucumbers and cranberry (4) fruit juice in a clay (5) jug.
Option 13
This fellow, cut (1) in the latest fashion, was windy (2), spoke quickly, confused (3), his manners were not refined (4). While making his speeches, he twisted the silver (5) button on his jacket, as if he wanted to tear it off completely.
Option 14
The day was windless (1). Along the shore, strewn (2) with sharp stones, the scouts came to a non-plowed (3) field. The commander was worried about the confused news received from the scouts of the second company.
Option 15
In ancient (1) times, a bow was a formidable weapon: a hot (2) arrow, stronger (3) with the hand of an experienced shooter, could pierce a thick (4) wall.
Option 16
A portrait of a strange (1) man, painted (2) by an artist who had remarkable (3) talent, was part of the dow (4) of the young mistress of the house.
Option 17
A helpful worker in the tavern business offered us a long-awaited (2) overnight stay in an unattractive (3) but masterfully white (4) room.
Option 18
Near the guest (1) on the asphalt (2) path there was a beautiful (3) bench, on which our 5th (5) hero unexpectedly (4) sat down to rest.
Option 19
Every evening, our guests always (1) sit on a leather (2) sofa, near which there is a polished (3) table with a starch (4) tablecloth and elm (5) napkins.
Option 20
In the painting by A.K. Savrasov, recognized (1) throughout the world of painting, depicted (2) the weight of (3) her awakening of nature: the air ringing from the rooks (4) hubbub, graying snow.
Option 21
Various projects for the transition to letter (2) sound writing developed by Chinese linguists were never implemented (3): society (4) saw the threat of a break with the centuries-old culture embodied (5) in hieroglyphic writing.
Option 22
In race walking, it is forbidden to (1) lift both legs off the ground at the same time (2) as is usually (3) done when running; all violations are clearly recorded by a movie camera.
Option 23
Music by S.S. Prokofiev requires concentration from the listener (1), which will help the listener to comprehend the deep (2) foundations of the work, appreciate unexpected (3) solutions in the construction of melodies and harmonies, impeccable (4) logical forms.
Option 24
The spiritual crisis of Sergei Yesenin, caused by (1) the collapse of his revolutionary religious illusions, the unexpected (2) awareness of the uselessness of new Russia, family and everyday unsettlement (3) affected the problems of his love lyrics.
Option 25
And it seemed as if somewhere above these untrodden (1) paths and less traveled (2) roads, which were chosen by hopeless nature for the mysterious (4) winter night, the dawn would never break out.
Option 26
The men (1) spark (2) laughed, but were a little embarrassed (3) and disappointed (4) with the reception they received. Everything said that they were uninvited guests.
Option 27
Who among us has not dreamed of becoming a brave traveler (1) so that, having set foot on the unknown (2) lands of an uninvited (3) guest, he would then tell his compatriots (4) about the discovered mysteries of the (5) tribes?
Option 28
There is a good guest (1) here, a person (2) famous for her chickens, stewed (3) in spices (4).
Option 29
The creative team created (1) a truly (2) innovative work, closely connected (3) with the innermost (4) intention of the play.
Option 30
From the photographs depicting the true (2) scientists of the 20th century, smiling faces look out - neither respectable (3) respectability, nor venerable self-esteem.
Option 31
Today, it is recognized by many (1) that the hitherto unprecedented (2) pace of development in the field of biocosmonautics is due to (3) the discoveries of Russian scientists (4).
Option 32
The image of a “time machine”, going back to H. Wells and his novel of the same name, was not accidental for V.V. Mayakovsky: his utopias, dedicated(2) to the machine age, were technological in nature and were connected(3) with hopes for the development of technical progress.
Option 33
People of the older generation remember how there were wooden (1) booths at metro stations, where craftsmen, whose hands were completely stained (2) with paste of different colors, refilled used (3) ballpoint pen refills.
Option 34
At the end of the 19th century, a metastatic variable-fill thermometer was invented. Behind this wise(2) name lies a device designed(3) to determine not the temperature itself, but only its changes in a small range.
Option 35
It is (1) well known that under favorable conditions, it is possible to combine many thousands of atoms in a certain (2) order, with the formation of such complex formations as DNA inheritance molecules (3).
Option 36
In Italian Renaissance sculpture, chiasmus was revived - that is, such a natural (1) position of the human figure, when the main weight of the body is transferred (2) to one leg, the shoulder is lowered (3) the other leg is bent and the corresponding shoulder is raised.
Option 37
Subsequently, I found in the storeroom some unusual (1) manuscripts, bound (2) in volumes and written (3) in Latin.
Option 38
Light walls of exquisite (1) proportions, decorated with (2) ceramic tiles, crowned (3) with a decorative majolica belt with a fancy image of orchids.
Option 39
On the desk (1) there is a manuscript of the story “The Old Woman”, a leather (2) folder for papers, a silver (3) pad with the monogram “I.B.”, a heavy glass (4) inkwell with a copper lid.
Option 40
In the first paintings of I.N. Nikitin had some simplification: the figures are snatched (2) from the darkness of an indefinite (3) space by a beam of bright light and exist without connection with the environment.
All tasks from the open FIPI bank for the Unified State Exam.
1. Alexander Blok created a special (1) poetic world, permeated (2) with blue and purple colors, weaved (3) with highlights and filled (4) with amazing melody.
1234
1. Alexander Blok created a special poetic world, permeated with blue and purple colors, woven from highlights and filled with amazing melody.
Permeated, woven, filled- complete passive participles of the past tense, image. from verbs perfect. type (pierce, weave,...);
special- an adjective formed from the noun individual + suffix ENN.
Recommendation. To make it easier to complete tasks, you can place a hint for the entire topic in the form "Summary drawing" to the left side of the screen. Find her in There is also a list of exceptions.
NN.
2. Subsequently, I found some unusual (1) manuscripts in the closet, bound (2) in volumes and written (3) in Latin.
123
2. Subsequently, I found some unusual manuscripts in the storeroom, bound in volumes and written in Latin.
Extraordinary-adjective (usual - ordinary);
intertwined-participle formed from the verb owl. type;
written- prib. with a dependent word (in Latin). See rules
Indicate all the numbers in whose place NN is written.
3. Light walls of exquisite (1) proportions, decorated with (2) ceramic tiles, crowned (3) with a decorative majolica belt with a fancy image of orchids.
12
Exquisite- from find(perfect form) - full forms of participles or adjectives formed from verbs perfect form, have -NN; finished - participle from verb. trim(owl species = NN); crowned- short participle. Short participles always have one “N” (short participles can usually be replaced with a verb or a subordinate construction with a verb: which crowned...). See rules and
Indicate all the numbers in whose place NN is written.
4. On the desk (1) there is a manuscript of the story “The Old Woman”, a leather (2) folder for papers, a silver (3) pad with the monogram “I.B.”, a heavy glass (4) inkwell with a copper lid .
14.
Writing(adj.), derived from creatures. letter+ suff. ENN; glass- exception; leather- adjective from skin + suff. -AN; silver- from silver+ suff. -YAN. See rules
Indicate all the numbers replaced by one letter N.
5. On the yacht - the company (1) stamp “K.” Faberge”, and on the silver(2) rim, placed on the crystal, her name “Faith” is engraved(3).
23
engraved- short parable (change to engraved). Silver- from silver+ suff. -YAN. Branded — firm+ suff. -ENN; See rules
Indicate all the numbers in whose place NN is written.
6. In the brightly lit windows there are displayed (2) jewelry from precious stones, made (4) at a local factory.
134
illuminated- from verb. illuminate(owl species); precious- adj. with -ENN, made- from do(owl species)
exhibited- kr. prib. (replacement with exhibited). See rules
Indicate all the numbers in whose place NN is written.
7. On the diver’s feet are (1) long fins, made (2) of ordinary (3) rubber, and (4) air cylinders are attached to his back. 
. 123
long- adj. from n. length(with base on H); made- from do(owl.spec); ordinary- adj. (usual); attached- kr. prib. ( attached). See rules
Indicate all the numbers in whose place NN is written.
8.V.G. Korolenko and in Kama (1) Petersburg found for himself an old wooden (2) house, provincially cozy, with beautiful (3) floors.
. 12.
stone- adj. from n. STONE (with base on H); wood- excl.; painted- from paint - verb ness. view. See rules
9. In the heroes of his paintings, Pablo Picasso wanted to see carriers hidden from ordinary people truth (1) accessible only to the inner (2) gaze of a person, his sublime (3) nature.
. 1.
Sublime- The participle receives the suff. -ENN, if undefined. form, the verb from which it is derived ends in -It or -Et, but not in -At. So, the participle in sublime derived from elevate(perfective verb) and not from elevate(imperfect verbs) . Truths- creatures Internal- adj. with suff. -ENN. See rules
Indicate all numbers replaced by N. DIFFICULT TASK.
10. In the self-portrait, the artist is dressed in an exquisite (1) cloak, his face is calm and confident (2), his mustache and beard are carefully groomed (3).
. 3
b) The flowers are well-groomed or well-groomed. Your calves are poorly looked after. Ushakov's Explanatory Dictionary. D.N. Ushakov. 1935 -1940
c) adj.; kr.f well-groomed; wow oh more feminine.
exquisite from find (perfect form) - full forms of participles or adjectives formed from perfect form verbs have -NN;
calm and confident (what?) - kr. adj. from confident, cannot be replaced with a verb, there is a homogeneous adjective: calmly(derived from noun) See rules.
Indicate all numbers replaced by N.
11. In the first paintings of I.N. Nikitin had some simplification: the figures are snatched (2) from the darkness of an indefinite (3) space by a beam of bright light and exist without connection with the environment.
. 2
snatched- possible replacement with a verb snatched, then this is a short participle; simplification- from simplify(perfect form) → simplified (y) → simplified → simplification; uncertain → definite→ from determine (cov.v.). See rules
Indicate all the numbers in whose place NN is written.
12.Music S.S. Prokofiev requires concentration from the listener (1), which will help the listener to comprehend the depth of the work, appreciate unexpected (2) solutions in the construction of melodies and harmonies, impeccable (3) logical forms.
. 123
Unexpected-except, concentration ⇐ concentrated ⇐ concentrate (sov.v.), impeccably from impeccable - adj. See rules
Indicate all the numbers in whose place NN is written.
13. Why do skates made (1) of any material glide only on the ice (2) surface and not (3) at all on the smooth stone (4) floor?
. 134
done -do- sov.v; ice - from ice + suff. -YAN; commit (owl.view) ⇒ perfect ⇒ ABSOLUTELY(adv.); STONE — stone+ suff. -N See rules
Indicate all the numbers in whose place NN is written.
14.The powerful (1) marble-tiled hallway is decorated with (2) glass (3) vases and gold (4) furniture, created (5) by the best craftsmen of Italy.
. 135
paved- prib. with hover words (marble tiles); decorated- kr. prib. ( decorated); glass- excl.; gilded from gildsь - nesov. V.; created(by whom?) the best masters of Italy. See rules
Indicate all numbers replaced by N.
15.According to M.Yu. Lermontov, a brightly gifted (1) personality in a circle of nonentities is doomed (2) to misunderstanding and loneliness, and if he behaves in accordance with the “norms” of this society, then to gradual (4) self-destruction.
2
doomed- kr. prib. giftedbright; respectively(Adv.) - from adj. corresponding with suff. -ENN; gradual- adj. See rules
Indicate all the numbers in whose place NN is written.
16. Repetition is A.P.’s favorite(1). Chekhov’s artistic means (2) in the story “Darling” is the main way of constructing the work: monotony (3)ness, expected situations, monotony of actions, multiplied (4) by the mechanicalness of reproduction, create a comic effect.
. 1234
favorite(by whom?) A.P. Chekhov; ARTISTIC- adj.; monotony ⇐ monotonic ⇐ from mono + toN; multiplied- from multiply -sov.v. See rules
Indicate all the numbers in whose place NN is written.
17. Maybe the skates were called (1) skates precisely because in the old days they made wooden (2) skates, decorated (3) with a curl in the shape of a horse (4) head.
. 23
wood- exception; decorated curl...; named- cr.prich. ( named); equine. See rules
18. At the end of the 19th century, Alexander Panshin designed (1) invisible (2) elongated (3) skates, which allowed him to defeat the Finnish and Norwegian speed walkers.
. 23
unprecedented- excl.; extended- from lengthen (sov.), and not from lengthen (nesov. v.); designed- kr. prib. (designed); Finnish- relative adjective formed using the suffix -SK. See rules
In place of what numbers is NN written?
19. We see that in the bone (1) skates, found (2) by archaeologists in northern Europe, holes were made for leather (4) ribbons.
. 2
found archaeologists... ; BONE; done- kr. prib. (done); leather. See rules
Indicate all the numbers in whose place NN is written.
20. In the old days (1) the bow was a formidable weapon: a hot (2) arrow, stronger (3) with the hand of an experienced shooter, could pierce a thick (4) wall.
. 34 abandoned by the hand of an experienced shooter; antiquity; red-hot - from kalit (nesov.v.); thick- adj.. See rules
Indicate all the numbers in whose place NN is written.
21. The sun was golden in the east, behind the dim (1) blue of distant (2) forests, behind the white snowy lowland (3) which the ancient Russian city looked at from the low bank.
123 foggy = fog + N, remote– adj. with suff.ENN from noun. " far + from;; lowland from adj. LOW(suff. ENN).
Indicate all the numbers in whose place NN is written.
22. In Vermeyer’s painting “Street,” the pavement has been swept (1), the tiled porch has been washed, the facades of the houses below are whitened (3) with lime.
2
paved tiled porch — prib. with hover words ;
swept, bleached- cr.prich. (swept out, whitened)
Indicate all numbers replaced by N.
23. The fragile, precise (1) silhouette of the girl depicted in the picture (2) stands out against the background of the white (3) wall, along which mother-of-pearl shadows run.
13
chiseled, bleached – sharpen and whiten- verb non-natural species; especially- adj. - ENN. See rules
Indicate all the numbers in whose place NN is written.
24. The painting depicts (1) a cheerful village wedding, a motley mass of people fits well into (2) a wide landscape, with a beautifully drawn (3) high blue sky.
3
Wonderful drawn- from verb. sov.v.; depicted, inscribed- cr.prich. ( drew, wrote);
Indicate all the numbers in whose place NN is written.
25. The model of the new palace was delivered (1) to St. Petersburg, approved (2) by the empress, after which the ceremony (3) of laying the first stone took place.
3
solemnly -adverb from adj. solemn; delivered, approved - cr. prib. ( delivered, approved ) See rules
Indicate all numbers replaced by N.
26. The owner was wearing a (1) fabric shirt, a (2) leather belt (3) belt, and (4) pants that had not been ironed for a long time.
13
woven- from the verb weave b (imperfect form);
belted- from the verb belt(perfect form), pr. with hover Sl.; leather- denominal adjective with the suffix -an; ironed- from the verb iron(non-sov.view), but there is a dependent word “ for a long time", therefore -NN-.
Indicate all the numbers in whose place NN is written.
27. A portrait of a strange (1) man, painted (2) by an artist who had remarkable (3) talent, was part of the dow (4) of the (5) mistress of the house.
123
strange— from the country; written artist - pr. with hover sl. ; a dozen - remarkable– adj. (root: -dozenN-; suffix: -N); dowry, young- remember
Indicate all numbers replaced by N.
28. The house stood somewhat away from the forest, the walls here and there were renovated (1) with fresh wood, the windows were painted (2) white, a small porch on the side, decorated (3) with carvings, still smelled of resin.
12
renovated, painted- kr. prib.; decorated carving - adj. with hover sl.
Indicate all the numbers in whose place NN is written.
29. Opera S.S. Prokofiev’s “War and Peace”, written(1) based on the novel by L.N. Tolstoy, decided (2) in the spirit of traditional (3) Russian opera music of the 19th century.
13
written based on the novel...; resolved- kr. prib.; traditional- tradition + suff. -HE N.
Indicate all numbers replaced by N.
30. Valaam became a true (1) painting school for I. Shishkin: the first (2) Valaam canvases brought him a silver (3) medal from the Academy of Arts, and after two landscapes were awarded (4) a gold medal, the artist was sent on a creative trip to Italy.
truly - adverb - from noun. true; silver- adj. with suff. -YAN; awarded- kr. pr., can be replaced with a verb awarded; early +N = early.See rules
Indicate all numbers replaced by N.
31. Some of the paintings by the artist Savrasov were small in size; written by him in one or two hours, they are marked by the charm of inspired improvisations.
marked cr. prib. — noted;
written them…; INSPIRATIONAL- from inhale - perfect.v.
Indicate all numbers replaced by N.
32. In the foreground of the picture, against the background of figures of mummers (1) with dirty (2) faces, a girl in a snow-white dress with a wicker (3) basket in her hands stands out clearly.
13
mummer- to dress, wicker- weave - from the verbs nes. type; smeared soot...
Indicate all the numbers in whose place NN is written.
33. The main action of the picture takes place in the background: in a bright room, a crying lady (1) with a child in her arms looks pleadingly at the invited (2) doctor in a silver (3) pince-nez.
Cry, invite, silver- verb owls kind.
Indicate all numbers replaced by N.
34. In the 18th century in Russian music there were especially (1) widespread (2) melodies in which the features of a folk song clearly (3) appeared.
common- kr. pribl.- distributed; especially- SPECIAL, clearly- obvious
Indicate all the numbers in whose place NN is written.
35. The originality of the art of (1) the world of (2) their stories N.V. Gogol is connected (3) with the use of folklore traditions: from (4) in folk tales, semi-pagan legends and traditions, the writer found themes and plots for his works.
ARTISTIC; early - early; exactly- particle - from name - nominal. connected- kr. prib. - tied up; See rules
Indicate all numbers replaced by N.
36. The rooms were arranged (1) with remarkable luxury: the walls were covered with colorful Bukhara carpets, the ceilings were painted (2) with oil (3) paints, and there were real Persian carpets on the floors.
arranged, scheduled- kr. prib.; oil - from oil .
Indicate all the numbers in whose place NN is written.
37. A dying garden and failed, even unnoticed (1) love - two internal (2) connected (3) themes - give the play by A.P. Chekhov has a sad and poetic character.
. 123
unnoticed derived from s take note(nesov.v) or notice(owl species)? The suffix -EN(N) has participles formed from verbs ending in -et or -it ⇒ notice(owl species) ⇒ unnoticed; interior- adj. with suff. ENN; related- Sov.v.
Indicate all the numbers in whose place NN is written.
38. The walls of the guest (1) were covered with (2) light wallpaper with wild (3) patterns, so similar in style to the silver (4) clock hung (5) above the door.
Dikovina — outlandish; hanged above the door;
guest - (c) living room; papered over- kr. prib.; silver - silver.
Indicate all the numbers in whose place NN is written.
39. Against the strange (1) and menacing background of the sunset sky, the jagged wall of the coniferous forest seemed clearly drawn (2), and in some places the transparent round tops of birches sticking out above it seemed to be outlined (3) in the sky with light strokes.
strange from side; clearly drawn - from draw — sov.v ;
outlined- kr. prib.
Indicate all numbers replaced by N.
40.The river is especially (1) beautiful in the morning (2) fog, when its crystal streams are transparent, like silver (3) threads, and are illuminated (4) by the cold autumn sun.
highlighted- kr. prib.; SILVER- silver;
Especially- SPECIAL; morning - in the morning. See rules
Indicate all the numbers in whose place NN is written.
42.According to the plan, N.V. Gogol was going to lead Chichikov through the temptation of property (1) property, through life (2) dirt and abomination to morality (3) rebirth.
own, vital, moral- adjectives with suff. ENN.
Indicate all numbers replaced by N.
43. This valley is a glorious place: on all sides there are inaccessible mountains, reddish rocks, which are covered (1) with green ivy and crowned (2) with clumps of plane trees, yellow cliffs, streaked (3) with gullies, high, high - the golden fringe of clouds , and below is Aragva.
hung, crowned - cr. prib.;
striated gullies . See rules
Indicate all the numbers in whose place NN is written.
44. The long (1) row of unseen (2) paintings in old (3) frames, hanging (4) on the unpainted (5) walls, delighted the eye with a riot of colors.
long- length; unprecedented- excl.; oldNa- ANCIENT; hung from hang - sov.v.; unpainted - from paint - nesov.v.
Indicate all the numbers in whose place NN is written.
45. In the distance, on a steep limestone bank, washed away by floods, in the morning (1) air a village with a white stone (2) church and wind (3) mills can be clearly seen.
Morning - in the morning; stone — STONE
wind — windy. See rules
Indicate all numbers replaced by N.
46.The topic of femininity (1) in the philosophical perception of Russia is quite traditional (2); it was expressed in the works of Slavophiles, and was developed in the concepts of the philosophers of the Silver (3rd) century: V. Solovyov, V. Rozanov, N. Berdyaev.
Silver- from silver;
femininity- from adj. feminine (suff. -ENN), traditional(suff. -ONN) from tradition.
Indicate all numbers replaced by N.
47. To this day, the archives have preserved invoices presented to (1) the artist for the delivery of (2) oils (3) paints to him.
oily - from oil.
presented to the artist...; delivered to him.
Indicate all numbers replaced by N.
48. In the self-portrait, the artist is depicted in an exquisite (1) cloak, his face is calm and confident (2), his mustache and beard are carefully combed (3).
combed- kr. prib.
refined- find owl.v., adj.; confident— to assure Sov.v., cr. adj.
Indicate all the numbers in whose place NN is written.
49. In his work, Salvador Dali was a tireless seeker who hated routine (1) and created updated (2) images and unexpected (3) compositions.
adj. ordinary(suff. -ENN); updated - sov.v.; unexpected-exception
Indicate the number(s) replaced by N.
50. In the late work of Salvador Dali, new artistic (2) trends are expressed - interest in classical clarity, internal (3) harmony (50).
expressed - kr. prib.
artistic - adj.; internal - adj. , See rules
Indicate all the numbers in whose place NN is written.
51. The massive (1) flagstone courtyards were surrounded (2) by a continuous chain of buildings on four sides; there was no entrance to the houses from the street, and first you had to enter the stone (3) low gate with an iron grating (51).
Paved flagstone; stone - STONE;
surrounded- kr. prib.
Indicate the number(s) in whose place(s) NN is written.
52. The rooms were arranged (1) with remarkable luxury: the walls were covered with colorful Bukhara carpets, and the ceilings painted (2) in oils (3) were striking in their brightness (52).
painted oily
arranged- kr. prib.
Indicate all the numbers in whose place NN is written.
53. In the painting “Kermessa,” Rubens depicted a crowd of heated (1) townspeople, desperately (2) dancing a frantic (3) dance (53).
heated- from warming up the owl; desperation - desperate; mad - from enraging nesov.v.
Indicate all the numbers in whose place it is written NN. 54.The idea that goodness is inherent (2) in nature, that a human being, created (3) by nature, is born (4) for happiness, for freedom, for beauty begins to gradually (1) penetrate into the consciousness of people (54).
gradually- from adj. gradual; created nature;
laid down - pawned nature - kr. ??? , born- kr. prib.
Indicate all the numbers in whose place it is written NN. 55. A group of young rebel artists led by I.N. Kramskoy contrasted her creativity with the contrived (1) works of recognized (2) famous (3) painters (55).
far-fetched - from think up owls V; recognized - recognize Sov.v. ; saloN — salon See rules
Indicate all the numbers in whose place it is written NN. 56. The Persian courtiers were (1) against the Russian ambassador (2) and were looking for a reason for conflict, but A.S. Griboedov was restrained, exquisitely (3) polite and did not give any reason (56).
from send sov.v. ⇒ sent ⇒ Ambassador; polite (how?) exquisitely- from find sov.v. - exquisite;
configured- kr. prib. - configured
Indicate all the numbers in whose place it is written NN. 57. The image of a “time machine”, going back to the novel of the same name by H. Wells, was not accidental for V.V. Mayakovsky: his utopias, dedicated (2) to the machine age, were connected (3) with hopes for the development of technical progress (57).
name - NAMED - ( one) named; dedicated the age of machines;
connected- kr. prib. — tied up.
Indicate all the numbers in whose place it is written NN. 58. In the 60–70s of the 18th century, a vile (1) folklore boom began in Russia, although the attitude towards the song as a whole (2) monument of folk history and culture had not yet been formed (3) o (58).
authentic- remember (usually related to script — « long pole" on the grounds that during the trial they were beaten with "originals"); price - valuable;
formed- kr. prih..
Indicate all the numbers in whose place it is written NN. 59. Already in V. Serov’s first landscape, almost all the features characteristic (2) of him as a landscape painter were manifested: sharpness of vision, deepest insight into the essence of what is depicted, sophistication (3) and precision of color (59).
property — characteristic; sophistication - from find sov.v. - exquisite; manifested - cr. prib. See rules
ALEXANDER BLOK
The first childhood impressions of Alexander Alexandrovich Blok (1880-1921) are associated with the house of his maternal grandfather, the 1st rector of St. Petersburg University, the famous botanist A. N. Beketov. “Beketov’s House” for Blok is a world of great significance, an object of love and bright memories preserved forever. Therefore, he becomes the prototype of one of the key symbols of Blok’s creativity - that “only one in the world” House, 2 which must be abandoned in the name of the sorrowful, but having high goals"earthly wanderings" 3
“Beket’s world” is the world of the liberal-humanistic culture of noble intellectuals who sympathetically followed the democratic movement of the 60-80s. and constituting its legally active periphery. Blok later saw the charm of this world in its “nobility” (3, 314), in human warmth, which in the public sphere was manifested by “love of the people,” the pathos of sacrifice, and “co-crucifixion” (3, 463). That is why the intimate theme of leaving the House later merged with Blok’s criticism of liberal humanism of the 19th century.
Another important sign of the Beketovs’ life is the intensity of spiritual quests and high culture. Grandfather, scientist and public figure; grandmother, E. G. Beketova, translator from English, French and other European languages; aunts (poetess E. A. Krasnova; children's writer and translator M. A. Beketova, future biographer of Blok); finally, the poet’s mother, A. A. Blok, who was also engaged in literary work - all of these were gifted people, widely educated, who loved and understood the word.
Blok’s upbringing is inseparable from the “noble self-indulgence” he himself emphasized (3, 462), from the “éducation sentimentale” 4 (3, 298), which determined a long absence of “life experiences” (7, 13), naivety in everyday life and politics. But Blok owes this same upbringing to the fact that he lived from early childhood in an atmosphere of vivid cultural impressions. Particularly important for him were the “lyrical waves” that “rushed” (7, 12) from Russian poetry of the 19th century. - Zhukovsky, Pushkin, Lermontov, Fet, Tyutchev, Polonsky.
Blok’s first poetic experiments (1898-1900), partially united by him later in the cycle “Ante lucem,” 5 speak of his blood connection with Russian lyrics and the importance for him of the European poetic tradition (H. Heine, romantically interpreted Shakespeare, etc.) . Young Blok’s perception of the world was determined mainly by romantic influences (the opposition of the “poet” to the “crowd”, an apology for “passion” and friendship, antithetical and metaphorical style). The antinomic attitude towards reality, characteristic of the mature Blok, was contained within the framework of this same tradition. In 1898-1900 these are fluctuations between moods of disappointment, early fatigue (“Let the month shine - the night is dark ... "") and Pushkin-Fatiushkov's "Hellenism", the glorification of the joys of life ("In the hot dance of bacchanalia ... »).
Already in his early work, Blok’s originality is visible: bright lyricism, a penchant for a maximalist, heightened worldview, a vague but deep faith in the lofty goals of Poetry. Blok’s attitude towards literary traditions is also peculiar; The culture of past centuries for him is intimately close, alive, today. He can dedicate poems to E. Baratynsky or A.K. Tolstoy, naively polemicize with the long-deceased Delvig (“You, Delvig, say: a minute is inspiration ... "). His youthful lyrics are characterized by an abundance of epigraphs and quotations from Plato and the Bible, Shakespeare and Heine, Nekrasov and Baudelaire, as well as variations on themes set by literature (“Hamlet’s” cycle, the poem “Mary” with the subtitle “A Feast in the Time of Plague”), pictorial (“The Pursuit of Happiness. (Roche-Grosse)”) or musical (“Valkyrie. (To the tune of Wagner)”) tradition.
In 1901-1902 Blok's circle of life impressions expands significantly. Home and book influences are supplemented by still unclear, but powerful impulses coming from reality itself, from the new century, tensely awaiting general and complete renewal. The most important event These years, which left an imprint on the poet’s entire life and work, would be his dramatic feeling for his future wife, L. D. Mendeleeva. 6
All this accelerated the creative takeoff that was gradually being prepared. The student’s multidirectional searches gave way to the creation of a work that was extremely integral and mature. Despite all the undoubted connections between “Poems about a Beautiful Lady” and world and Russian lyricism, this cycle is not only a brightly original, but also, for the Russian tradition, an almost unique work.
Blok’s personal poetic experience, of course, echoed in a common way development of Russian art. In the pre-revolutionary years, it experienced a rise in romantic sentiments associated with criticism of positivism, bourgeoisism, with interest in various utopias of the past, with the dream of a heroic transformation of the world. Romantic moods were refracted in a unique way in “Poems about a Beautiful Lady.”
The key to interpreting the colorful life and cultural impressions for the author of this cycle was the poetry of Vladimir Solovyov, which took possession of his entire being “in connection with acute mystical and romantic experiences” (7, 13). Through Solovyov’s lyrics, Blok assimilates Platonic and romantic ideas of “two worlds” - the opposition of “earth” and “sky,” material and spiritual. This antithesis, however, is translated in two ways in Blok’s work. Sometimes it implies that the earthly world is only secondary, devoid of independent value and existence, “shadows of what is invisible to the eyes”: 7
I follow a little, bending my knees,
Meek in appearance, quiet in heart,
Floating Shadows
Fussy worldly affairs.
Sometimes the antithesis “matter - spirit” helps to interpret the “earthly” in the spirit of Solovyov’s ideas of “synthesis” - as an inevitable and significant stage in the formation of the world spirit. In the latter case, it is natural to glorify earthly life, nature, passion. 8 For the young Blok, this jubilant joy of being, the breath of the earth - young, colorful, polyphonic and joyful - are especially important.
Most clearly, Blok’s closeness to the Solovyov tradition is revealed through the connection of his poetic ideal with the most important for both philosophy and poetry of Vl. Solovyov in the image of the Soul of the world. The soul of the world is a spiritual substance that is feminine in nature (closest to Schelling’s Weltseele and Goethe’s die Ewig-Weiblichkeit). In Solovyov’s works, the entire earthly nature, all of humanity (the pantheistic and mystical-utopian aspects of Solovyov’s philosophy), and each person individually (in poetry, this is the lyrical hero and the mysticism of love, most significant for Blok) are addressed to the Soul of the world as a longed-for ideal in Solovyov’s works. Mystical love-eros marks communion with the Soul of the world. It also appears either as a feat of complete renunciation of earthly passions, or as the descent of the Soul of the world to earth, the creation of an “earthly paradise”, as earthly, but sanctified by high spirituality, Love.
The Platonov-Soloviev mysticism of the cycle corresponds to the symbolism of Blok’s artistic thinking. Direct lyrical experiences, episodes of personal biography, various impressions of the poet, widely reflected in “Poems about a Beautiful Lady” - all these are at the same time signs of extremely generalized processes that, taken together, form a mystical-philosophical myth. The poems of the cycle are fundamentally multifaceted. To the extent that they speak about the real feelings of living people, these are works of intimate, landscape, and, less often, philosophical lyrics. But to the extent that what is depicted is involved in the deep layers of content, in myth, the plot, descriptions, vocabulary - in a word, everything figurative system a cycle represents a chain of characters. None of these plans exists separately: each of them seems to “shine through” the others in any detail of the narrative. Like lyrics, “Poems about a Beautiful Lady” is a collection of individual, completely independent poems that capture the mood at this moment. Awareness of the deep layer of the narrative makes us see in individual texts and in each of their parts disparate episodes of a single myth, bearing the memory of the whole. Both romantic writers and Vl. Soloviev poetically declared the idea of the polysemy of the image. Blok was one of the first Russian poets to express it through the very structure of his images-symbols and the entire cycle-myth.
Conceptualized as a myth, “Poems about a Beautiful Lady” present a narrative about the secrets of the world order and the formation of the world. The main antithesis of the “heavenly” and “earthly” and the aspirations of the future “synthesis” of these two principles of existence are embodied in the cycle in the complex relationship of the Beautiful Lady (the spiritual principle of existence) and the lyrical hero, “I” - an earthly being living among the “noisy peoples” ( 1, 78), but directed by the soul to the heights - to the One who “flows in the row of other luminaries” (1, 103). The lofty love of the lyrical hero (the hymns to the Lady are the main emotional pathos of the cycle) is love-admiration, through which only a timid hope for future happiness glimmers.
Love is embodied in the motive of the Meeting of the lyrical hero and the Lady. The story of the Meeting, which should transform the world and the hero, destroy the power of time (“to unite tomorrow and yesterday with fire” - 1, 110), create the kingdom of God on earth (where “heaven returned to earth” - 1, 201) - this is the lyrical plot of the cycle . The lyrical plot is correlated with it - the change of moods, the vicissitudes of a “mystical novel” going from poem to poem. It is this plot, more closely connected with the reality behind the text than the plot (myth), that plays a special role in the cycle. She not only embodies, but also debunks the utopia of the mystical transformation of the world.
The spring hopes of the first poems are replaced either by disappointment and jealousy for mysterious doubles, then by an increasingly impatient and passionate expectation of earthly love, or by an equally significant fear of the Meeting. At the moment of incarnation, “Virgin, Dawn, Bush” can turn into an earthly (evil, sinful) creature, and her “descent” into the world can turn out to be a fall. In the program poem “I Anticipate You. The years pass by ... “This combination of fiery faith in the immutability of the Lady (“All in one form I foresee You”) and horror of “transformation” (“But I am afraid: You will change your appearance” - 1, 94) is especially noticeable.
The expected transformation of the world and “I” in the cycle never happens. Having incarnated, the Lady, as the poet feared, turns out to be “other”: faceless (1, 142), infernal, not heavenly, and the Meeting becomes a pseudo-meeting. The poet does not want to remain an “old” romantic, in love with a dream that is far from life. He continues to wait not for a dream, but for the earthly embodiment of the ideal, even if it is attributed to the distant future. The poetic result of “Poems about a Beautiful Lady” turns out to be both tragic doubts about the reality of the mystical ideal, and loyalty to bright youthful hopes for the future fullness of love and happiness, for the future renewal of the world.
“Poems about a Beautiful Lady” is by no means the debut of a newcomer. This is a cycle of poems of the highest spiritual intensity, violently pulsating feelings, deep sincerity - and at the same time a work distinguished by the completeness and harmony of images, confident and mature skill. Blok's first collection of poetry immediately introduced him to the world of great Russian poetry.
The new stage of Blok’s creativity is associated with the years of preparation and achievements of the first Russian revolution. At this time, the collection “Poems about a Beautiful Lady” (1904) was published, poems were created, later included in the books “Unexpected Joy” (1907) and “Snow Mask” (1907), a trilogy of lyrical dramas (“Balaganchik”, “King in the Square” ", "Stranger" - 1906). The poet's work in the field of criticism and literary translation begins, literary connections arise, mainly in the symbolist environment (Vyach. Ivanov, D. Merezhkovsky, Z. Gippius - in St. Petersburg; A. Bely, V. Bryusov - in Moscow). Blok's name is becoming famous.
In 1903-1906. Blok turns to social poetry more and more often. He consciously leaves the world of lyrical isolation to where “many” live and suffer. The content of his works becomes reality, “everyday life” (although sometimes interpreted through the prism of mysticism). In this “everyday life,” Blok increasingly persistently highlights the world of people humiliated by poverty and injustice. In the poem “Factory” (1903), the theme of people’s suffering comes to the fore (previously it was only glimpsed through images of urban “devilry” - “A black man was running around the city ... ", 1903). Now the world turns out to be divided not into “heaven” and “earth”, but into those who, hidden behind the yellow windows, force people to “bend their weary backs” (1, 302), and into the poor people. Intonations of sympathy for the “poor” are clearly heard in the work. In the poem “From the Newspapers” (1903), the social theme is even more noticeably combined with vivid sympathy for the suffering. Here the image of a victim of social evil is drawn - a mother who could not endure poverty and humiliation and “lay down on the rails herself” (1, 309). Here, for the first time, Blok appears on the theme of the kindness of “little people,” characteristic of the democratic tradition. In the poems “The Last Day”, “Deception”, “Legend” (1904), the social theme turns another side - a story about the humiliation and death of a woman in cruel world bourgeois city.
These works are very important for Blok. In them, the feminine principle appears not as “high”, heavenly, but as “fallen” on the “sorrowful earth” and suffering on earth. Blok’s high ideal now becomes inseparable from reality, modernity, and social conflicts. Works on social topics, created during the days of the revolution, occupy a significant place in the collection “Unexpected Joy”. They end with the so-called “attic cycle” (1906), recreating - in direct connection with Dostoevsky’s “Poor People” - already quite realistic pictures of the hungry and cold life of the inhabitants of the “attics”.
Poems in which the dominant motives of protest, “rebellion” and the struggle for a new world dominate, were also initially painted in mystical tones (“Is everything calm among the people ?.. ", 1903), from which Blok gradually freed himself (“They went for an attack. Right in the chest ... ", 1905; "Rising from the darkness of the cellars ... ", 1904, etc.). In the literature about Blok, it was repeatedly noted that the poet most clearly perceived in the revolution its destructive (“Meeting”, 1905), nature-like, spontaneous side (“Fire”, 1906). But the more important the experience of the first Russian revolution became for Blok, the man and the artist, the more complex and diverse its poetic reflections turned out to be. 9
Blok, as well as other symbolists, is characterized by the idea that the desired popular revolution is victory new people and that in the wonderful world of the future there is no place for his lyrical hero and people close to him in socio-psychological makeup.
They are far away
They swim merrily.
Just us with you,
That's right, they won't take it!
Civil lyric poetry was an important step in the artist’s understanding of the world, and the new perception was reflected not only in poems with a revolutionary theme, but also in a change in the poet’s general position.
Spirit revolutionary era The block was felt primarily as anti-dogmatic, dogma-destroying. It is no coincidence that it was in 1903-1906. the poet moves away from Vl.’s mysticism. Solovyov himself defines the new phase of his evolution as an “antithesis” in relation to Solovyov’s “thesis”. Not only the focus of poetic attention (“voices of other worlds”) changes, but also the idea of the essence of the world. The poetic kingdom of the Beautiful Lady was felt by Blok as eternal and “immovable” in its fundamentals: only the fussy affairs of the world change, and the Soul of the World is “untroubled in the depths” (1, 185). A new poetic symbol characterizing the deep nature of existence - “element” - appears in close connection with the moods and views of other Russian symbolists, and above all with the views of Vyach. Ivanova. “Element” has been perceived by Blok since 1904 as the beginning of movement, constant destruction and creation, unchanged only in its endless variability. The motifs of the spontaneity of Russian life and the Russian revolution are widespread in Russian literature at the beginning of the 20th century. They are especially characteristic of writers of the democratic camp, whose work reflected the revolutionary experience and sentiments of the non-proletarian masses. The Russian symbolists were ultimately talking about the same “spontaneity”, about the emancipation of the “natural” forces of man in a grandiose revolutionary impulse. However, in symbolist poetry, which grew on the soil of individualistic, “solitary consciousness,” “spontaneity” (like the entire poetic world in general) was sometimes freed from the concrete signs of the era, clothed in the tones of abstract heroism, glorification of passions, romantic-decadent individualism, and fantastic images or mythologized. "Spontaneity" of Blok's poetry 1904-1908. - this is the path from the symbolist pathos of “passion” as such to the democratic apotheosis of the people, “people of the elements.” The overall picture of reality is now becoming dramatically more complicated. If the contrasts in “Poems about a Beautiful Lady,” with all their diversity, fit into Plato’s idea of “two worlds” and generally constituted a kingdom of high harmony, now life appears as disharmony, as an irrationally complex and contradictory phenomenon, as a world of many people and events , struggle:
There are better and worse than me,
And many people and gods,
And in each there is a throwing of fire,
And in each there is the sadness of the clouds.
“Element” (unlike the “Soul of the World”) cannot exist as a pure idea: it is inseparable from earthly incarnations. The material embodiment of the “spontaneous” world is realized in the most important theme for Blok’s “Unexpected Joy” - the theme of earthly passion, which replaced the mystical worship of the “Virgin, Dawn, Bush”. The heroine of the new lyrics, whom the poet admires, is not only an earthly, but also a shockingly “this-worldly” woman. Perhaps (what can one vouch for in the kingdom of flickering faces?), this heroine, like the lyrical hero of “Unexpected Joy,” once “knew the sky” (2, 183). However, in its current incarnation it is a “fallen star” (and a “fallen woman”). The meeting with “her” takes place “in an unlit gate” (2, 183), in a “snake’s lair” (2, 165), in the intoxicating haze of a country restaurant. Lyrical hero Blok is shocked by the experience of stormy earthly passion, the intoxicating smell of perfume and mists (2, 186).
Therefore, during the period of “Unexpected Joy,” the general appearance of Blok’s lyrics changes sharply and unexpectedly. Here poems about the city and nature occupy a large place, where there is neither the image of a lyrical hero nor motives of love. On the other hand, the nature of the lyrical experience changes completely: instead of knightly worship of the Lady, there is an earthly passion for the “many”, for the “stranger” encountered in the world big city. The new look of the love theme is caused by many reasons: global ideological (the disappearance of high faith in the “Virgin, Dawn, Bush”), social (increasing interest in city life, in the “bottom” of the city), biographical (the complexity and drama of Blok’s relationship with his wife). The motifs of wild passion find their peak expression in the cycle “Snow Mask” (1907). No less vividly, the “element” is embodied in other breaths of life: in the warmth and charm of “low-lying” nature (poems of 1904-1905, which later formed the cycle “Bubbles of the Earth”), in the intoxicating whirlpool of city events. “Here and now” turns out to be not only the main theme, but also the highest value of Blok’s lyrics of these years. In the irrational disharmony of the ever-moving, materially embodied “element,” the poet discovers beauty, strength, passion, dynamism and festivity.
The apology for the “elements” had another important feature. Starting with an interest in “lower” nature (“Bubbles of the Earth”), Blok gradually increasingly depicts “people of nature” endowed with the attractive features of the elements. It is no coincidence that the heroine of the lyrics of these years is always - directly or... indirectly connected with Blok’s poetic ideal, she is often a fiery and passionate daughter of the people (“Rided up the wild steppe ... "). Subsequently, Blok begins to treat his work of the “antithesis” period very warily, sometimes piercingly feeling the “abyss” that lie in wait for a person on the paths of passive dedication to the “elements”. There were real reasons for concern. The pathos of destruction often turned out to be an end in itself, the denial of mysticism - self-sufficient skepticism, a hypertrophy of romantic irony, questioning the very reality of existence. Subjectivism and individualism are not uncommon in the works of this period: the “elements” turn out to be, first of all, the “elements of the soul” of the lyrical hero. No less characteristic of the lyrics of “Unexpected Joy” is the weakening of ethical pathos, the aestheticization of evil, and decadent demonism in the depiction of alluring but evil passion.
Blok constantly feels an alarming need to look for some new paths, new high ideals. And it is precisely this restlessness, a skeptical attitude towards universal skepticism, an intense search for new values that distinguishes him from internally complacent decadence. In the famous poem “The Stranger” (1906), the lyrical hero excitedly peers at a beautiful visitor to a country restaurant, trying in vain to find out who is in front of him: the embodiment of high beauty, the image of “ancient beliefs,” or the Stranger - a woman from the world of drunkards “with the eyes of rabbits”? A moment - and the hero is ready to believe that in front of him is just a drunken vision, that “the truth is in wine” (2, 186). But, despite the bitter irony of the final lines, the overall emotional structure of the poem is still not in the affirmation of the illusory nature of truth, but in a complex combination of admiration for beauty, exciting feelings of the mystery of life and the insatiable need to unravel it.
And slowly, walking between the drunken,
Always without companions, alone,
Breathing spirits and mists,
She sits by the window.
And they breathe ancient beliefs
Her elastic silk
And a hat with mourning feathers,
And in the rings there is a narrow hand.
And chained by a strange intimacy,
I look behind the dark veil,
And I see the enchanted shore
And the enchanted distance.
The new worldview gave rise to changes in poetics. The pull back to the harmonious world of the Beautiful Lady is combined in Blok’s work of these years with a sharp criticism of Solovyov’s utopianism and mysticism, and the influence of European and Russian modernism - with the first appeals to the realistic tradition (Dostoevsky, Gogol, L. Tolstoy).
Blok himself called the new way of displaying reality “mystical realism,” rightly highlighting in it the tendency to show everyday life and the idea of the evil, “diabolical” nature of earthly existence. It should be said, however, that the images of “devils and dwarfs,” which played an important role in the lyrics of 1903-1904, increasingly fade into the background during the years of the revolution, and interest in reality and modernity is increasing.
The destruction of the poetic myth about mystical beauty saving the world noticeably undermines Blok’s system of symbols. The world now appears before the lyrical hero as a change of chaotic impressions, the meaning of which is complex and sometimes incomprehensible. The desire to show the complexity of the world sometimes causes a deliberate accumulation of images, connected not by internal similarity, but by external spatio-temporal proximity.
Factory walls, window glass,
Dirty red coat
Flowing curl -
Everything is flooded with sunset.
Characteristic features of impressionistic poetics appear. The idea of the complex “asymmetry” of the world corresponds to an abundance of metaphors, oxymorons, and a polemical correlation of the images of “Unexpected Joy” with the images of “Poems about a Beautiful Lady.”
During the years of the revolution, the poet’s faith in the “golden age”, in that “paradise” where only two people lived, recedes into the past. The world of “Unexpected Joy” is multifaceted and crowded, it is a kingdom of diverse characters and unrelated plots. Blok's lyrics were destined to pass through this world of relative plurality before the poet regained a sense of the unity of life, its connection with the high ideal of humanity.
Blok is a poet who perceived the world in shock. It is not surprising that the experience of the 1905 revolution not only left its mark on him, but was also reflected most noticeably in the work of the first years of the Stolypin reaction.
During these years the poet created such vivid cycles as “Free Thoughts” (summer 1907), “Faina” (1906-1908), “On the Kulikovo Field” (1908). But no less significant is his desire to relegate lyrics to the background, turning to drama (“Song of Fate”) and to journalism that was previously distant to him (articles about the people and the intelligentsia).
In 1906-1907 Blok experiences a short-term but strong feeling for the actress of the Komissarzhevskaya theater - N. N. Volokhova. He still feels this feeling like an element. However, if in the first “Volokhov” cycle - “Snow Mask” the conversation was, as in the previous lyrics, about the “elements of the soul” of the lyrical hero, about a beautiful but destructive passion, then in the “Faina” cycle the element is the folk essence of the heroine, love for which is at the same time the lyrical hero’s initiation into national life. It is no coincidence that “intoxicated” passion is inseparable here from the images of a round dance, from the intonations of a Russian dance song or ditty:
Harmonica, harmonica!
Hey, sing, squeal and burn!
Hey little yellow buttercups,
Spring flowers!
...........
I'll go crazy, I'll go crazy
I love you madly
That all of you is night, and all of you is darkness,
And you're all drunk ...
The image of the elements in “Free Thoughts” is resolved differently, but in many ways similarly. A fierce love for life and the joys of earthly existence overwhelm the soul of the hero of the cycle, here removed from the mystical worldview; they oppose the glorification of death in the works of F. Sologub and a number of other symbolists:
Want,
I always want to look into people's eyes,
And drink wine and kiss women,
And fill the evening with fury of desires,
When the heat prevents you from daydreaming
And sing songs! And listen to the wind in the world!
Images of wind and blizzards passed through all of Blok’s poetry, becoming in it unique supporting symbols of the dynamism of life.
The literature of the post-revolutionary period is characterized by the appeal of its largest representatives to the topic of Russia, to its past and future, to the question of Russian national character. The image of Rus' also occupied a large place in Blok’s work.
In one of his letters from 1908, he says: “I consciously and irrevocably I dedicate my life <... > After all, here is life or death, happiness or destruction” (8, 265, 266).
The cycle “On the Kulikovo Field” is the poet’s highest poetic achievement of 1907-1908. A piercing sense of homeland coexists here with a special kind of “lyrical historicism,” the ability to see one’s own, intimately close, present and “eternal” in Russia’s past. For Blok’s artistic method of these and subsequent years, both attempts to overcome symbolism and a deep connection with the foundations of the symbolist vision of the world are noteworthy.
In his thoughts about the fate of the Motherland, Blok turns to the appearance of old Russia, which has long been characterized as a poor and humiliated Russia. This is how Blok sees her too.
Russia, poor Russia,
I want your gray huts,
Your songs are windy to me -
Like the first tears of love!
At the same time, poems about Russia are permeated by a sense of modernity as an era of imminent great changes. The day of a new Battle of Kulikovo, the day of defeat and death of the enemy, is not far off. “Over the cities,” writes Blok in the article “The People and the Intelligentsia” (1908), “there is a hum that even an experienced ear cannot understand; such a roar that stood over the Tatar camp on the night before the Battle of Kulikovo<... > Among tens of millions, sleep and silence seem to reign. But there was silence over the camp of Dmitry Donskoy<... > A distant and ominous lightning blazed over the Russian camp” (5, 323).
It is very significant that victory over the enemies oppressing Rus' is thought of as the result of a great, heroic “battle.” Hence the depiction of the lyrical hero of the cycle in tragic-heroic tones. This is “not the first warrior, not the last,” knowing that “the homeland will be sick for a long time” (3, 250), but nevertheless courageously ready to take part in the inevitable battle.
There are certain constant images-symbols in Blok’s work that reveal the most profound and stable aspects of his worldview. One of the most important groups of such images is associated with the idea of the purpose of life. Life without a goal is absurd for the young Blok and an inescapable horror for the mature Blok: it is no coincidence that the purposelessness of existence will become one of the main characteristics “ scary world» reactions. Blok always correlates the goal with images of the future (“only the future is worth living,” he will say a little later) - with the time of realization of a high ideal. Themes of purpose, future, ideal, pushed aside in 1903-1906. impressionistic sketches of the world “here and now”, in the years of understanding the experience of the first Russian revolution, again come to the fore. However, they are significantly changed in comparison with Blok’s youthful lyrics. The goal moves from “heaven” to “sorrowful earth”, inextricably fused with hopes for the “incarnation” of the ideal, its earthly embodiment, and the ideal itself in 1907-1908. finally filled with humanistic content, united with the “crazy” dream of a beautiful person of the future. At the same time, in lyrics (“Faina”, “On the Kulikovo Field”), drama (“Song of Fate”) and journalism (“Three Questions”, etc.) a new “image-concept” appears - duty, which determines the attitude of today’s person to the future, artist (and, more broadly, intellectual) to the people:
No! Happiness is an idle concern,
After all, youth is long gone.
Work will pass our time,
I have a hammer, you have a needle.
Duty finds its highest reflection in the motives of the heroic battle with the enemy for the happiness of the Motherland. For the first time this lofty image is embodied and becomes the leading one in the cycle under consideration “On the Kulikovo Field”.
The heart cannot live in peace,
No wonder the clouds have gathered.
The armor is heavy, as before a battle.
Now your time has come. - Pray!
The historicism of Blok's poetic thinking is determined primarily by the idea of the complexity and tragedy of life, associated with his characteristic pathos of movement and the heroism of battles. This ensures a continuous connection of times.
And eternal battle! Rest only in our dreams
Through blood and dust ...
The steppe mare flies, flies
And the feather grass crumples.
.................
Sunset in the blood! Blood flows from the heart!
Cry, heart, cry ...
There is no peace! Steppe mare
He's galloping!
In the realm of “eternal battle,” man is placed by history, by the “world environment,” 10 in contradictory, tragic relationships with other people. The state of high, heroic readiness for “battle” and death is generated by the feeling of a person’s involvement in the high tragedy of existence.
So, after many years of searching for a new poetic ideal, lofty, “holy” and at the same time universally significant, Blok finds and embodies it in the image of the Motherland - the “bright wife”, in an image that builds a bridge from the dreams of his youth to his mature creativity. With the coming to the topic of Russia, in its direct and indirect form, Blok’s poetry takes on a wide resonance.
The desire to break out of the narrow framework of “lyrics” causes an appeal to drama and journalism, which, as in poetry, raises questions about the paths of personality and history, about the homeland, about the secretly preparing struggle for future freedom and happiness. In the drama “Song of Fate,” the intellectual German leaves the world of “solitary happiness” for the snowy expanses of his homeland, where his “final” meeting with the beautiful Faina—Russia—awaits. In his journalistic articles, Blok writes bitterly about the ensuing reaction and at the same time predicts the inevitable death of modern individualistic culture and the growth of powerful movements of the awakening people.
For Blok’s creativity of the late 1900s. characterized by the dominance of ethical, humanistic pathos. But the poet's ethical searches and decisions are ambiguous. As during the years of the first Russian revolution, he does not accept the Christian pathos of patience and Tolstoy's non-resistance to evil. But at the same time, the solution to the question of the relationship of the individual to the people, the paths of the modern intelligentsia, and duty colors Blok’s love for the people in the tones of sacrifice, “voluntary impoverishment.” Later, this duality will be recognized by the poet as one of the revelations of the dialectical complexity of the world and man.
Blok's aesthetic views changed noticeably. He now sharply criticizes all varieties of “new art”, speaks of the fundamental importance of the “testaments” of democratic writers of the last century, and of the inevitable “meeting” of symbolists and realists. 11 The high assessment of Gorky’s work in the article “On the Realists” (Blok recognizes Gorky as the exponent of what is meant by the concept of Rus', Russia) leads him to disagree with the position of the majority of symbolists, to a many-year quarrel with his recent close friend Andrei Bely. A rapprochement with realistic literature, according to Blok, was supposed to solve such cardinal problems for the modern artist as the appeal of art to life, the people and nationality of culture, the ideological and “programmatic” nature of creativity.
The break with the “new art” was also marked by the earlier “lyrical drama” “Balaganchik” (1906), directed against the Solovyov mystics. One of the characters in the play Harlequin said:
No one here dares to understand,
That spring floats above!
No one here knows how to love,
Here they live in a sad dream!
Hello world! You are with me again!
Your soul has been close to me for a long time!
I'm going to breathe your spring
Through your golden window!
But in 1906 Blok did not believe in objective values: the world in the window was drawn on paper - Harlequin “flew<... > into the void." Now the pathos of Blok’s poetry has been renewed. Lyrical characters and pictures of reality receive specific - national, social, and sometimes historical outlines. The “timeless” in the heroes no longer cancels the modern (as it was in “Poems about a Beautiful Lady”), but it is not canceled by the instantaneous (as in some poems of “Unexpected Joy”). The eternal is combined with the recording of experiences in real historical time and space, although the poet, as we noted, does not completely break with the mystical understanding of the world.
The new, still emerging understanding of history included an artistic picture single, the ever-moving world, and internal “correspondences” different sides life (its different “paths”). This made possible the broadest poetic comparisons, the creation of a new system of images and symbols (Faina - Russia; Gogol’s image of the troika filled with new meaning; “Battle of Kulikovo” as a symbol of readiness for battle with the enemies of the homeland, etc.).
Thus, in 1907-1908. features of poetics that were very significant for the late Blok were formed, combining realistic traditions with the deep symbolism of the image.
A new - from the spring of 1909 - turn in Blok's work comes with seeming surprise. The external impetus was the difficult experiences associated with the death (on the eighth day after birth) of the child adopted by Blok, L. D. Blok. The feeling of the endlessly heavy, “deaf night” of Stolypin’s reaction, of course, was familiar to the poet before. But now for some time it becomes the dominant mood, drowning out the recent admiration for the revolution - youth “with a halo around the face” (8, 277), faith in its inevitability.
In the spring of 1909, the exhausted Bloks left for Italy. This trip gave rise to the appearance of the cycle of “Italian Poems” - a vivid expression of the mood of the new triennium. The aching notes of melancholy, “the hopelessness of sadness” (3, 108) merge with thoughts of modern European civilization as a long-dead world.
And the grape deserts,
Houses and people are all coffins.
Only the copper of solemn Latin
Sings on the slabs like a trumpet.
But Blok also senses the living, creative principles of life. This is, first of all, great art that “burned” the poet during his Italian wanderings. Images of painting, architecture, poetry, a “languorous” love for beauty, and insight into it permeate poems about Italy. Moreover, unlike early creativity, art is not so much the antithesis of reality as the discovery of its deep nature, its best potentials. “History, imprinted in culture, is the reality that Blok is now trying to rely on,” P. Gromov rightly writes. 12 Art preserves the memory of the country’s great past, and it is also a song about the future “New Life” (3, 99). Creativity is akin to life in its most vivid manifestations, akin to nature, in which the poet dreams of dissolving.
And when I surrender to the heat,
Blue evening heat
Into blue blue
The wave will carry me away ...
The feeling of the complexity and inconsistency of art as revealing the “multi-strings” of the world will be important feature Blok’s worldview of the 1910s, although it will be filled with much different content than in the previous period.
This is the time of the peak flowering of Blok’s talent, the creation of such final works as the poems “Retribution” (1910-1921) and “The Nightingale Garden” (1915), and the drama “Rose and Cross” (1913). The hidden origins of the poetry of these years are the feeling of the end of the reaction that gripped Russian society. “There is Russia, which, having escaped from one revolution, eagerly looks into the eyes of another, perhaps more terrible” (5, 486), writes Blok. The belief in imminent grandiose upheavals dramatically changes the emotional tone of his work: pessimism gives way to a “courageous” attitude towards the world. The poet begins to take a keen interest in “politics” and “sociality”, which he had previously rejected, and returns to the thoughts that reality is more valuable than dreams and that “ talented the movement called “new art” is over; that is, small rivers, replenishing the ancient and eternal channel with whatever they could, flowed into it” (8, 344).
At the same time, Blok’s attitude towards the world is still contradictory. The “Spirit of Music” becomes a new symbol reflecting the perception of the world substance. This is a key symbol of Blok’s mature creativity, akin to the universal symbols “Soul of the World” and “Element” and at the same time deeply different from them. This image goes back to the German romantics, Schopenhauer, Nietzsche and Wagner, being associated with the idea of the world as an aesthetic phenomenon, of the intuitive and creative comprehension of the world as the deepest, and of music as the highest art. Images of “music” were widespread in the culture of the early 20th century, both symbolist (Bely, Vyach. Ivanov, etc.) and those in contact with symbolism. 13 Unlike earlier symbols, the “spirit of music” is most clearly realized, according to Blok, in history, modern reality and culture. In contrast to the “element,” the formation of the “spirit of music” not only unleashes the elementary forces of nature and the soul, but also creates an increasingly complex, “harmonized” world. The harmony of “Poems about a Beautiful Lady” and the chaos of “Unexpected Joy” are now opposed by images of being, harmonious and violent at the same time. Not without reason, Blok defined this period of his evolution as “synthesis.”
In the 1910s almost simultaneously, poems of various emotional pathos are created. The dark, terrible sides of reality are depicted in the cycles “A Terrible World” (1909-1916) and “Retribution” (1908-1913). The “terrible world” is a kingdom of darkness, evil, social injustice, where “the rich are angry and glad,” and the poor are “humiliated again” (3, 39) - doomed to death.
A person living in a “terrible world” himself becomes a toy in the hands of dark, “demonic” forces. “Wild passions” are unleashed in his soul, transforming the brightest beginning of life - love - into a destructive passion, bitter, “like wormwood” (3, 8). In the “Terrible World” cycle (as earlier in the “City” cycle), Blok depicts his contemporary—mostly urban—reality, the humiliated inhabitants of earthly hell, as well as those “demons” and the living dead in whom the forces of evil are most clearly embodied.
But the “terrible world” is also a broader concept, it is an image of the state of the soul of the lyrical hero with its premonition of death, with its spiritual emptiness and mortal fatigue.
The earthly heart was tired
So many years, so many days ...
Earthly happiness is late
On your crazy three!
In the poetic cycle “Retribution” the main theme will be the same “terrible world” reflected in the soul of the lyrical hero. A naturally beautiful person is distorted by “the vanity of life” (3, 71) and himself becomes part of a terrible reality. And yet the poet knows that “in secret, the world is beautiful” (3, 140) and life, history, conscience bring inevitable retribution to the apostate of the Beautiful. The appearance and fate of the main character of Blok’s lyrics are inseparable from the appearance and fate modern man, from the paths of Russia. The theme of retribution was widespread in the literature of the 1910s, but in Blok’s work it acquired its own special coloring, its own special intonation.
However, not only depressing pictures of the “dead of night” were created by Blok in the 1910s. For the lyrics of these years, the poet’s rebellious intransigence and his faith in the future happiness of humanity become key. The pathos of the cycle “Iambics” (1907-1914) and new poems about Russia are associated with them.
I believe: a new age will rise
Among all the unhappy generations.
No wonder every family is glorified
A mortally insulted genius.
................
Even though the day is far away, we still have the same
Testaments to young men and maidens:
Contempt matures into anger,
And the maturity of anger is rebellion.
This attitude towards the future presupposes that many of its features are already embodied in the present. The scattered flickering of “signs” of the future merges in Blok’s poetry into an image of Russia, which becomes noticeably more complex. Through the everyday, impoverished appearance of the Motherland, the poet sees its ideal and unchanging (“you are still the same”) essence.
The future for Blok is not a rejection of the past, but the result of the “embodiment” of everything lofty that has been achieved by the spiritual experience of man, the experience of history. He is convinced that Russia of endless steppes (“Fatal, native country”) is gaining its new face.
The steppe path has no end, no outcome,
The steppe, and the wind, and the wind, and suddenly
Multi-tiered plant building,
Cities of workers' shacks ...
In the deserted expanse, in the wild
You are all that you were, and not the same,
You turned into a new face for me,
And another dream excites ...
Having embarked on new paths, Russia is young and beautiful, she is a “bride,” a “joyful holiday, a great holiday” awaits her, and she will not repeat the paths of old Russia and modern America.
The lyrics of the mature Blok create a complex picture of the world, “beautiful” and “terrible” at the same time. Among the forces opposing the “old world,” nature played a major role for the poet.
The pipe sang on the bridge,
And apple trees are in bloom.
And the angel raised him high
One green star,
And it became wonderful on the bridge
Look into such depths
At this height.
Blok's landscapes are associated with the democratic (Rousseau-Tolstoy) idea of natural world as a high moral standard, they grow on the basis of the traditions of Russian nature-descriptive poetry from Pushkin to Tyutchev and Fet. TO wonderful world the high beauty of art is also attributed (“The bow began to sing. And the stuffy cloud ... ", "The guitar strings are stretched ... "), moments of spiritual clarity ("There are moments when it doesn’t bother ... "), bright memories of youth and love - no longer heavenly, but earthly, filled with deep passion and tenderness ("Years have flown by over the years ... ", cycle "After Twelve Years"). The features of a fundamentally beautiful, authentic life are revealed in many works of the cycles “Harps and Violins” (1908-1916) and “Carmen” (1914; dedicated to the famous performer of the role of Carmen, artist L. A. Delmas).
The specificity of Blok’s artistic thinking was most clearly manifested in the poem “Retribution,” conceived after his trip in 1909 to his father’s funeral in Warsaw. The poem is autobiographical and at the same time broad in its generalizations. It traces the fate of a noble family (in which the history of the “Beketov house” is easily discerned) in connection with Russian life late XIX- beginning of the 20th century But the poet’s creative task was not limited to typifying the life of one family. The deep intention of the poem, full of “revolutionary forebodings” (3, 295), was to reveal the history of humanistic culture in Russia, its heyday, decline and death. The noble, but fenced off from life, world of an intelligent family associated with the traditions of liberalism and positivism is gradually destroyed by “demons” - bearers of individualistic consciousness: the Father (in whom it is easy to recognize A.L. Blok) and the Son (whose prototype is the poet himself). Strong only by the poison of denial, the Father and Son are crushed by the “world environment”, sink and perish. However, in the finale conceived by Blok, the “last firstborn” of the family, born to a Polish peasant woman, becomes the bearer of a new, popular and revolutionary consciousness and brings “retribution” on a life that has crippled generations of people (3, 298). The dialectical nature of the world manifests itself in history as constant movement and a “courageous” duel between the individual and the environment. The old culture is replaced by a new one, but life remains, always mobile and eternal.
Blok extensively recreates the historical background of the heroes’ lives, turning to the traditions of realistic, primarily Pushkin’s, poem. However, the general concept and structure of the images are in many respects at odds with this tradition. Each era, according to Blok, is a stage in the formation of the cosmically universal “spirit of music.” Therefore, history, everyday life, on the one hand, and culture, the characters of the heroes, on the other, are not connected by a cause-and-effect relationship. These are parallel, “corresponding”, deeply related identifications universal reason- “a single musical pressure” of time (3, 297). That is why the precisely written details of the era are at the same time symbols of some other (“corresponding” to them) events or the “spirit of the times” as a whole: the scene of the return of troops from the Russian-Turkish war in the first chapter is a symbol of life moving “like infantry, hopeless" (3, 461); the leitmotif of the mazurka is a symbol of the coming “retribution”, etc.
The drama “The Rose and the Cross” (1912) also examines the relationship between the individual and the “world environment,” but mainly from an ethical perspective. Here, too, Blok, relying on the Pushkin tradition (“Scenes from the Times of Knights”), generously introduces images of feudal life and popular movements (the uprising of the “weavers” - the Albigensians). But here too the story is just a clarifying parallel to what happens to the characters.
In drama they collide Various types world relations. The mundane, everyday and class egoism of the owner of the castle Archimbaut, the chaplain and others is opposed by a more complex attitude to the life of the main characters: Gaetan, Bertrand and Isora. They feel the presence of the High One in the world and are vaguely drawn to it. In the poet Gaetan’s song about “Joy - Suffering” there is a call for a heroic and sacrificial struggle, but he himself is old and passive, he is only a “pure call” (4, 460), infecting others with his pathos. In Izora, the young and lovely wife of a feudal lord, the deepest premonitions of a bright and harmonious life lie dormant. But in her, unlike Gaetan, the too (or rather, less than) human wins. The vague languor caused by Gaetan's song is resolved by her affair with the vulgar page Aliskan. And only the “poor knight”, the loser Bertrand, in love with his mistress and sacrificing his life for her, embodies the Humanity with his death - a courageous readiness to battle with evil. True, Blok does not at all consider this sacrificial path to be the final embodiment of the ideal. But for him, outside of the sacrificial heroism of the Cross, there are no paths from today’s world (the era of feudalism showing the first cracks is projected by Blok onto modernity) into a beautiful tomorrow.
In the poem “The Nightingale Garden” (1915), Blok again returns to one of the most important questions for him now - the moral duty of the individual. The hero of the poem gives up hard, exhausting work, the life of a “poor, destitute man” and, following a sweet call, goes to the “nightingale’s garden” - into the world of beauty, love and happiness. The happiness of the “nightingale’s garden” is not the lofty dream of a knight, but a real, embodied earthly passion:
Alien land of unfamiliar happiness
Those who opened their arms to me
And the wrists rang as they fell
Louder than in my poor dream.
But the “nightingale garden” is similar to the “paradise” of the lyric poetry of 1900-1902. in another: only two people live here, only they are happy here, and their lonely happiness cannot change the fate of the world. Therefore, the very possibility of high happiness is
Curses do not reach life
To this walled garden
- turns into an accusation against the “garden” and its inhabitants; they, like the heroes of the “Song of Fate,” do not have the right to solitary happiness in the middle of a huge world where there is so much grief. The hero makes a second escape - from the “nightingale garden” back to harsh labor and poverty. But even temporary betrayal of duty is not forgiven: the fugitive does not find his former home. Now he is a lonely renegade of both Duty and Beauty.
Blok’s artistic method was very expressively manifested in his final work - in the preparation for publication at the Musaget publishing house of “Collected Poems” (books 1-3. M., 1911-1912). The poet conceptualizes his lyrics as a single work, as a “trilogy” dedicated to “one circle of feelings and thoughts” to which he “was devoted during the first twelve years of his conscious life” (I, 559).
The first volume of this “trilogy” includes lyrics from 1898-1904. (the main place in it is occupied by “Poems about a Beautiful Lady”); the second includes poems from 1904-1908, and the third includes works from the late 1900s to early 1910s. Blok worked on this “trilogy” until the end of his life, supplementing it with new poems.
The main motive that connects the disparate works and largely determines the composition of the “Collected Poems” is the “idea of the path,” 14 the poet’s understanding of his own development, his own evolution. At the same time, Blok perceives his path as the path of a modern person and already as the path of an intellectual of the new century. In this regard, for his “trilogy of lyrics” the orientation towards the social novel of the 19th century is very significant. and above all to “Eugene Onegin”, by analogy with which he calls his “trilogy” a novel in verse.
Consideration of the lyrics in their unique unity, of course, did not mean a loss of independence of individual poems. Independent of each other at the time of creation and their first publications, they, only entering the “trilogy”, were interpreted as some kind of milestones in the formation of the spiritual and aesthetic world of his hero.
The range of feelings and thoughts reflected in the “trilogy” speaks of its multifaceted nature. These are the main stages of creative and life path Blok, his concrete historical artistic interpretation of Russian reality, a premonition of the future as life purified by the thunderstorm of revolution (“Iamby”).
At the same time, the “trilogy” can be considered in terms of the formation of the poet’s worldview: it also reflects his passion for the ideas of Vl. Solovyov, and the myth of paradise lost and returned, and the democratic Rousseauian-Tolstoyian idea of civilization as a distortion of the beautiful fundamental principles of life, and thoughts about the future as a return on new principles to these fundamental principles.
The poetry of the first volume (in the center here is “Poems about a Beautiful Lady”) tells about the beginning of the spiritual formation of the heroes. This is the beautiful kingdom of youth, the world of first love, an idealized perception of the environment. But the inexorable force of the universal movement destroys the pristine harmony of the “blue shore of paradise” (3, 55). The second volume is devoted to depicting the “overthrow” of the heroes from the heights of lonely happiness into the “terrible world” of reality (this volume is based on the collection “Unexpected Joy” and the cycle “Snow Mask”).
In the third volume, the melody of the “past” sounds, the blessing of the world of first love, the world of youth.
And I see your image in the matchmakers, your beautiful one,
How angry and passionate he was before the night,
What he was like to me. Look:
Still the same you, which once bloomed,
So, above the misty and jagged mountain,
In the rays of the unfading dawn.
The poet recalls the old house, the spiritual homeland of the lyrical “I,” the blue and pink world of the sky and the setting sun, the world of fun and music, the harmony of “Poems about a Beautiful Lady.” In these memoirs, autoquotations from early lyrics are sometimes clearly heard (cf.: “There, above Your high mountain, the jagged forest stretched” - 1, 102). Now this world is gone forever. However, the memory of the past is not only sadness about the irrevocable, but also the high standard to which the hero strives.
This youth, this tenderness -
What was she to us?
All my poems are rebellious
Didn't she create it?
Under the fatal influence of the “terrible world”, the traits of a “demon”, a traitor - “Judas” and even a “vampire” (the “Black Blood” cycle) are revealed in the lyrical “I”. These images of him emphasize the motive of personal responsibility for the evil reigning in the world. In the “trilogy” the theme of tragic human guilt arises. At the same time, “I” appears as a “beggar,” “humiliated,” doomed to death (“Late autumn from the harbor ... "- 3, 19).
The hero is in many ways related to the image of the “infernal” heroine who appeared in the lyrics of 1903-1906. She, like the lyrical hero, is “fallen”, “humiliated”, but her former appearance as the “Soul of the World” also shines through in her. Meetings between the hero and a demonic woman, which extremely distort the ideals of “eternal” first love, end with the death of either the woman (“Black Blood”) or the hero (“From the Crystal Mist ... "). However, death is only one of the possible options for completing the hero’s journey.
The hero’s thought about the guilt of the individual for the evil of his contemporary reality entailed an intrusion into the content of the second and especially the third “volume” of Tolstoy’s “confessional” pathos, but at the same time the image of reality itself is permeated with a dialectical worldview. Life is not only scary, but also beautiful in its complexity, dynamism of feelings and passions.
In a light heart there is passion and carelessness,
As if a sign was given to me from the sea.
Over the bottomless pit into eternity,
The trotter flies, gasping for breath.
Snowy wind, your breath,
My intoxicated lips ...
Valentine, star, dream!
How your nightingales sing ...
The idea of tragic guilt is replaced in the “trilogy” by the motif of a conscious, courageous-willed choice of path, which is important for Blok’s work. In the “third volume” the hero appears in both heroic and sacrificial guise. These are all, as it were, parts of the soul of the lyrical “I”. But in the poet’s perception, the transition from the present to the future is associated with another hero - a warrior, a fighter “for a holy cause.” This image plays a particularly important role in the “trilogy”. And no matter how deep the “final despair” may be at times in Blok’s poetry, the already noted faith in the future lives in it.
In Blok's lyrics and poems of the 1910s. his artistic method acquires harmonious completeness, and his poetic skill reaches its highest expression. A special kind of symbolic perception of reality does not now blind the poet to the diversity of the world, historically and nationally. specific forms life and human character. On the contrary, it is in history, modernity, in the human that the “universal” can be embodied. Hence the wide inclusion in the lyrics of everyday life, psychology, everything that makes the poet’s most intimate lines the subtlest evidence of the era. Blok's lyrics organically absorbed not only the democracy and humanism of the art of the 19th century, but also the epic nature of the novel of the past century. Blok’s lyrical hero follows the paths of the “crowd,” lives “like everyone else,” and embodies the characteristic features of a person at the turn of two eras in Russian and world history.
Synthesizing epic and lyricism, Blok embodies in his work other “synthesizing” trends of the era: orientation towards the world artistic tradition - and towards “grassroots” folk culture (folklore, urban and gypsy romance), immersion in the art of bygone eras - and deep innovation.
This is exactly how everything is perceived in late lyric poetry Blok - from the symbol system to metrics, rhythm and rhyme. The transition to tonic versification (Blok’s dolniks, fruitfully studied already in the 20s by V. M. Zhirmunsky) does not cancel the deep connections of Blok’s verse with “Pushkin’s” iambics and “Nekrasov’s” trisyllabics; interesting searches in the field of imprecise rhyme do not prevent an orientation towards traditional types of rhyme, etc. The freedom of poetic searches, which never became an end in itself for Blok, coexists with organic inclusion in the flow of world poetic culture.
The 1910s, when Blok turned to the deeply personal and at the same time traditional theme of Russian poetry - the Motherland, its fate and the fate of the artist inextricably linked with it - these years made Blok the first poet of Russia. And yet the words " Today I am a genius“15 belong not to the author of the lyrical “trilogy”, but to a man of a new frontier: they were written by Blok on the day of the end of the poem about the death of the old world - “The Twelve”.
The Bloc accepted October, answering the question whether the intelligentsia could cooperate with the Bolsheviks: “It can and must” (6, 8) and calling on contemporaries to “listen to the revolution.” Overcoming fatigue, illness, the difficulties of life in a freezing, hungry Petrograd, dislike for “services” that interfere with creativity, despair and pain of nightly memories of the destroyed - now not in poetry, but in reality - Chessov’s house, Blok, with the selflessness of a Russian intellectual, plunged into the element of new life. This was the same “departure” from the old way of life, the inevitability of which the poet predicted back in 1907-1908. The new attracted Blok precisely in its most radical, maximalist revolutionary forms. " Redo everything“(6, 12), in a romantic impulse to burn the entire old world in the fire of a “world fire” - these are the forms that the once indoor eschatologism of a pupil of Becket’s house has now been cast into. Therefore, all personal “departures” and breaks - from Shakhmatov who ceased to exist to the boycott by his closest friends who rejected the revolution - Blok perceived in the days of October with tragically courageous “delight”.
In January 1918, Blok wrote his famous poem “The Twelve.” The revolution is not a special episode of Russian or even world history. It, according to the poet, has a universal cosmic nature. Beginning in the worlds of spiritual substance - the “spirit of music”, cosmic “explosions of passions” are “correspondingly” reflected in the earthly elements - natural (storm, wind, blizzard) and social (revolutionary movement of the masses). In his note about “The Twelve,” Blok will say: “ ... the poem was written in that exceptional and always short time when a passing revolutionary cyclone produces a storm in all seas - nature, life and art" (3, 474). The elements of nature, life and art merged together in the poem.
“Art always destroys dogmas,” Blok argued during the days of the revolution. 16 The poem “The Twelve” destroyed the dogmas of not only the passing life, but also the dogmas of old art, and in many ways Blok’s poetic consciousness of the 1910s. Permeated with the gust of destruction of “everything”, the breath of icy winds burning the “old world”, this poem is revolutionary both in spirit and in its artistic structure. That is why its influence was so great not only on poetry, but also on the prose of the 1920s.
The idea that the “spirit of music” is embodied today in the people's revolution, in the struggle of two worlds, has given rise to a special poetics. The “vortex”, “musical” beginning of the revolution appears in the poem either as a melodic song, or as a prosaic, spoken word, or in leitmotif repetitions. The “multi-strings” of Blok’s lyrics give way to clear contrasts, a two-color vision of life: “Black evening. White snow" (3, 347).
Black and white, old and new, darkness and light, stagnant and associated with the elements of the people - this is the poetic world of “The Twelve,” which does not recognize any middle ground. Reality perceived in this aspect can be depicted either in the tones of merciless satire or highly heroic. It is on this contrast that the exposition of the poem is built: the opposition of satire on representatives of the old world in the first chapter and the apotheosis of the twelve Red Guards in the second. The principle of contrast is the leading principle of Blok’s poem as a whole. The Red Guards are not only children of the national element: they are also involved in the cosmic elements of the “world fire”, and in the whirlwinds, snows and storms of the revolution. They emerge from the storm, as if merging with it.
The wind is blowing, the snow is fluttering.
Twelve people are walking.
The lyrical beginning in the poem is deliberately hidden, dissolved in a complex, antinomic depiction of the elements. But the element lives and manifests itself as anarchic “freedom” -
Lock the floors
There will be robberies today!
Unlock the cellars -
The bastard is on the loose these days!
- then in the bright impulsiveness of the feelings of the patrol detachment and one of its members, Petrukha. The revolutionary element is reflected in the Red Guards’ understanding of their duty -
How did our guys go?
To serve in the Red Guard -
To serve in the Red Guard -
I'm going to lay down my head!
- both in anticipation of the final goals and paths of the revolution, and in the “sovereign step” of the heroes, directed into the distance, with a description of which the poem ends.
The contrast between the two worlds is the essence of the plot of The Twelve.
The Red Guard heroes are filled with the mood of struggle for a new world and revolutionary retribution of the departing old Russia.
Comrade, hold the rifle, don’t be afraid!
Let's fire a bullet into Holy Rus' -
To the condo,
Into the hut,
In the fat ass!
It is no coincidence, according to the interesting testimony of K. Chukovsky, that the poem resounded in Blok’s soul with the lines:
I'm already using a knife
I'll strip, I'll strip !..
But the world of revolution and struggle is complex, heroic, and in many ways tragic. Wanting to take revenge on the traitor Vanyukha, who left the Red Guard to become a “soldier,” the Red Guards mistakenly kill his mistress, the cheerful “fat-faced” Katka, whom their comrade Petrukha passionately loves. The festive breath of the “cheerful” storm is interspersed with Petrukha’s sorrowful confessions:
- Oh, comrades, relatives,
I loved this girl ...
The combination of moods of joy and deep melancholy in the poem is natural. Blok knows that the paths of history are contradictory, that “a revolution, like a thunderstorm, like a snowstorm, always brings something new and unexpected;<... > she easily cripples a worthy person in her whirlpool; it often brings the unworthy ashore unharmed” (“Intellectuals and Revolution” - 6, 12). Blok considers turning a blind eye to these “particulars” (ibid.) as unworthy as trying not to notice the “October greatness” behind the “October grimaces” (7, 336). True acceptance of the “storm” is its acceptance, despite the grimaces of “holy malice.” Petrukha and his comrades follow exactly this path. In the harsh consolations of friends
- Look, you bastard, he started a barrel organ,
What are you, Petka, a woman or what?
.............
Maintain your posture!
Keep control over yourself!
Now is not the time
To babysit you!
The burden will be heavier
To us, dear comrade!
— Petrukha gains the strength to go “into the distance.” The ultimate goals of the “storm” are not clear to Blok. But he deeply believes in morality and inner beauty revolutionary retribution against the world of “fat-bellied philistines” (3, 373). The symbol of the height and holiness of the revolution in the finale of the poem is Christ, leading twelve“apostles”-Red Guards (hence, as is known, the symbolism of the title of the poem and the symbolism of its composition: there are 12 chapters in the poem). Of course, this is not the Christ of “non-resistance to evil,” not the Christ of the official church, but the “burning Christ” (3, 248) of popular uprisings. Unrecognized by his “apostles” - atheists and blasphemers - he leads them “into the distance”, to that “New Life”, towards which Blok lived in “flight” at the beginning of 1918.
Blok’s revolutionary mood takes on a slightly different form in the poem “Scythians” (January 1918). The antinomy of the outgoing and new culture is revealed here in the form of a contrast between the bourgeois West and revolutionary Russia. The West is a world of “civilization,” rationalism, “reason,” incapable of destructive and creative passions. They are inherent in Russia, the kingdom of a culture that is pristinely wild, but bright and heroic:
Yes, to love as our blood loves,
None of you have been in love for a long time!
Have you forgotten that there is love in the world,
Which both burns and destroys!
“The Scythians” depicts another force, embodied in the images of “wild hordes”, “fierce Huns”: this is the force of blind, spontaneous anarchy, ready to destroy everything accumulated over centuries of History. Alive, folk culture“Scythians” is sharply separated from both the dying bourgeois civilization and the chaos of all destruction. The essence and mission of “Russia-Sphinx” is its readiness to synthesize and inherit all the great conquests of “wise” Europe, combining them with the fiery heroics of Scythia.
We love everything - and the heat of cold numbers,
And the gift of divine visions,
We understand everything - and the sharp Gallic meaning,
And the gloomy German genius ...
We remember everything ...
This same mission had another side - to protect Europe from the blind elements of destruction.
For you - centuries, for us - a single hour.
We are like obedient slaves,
Holding a shield between two hostile races
Mongols and Europe!
Now Europe must defend itself. But the death of its culture is, although, according to Blok, a possible, but by no means an inevitable path of history. The poet believes in other, higher paths - in the fraternal fusion of the centuries-old spiritual heritage of Europe and Russia:
For the last time - come to your senses, old world!
To the fraternal feast of labor and peace,
For the last time at the bright fraternal feast
The barbaric lyre is calling!
In the future, Blok’s attitude towards certain revolutionary events could be very uneven. However, the idea of revolution seemed lofty and beautiful to him until his tragic last days, after a painful illness, his life was cut short (August 1921).
IN last years In his life, Blok acts primarily as a publicist, critic, and theater figure. He not only talks about culture, but also actively promotes the introduction of a new society to it. His work at the Bolshoi is very noteworthy. drama theater, in the publishing house "World Literature". Blok believed that culture and art, with their “organic” and “cheerful” complexity, are capacitors of the future, the antipodes of despotism, bureaucracy and bourgeois dullness. Outside of culture, there is no life, and there is no harmonious, multi-faceted, beautiful personality - a “person-artist”, to whom, according to Blok, this future belongs. For Blok, the banner of Russian “synthetic” culture becomes “a cheerful name: Pushkin” (6, 160). It was he who supported the belief in today's people " secret freedom"(3, 377), he helps them in the “silent struggle” for the future; with his name they -
Skipping the days of oppression
A short-term deception
We saw the days to come
Blue-pink fog.
In Pushkin’s work, Blok finds for himself the last, most complete expression of the harmonious: a “cheerful”, “artistic” world and at the same time a world of high humanity. The intonations of Pushkin’s “Feast of Peter the Great” introduce a spirit of bright humanity into Blok’s last poem “To the Pushkin House” (February 11, 1921), turning it into the poet’s artistic and civic testament.
Footnotes
1 After the birth of the child, Blok’s mother did not return to her husband, and later divorced him and married F.F. Kublitsky-Piottukh; The poet hardly knew his father, professor of law at the University of Warsaw A.L. Blok.
2 The visible appearance of the House - the “white house” on the hill - was inspired by the Beketovs’ estate near Moscow - Blok Shakhmatove.
3 Block A. Collection op. in 8 vols., vol. 1. M. - L., 1960, p. 39. (The links below in the text are for this edition).
4 sensitive parenting ( French).
5 "Before the Light" ( Latin).
6 See: Literary heritage, vol. 89. A. Blok. Letters to my wife. M., 1978.
7 Soloviev Vl. Poems and comic plays. L., 1974, p. 93.
8 Wed. poems by Vl. Solovyov “Mistress Earth! I bowed my forehead to you ... ", "The day passed with merciless bustle ... " and etc.
9 See: Maksimov D. E. Alexander Blok and the revolution of 1905. — In the book: The Revolution of 1905 and Russian Literature. M. - L., 1956, p. 246-279.
10 “World environment” is a “symbol-concept” (D. E. Maksimov), very significant for the worldview of the mature Blok. In it, the poet combined the pantheistic idea of the direct connection between cosmic existence and the life of the individual with the idea of the importance for a person of the influences of the environment as such (including the historical, national, social, everyday environment). This last thought goes back to realist aesthetics.
11 See: Mints Z. G. Blok and Russian symbolism. - In the book: Literary heritage, vol. 92, book. 1. M., 1980, p. 98-172.
12 Gromov P. A. Blok. His predecessors and contemporaries. M. - L., 1966, p. 353.
13 See: Blok and music. Sat. articles. M. - L., 1972.
14 See: Maksimov D. E. The idea of the path in the poetic consciousness of Al. Blok. — In the book: Maksimov D. E. Poetry and prose Al. Blok. L., 1975, p. 6-143.
15 Block A. Notebooks. (1901-1920). M., 1965, p. 387.
16 “Manuscript dept. IRLI AN USSR, f. 654, op. 1, no. 127.
Mints Z. G. Alexander Blok // History of Russian literature in 4 volumes. - L.: Science, 1983
Alexander Blok
By the time of the crisis of symbolism in 1910, Blok was the only one of the symbolists who enjoyed wide popularity. Alexander Alexandrovich Blok (1880, St. Petersburg - 1921, Petrograd), a representative of the younger generation of Russian symbolists, one of the most musical and tragic poets of the 20th century, as well as a playwright and critic, occupies a unique place in the history of Russian literature. The poet went through a difficult path, characteristic of artists of the turn of the century. In 1902, he became close to the circle of St. Petersburg symbolists led by D. Merezhkovsky and Z. Gippius, who in 1903 published his poems in the magazine “New Way”. Blok found his first admirers in Moscow, in the Argonauts circle; his friendship and enmity with A. Bely, the leader of the Argonauts, continued with Blok all his life.
The prototype of the first symbolist cycle of poems, published under the title “Poems about a Beautiful Lady” (1904), is L. Mendeleeva, who became Blok’s wife. “Poems about a Beautiful Lady” revealed the influence of Vl. Solovyova. The Beautiful Lady is Eternal Femininity, the Soul of the World, the Eternal Mystery, the discovery of which will lead to the Truth. The poet’s duty is prayer service, spiritual ascent necessary to contemplate Her Beauty. The collection contains palpable moods of anxiety, spiritual tension, anticipation of a clear “call” and the search for an “answer” and “solution.”
I have a feeling about you. The years pass by -
All in one form I foresee You.
The entire horizon is on fire - and unbearably clear,
And I wait silently, - yearning and loving.
The whole horizon is on fire, and the appearance is near,
But I’m scared: you’ll change your appearance
And you will arouse impudent suspicion,
Changing the usual features at the end.
For the basic principles of the structural model of the cycle, the groups of images turned out to be essential: “God” and “sky”; “You”, “She”, “Beautiful Lady”; "nature"; "poet" who are involved in cosmic life and the life of the "city". In subsequent creativity, these images are enriched with new meanings and meanings. The running theme of Blok’s poetry was the idea of the embodiment of the Eternal Femininity, which has either divine or demonic traits, distorted by the ugliness of life itself and the psychology of the contemporary. The poetic myth of Eternal Femininity, created by Blok, has two poles - the cult of the Beautiful Lady and the images of the Stranger (the poem “Stranger” and the play of the same name) and Katka (the poem “The Twelve”). Through the prism of Eternal Femininity, the poet perceives his homeland and its fate.
Collections of poems “Snow Mask” (1907), “Earth in the Snow” (1908), “Night Hours” (1911), “Poems about Russia” (1915), cycles of poems “Ante Lucem”, “Crossroads”, “Bubbles of the Earth” ", "City", "Faina", "Spell by Fire and Darkness", "Free Thoughts" (written in free verse), "Carmen", "Motherland" (1907–1916), "Iambas" reflect Blok's complex path from romantic dualism and the mysticism of early poetry to the embodiment of the tragic collisions of Russian history, the stages of overcoming the irrationality and impressionism of the image and addressing social reality, the transition from the personal to the universally significant. Young Blok- a student and follower of romanticism, who independently discovered the possibilities of symbols to convey the depths of spiritual life " inner man“,” the mature Blok is an original poet with his own theme about Russia and Love, the late Blok is a tragic poet who not only anticipates, but also sees an irreparable break in the “connection of times,” leading to the derogation of human freedom and the freedom of the artist.
A lively discussion among the Symbolists was caused by the posed Sun. Meyerhold at the Komissarzhevskaya Theater, Blok’s play “Balaganchik” (1906), directed against illusionism and false mysticism. The play was perceived as a departure from the covenants of symbolism. A. Bely even challenged Blok to a duel. Blok combined “The Showcase” with two more plays: “The King in the Square” and “The Stranger” (both 1906), creating a dramatic trilogy that reveals the essence of the “masquerade era” and its “tragic guilt” in mixing “planes of existence.” It was Blok who expressed the contradictory spirit Silver Age and determined its dominant color - the color of silver. He appears in the images of “Snow Mask” and “Faina”, in the snowy blizzard of the poem “The Twelve”.
In his lyrical works, Blok develops the tradition of “pure poetry,” dating back to V. Zhukovsky, M. Lermontov, Ya. Polonsky and A. Fet. Urban romance had a certain influence on the musical and verse rhythm of Blok's poetry. The most piercing of the symbolists, lyricist and romantic, Blok also became the most sober realist in his view of modern man:
Those born in the year are deaf
They don’t remember their own paths.
We are children terrible years Russia -
I can't forget anything.
Sizzling years!
Is there madness in you, is there hope?
From the days of war, from the days of freedom -
There is a bloody glow in the faces.
Blok called his first three volumes of lyrics “a trilogy of humanization.” Poems about the pure veneration of the Virgin Mary, the Pure Queen, the icon “Unexpected Joy” (collection of the same name, 1906) are side by side with the recreation, following V. Bryusov, of the life of a big city, where people are divided, and the high is profane, reduced to its opposite: Eternal The feminine turns into the image of the Stranger.
Blok is also of interest as a commentator on his own poetry. In the article “Timelessness” (1906), analyzing psychology. and the philosophy of modern man, who has lost the feeling of the holiday of the Nativity of Christ and, as a consequence of this, the feeling of a warm hearth, his own home, the author quotes his own poems and immerses them in an unexpected context.
There, in the howling cold of the night,
In the field of stars I found a ring.
Here is a face emerging from lace,
A face emerges from the lace.
Here her blizzard trills float,
The stars are bright, trailing like a train,
And the soaring tambourine of a blizzard,
The bells are strumming invitingly.
The fan fell apart with a slight crack,
Unleashing the vengeance of the stars,
But in eyes facing north,
To me, who is cold, this is burning news.
The author writes: “In the drafty deserted streets, these tramps seem to be crucified against the walls. They meet their eyes, and each measures the other’s gaze with his own and still does not see the bottom, does not see where the impoverished human soul has taken refuge. Only clothes flutter in rags of snow dust. It seems that these people, like ghosts, will rise with the storm into the black abyss of the sky, as if they will fly on wings.<…>The face disappears, and is again wrapped in snowy lace, and again appears as a dream of an endless plain.<…>Woe to the one who looks into the glassy, astral gaze. He is doomed to the game of chance, to eternal circling among the flakes flying into the darkness." Later in the poem “The Twelve,” the same blizzard, sweeping away everything and everyone in its path, will circle the unfortunate Petka the Killer, one of the twelve, ready to destroy the last human refuges that keep the warmth of the hearth: “Close the floors, / Today there will be robberies,” - and shoot at Christ, who moves “at the pace above the blizzard" with a bloody flag.
From the point of view of the Eternal Soul and the Eternal Feminine, the main theme of Blok’s lyrics is developed - the theme of Russia, the Motherland. In the cycle “On the Kulikovo Field,” the poet talks about the inseparability of his own path and Russian history:
Oh, my Rus'! My wife! To the point of pain
We have a long way to go!
Our path is an arrow of the Tatar ancient will
Pierced us through the chest.
Recreating the decisive moment of Russian history - the battle in 1380 on the Kulikovo Field, Blok identifies himself with the Russian warrior:
The heart cannot live in peace,
No wonder the clouds have gathered.
The armor is heavy, as before a battle.
Now your time has come. - Pray!
To reveal the path of Russia, which passes under the sign of its feminine and sacrificial soul - “Which sorcerer you want / Give the robber’s beauty...” - Blok synthesizes different levels of being: concrete historical, symbolic and metaphysical. The poet’s images of “robber beauty” and “cautious melancholy” merged with feelings of both horror and love:
Russia, poor Russia,
I want your gray huts,
Your songs are windy to me
Like the first tears of love!
The Russian soul is many-sided and elusive: “Sin shamelessly, endlessly, / Lose count of the nights and days, / And, with your head heavy with drunkenness, / Walk sideways to God’s temple...” Speaking about the merchant who atones for his sins, the poet knows what his “hero” dreams of: “...And on the feather beds / In a heavy sleep ...”:
Yes, and so, my Russia,
You are dearer to me from all over the world.
The poet wants to go through the journey to the end, without fear of all trials, together with his homeland:
My Rus', my life, shall we suffer together?
Tsar, yes Siberia, yes prison!
Eh, isn’t it time to separate and repent...
What is your darkness to a free heart?
Contemporaries were close to Blok's poetry and especially his main leitmotif - the Motherland and the Beautiful Lady, in its many faces and even guises. The poet guessed something deeply hidden in the Russian soul, its fundamental antinomy - freedom, turning into rebellion and robbery, and sublime love, ending in blasphemy. At the end of his life, Blok himself said tragic words about Russia:
Russia – Sphinx. Rejoicing and mourning,
And dripping with black blood,
She looks, looks at you
Both with hatred and with love.
Blok expressed his philosophy of creativity and symbolist worldview in the article “On the Current State of Russian Symbolism” (1910), which Bryusov angrily attacked. This article is an example of artistic-symbolist thinking. “You can only be born a symbolist,” says Blok. And therefore only a symbolist can correctly understand a symbolist. The sun of “naive realism” has already set and “it is impossible to comprehend anything outside of symbolism.” To be a real artist, according to Blok, “means to withstand the wind from the worlds of art, completely different from this world, only terribly influencing it; in those worlds there are no causes and effects, time and space, carnal and incorporeal, and these worlds have no number.” For Blok, these worlds are not an illusion, but a reality in which the artist lives.
Blok identifies two stages of symbolism, which are ontologically opposed to each other. The symbolist is allowed everything, he is a completely free creator-theurgist, i.e. “the owner of secret knowledge, behind which stands a secret action,” he is inspired by a radiant gaze, or a golden and azure sword, piercing all worlds and reaching the heart of the poet. This is the gaze of Solovyov’s “Radiant Friend,” whose name was given by the “teacher” himself (as Blok calls Vl. Solovyov), the gaze of Sophia the Wisdom of God. The worlds, pierced by the sword gaze, are painted for the poet in purple and lilac tones. “The golden sword, piercing the purple of the violet worlds, flares up dazzlingly - and pierces the heart of the theurgist.” But this meeting is interfered with by other forces, “as if someone, jealous of the theurgist for the Dawn of Clarity... suddenly crosses the golden thread of blooming miracles; the blade of the radiant sword fades and ceases to be felt in the heart.” The second stage of symbolist action-creativity is the opposite of the first. The purple fades, everything is covered in a “blue-lilac twilight.” This color, according to Blok, symbolizing a special state of consciousness and soul that has lost its guiding thread, was conveyed in his paintings by M. Vrubel. If, says Blok, he himself had the gift of a painter, then he would depict the experience of this moment like this: “... in the purple twilight of the vast world, a huge white hearse is rocking, and on it lies a dead doll with a face vaguely reminiscent of the one that showed through among the heavenly roses". A substitution takes place, a devilish seduction, the living is replaced by a dead likeness. The horror of this state is the main fear of the symbolist poet. The magical world, full of meanings and meanings, turns into a booth inhabited by werewolf doubles, life becomes art (artificial), the Stranger appears - “a beauty doll, a blue ghost, an earthly miracle.”
Blok writes about Stranger: “Stranger. This is not just a lady in a black dress with ostrich feathers on her hat. This is a devilish alloy from many worlds, mainly blue and purple. If I had Vrubel's means, I would have created the Demon; but everyone does what is assigned to him.” This is the current state of symbolism, the artist creates “neither living nor dead.”
According to Blok, art is a “burden”, “art is Hell.” “From the darkness of this Hell the artist brings out his images,” and in this same darkness and darkness, he, yearning for the faded golden ray, “goes mad and dies.” Blok recalls the fate of M. Lermontov, N. Gogol, M. Vrubel, V. Komissarzhevskaya. Blok's contemporaries also knew about the madness of F. Nietzsche. Extreme aestheticization of essentially apocalyptic sentiments, a premonition of the end of art and life were characteristic of the era as a whole (a treatise on the art of L.N. Tolstoy; the fate of the symbolist poet A.M. Dobrolyubov, who went “to the people” and disappeared there).
In the secret melodies of the muse, Blok heard the “Fatal news of death.” Already in 1908, Blok noted: “... in the hearts of people of recent generations there lay a persistent feeling of catastrophe caused by excessive accumulation real facts, part of which is a thing that has happened, the other part is a thing that is about to happen... in all of us there is a feeling of illness, anxiety, catastrophe, rupture.” The symbolists, Blok is convinced, “survived the madness of other worlds, prematurely demanding a miracle,” and are punished for this. The poet called on his fellow writers to the feat of courage and obedience, sobriety of spirit: “My conclusion is this: the path to the feat that our service requires is, first of all, discipleship, self-deepening, gaze and spiritual diet. We must learn again from the world and from that baby who still lives in the burnt soul.”
Blok, more deeply than all the symbolists, revealed the main contradiction of the symbolist method and way of thinking: the confrontation in the artist’s soul of two principles - the divine and the demonic. The French symbolists also knew this antinomy. Ellis wrote that Charles Baudelaire was able to discern in all phenomena “two rows of reflections, reflections of two faces, the face of the Madonna and the face of Satan.”
In the poem “Retribution,” the poet expressed his creative credo and goal of creativity:
Life is without beginning and end.
Opportunity awaits us all.
Above us is the inevitable darkness,
Or the clarity of God's face.
But you, artist, firmly believe
To the beginnings and ends. You know
Where heaven and hell guard us.
Given to you by dispassionate measure
Measure everything you see.
Let your view be firm and clear.
Erase random features -
And you will see: the world is beautiful.
“Italian Poems” (1909) reflected his trips to Western Europe and his beloved Italy. The symbolic-romantic drama “Rose and Cross” (1913) reflects Blok’s search for a synthesis of supra-real and historical meanings in the spirit of French symbolism and medieval thinking with echoes of Rosicrucianism. Gaetan’s song “Joy is one suffering” reflects both the desire in the created myth about the knight to include F. Dostoevsky’s thought about suffering as a necessary moment in achieving human dignity (and thereby possible happiness on earth), and the awareness of the tragedy of the human knight.
The multicolored palette and musical fabric of Blok’s poetry, saturated with bold metaphors and eternal images-symbols, the sublimity of a romantically minded soul, sensitively capturing all the overtones of world and cosmic life, are replaced by tragic grotesque and auto-irony. The “Dances of Death” cycle is the apotheosis of the “terrible world”, which only pretends to be alive: “How hard it is for a dead man among people / to pretend to be alive and passionate!” This cycle included famous poem“Night, Street, Lantern, Pharmacy” is about the deathly cycle: “If you die, you’ll start over again, / And everything will repeat itself as before.” Cosmic life is meaningless: “Worlds are flying. The years fly by. The empty / Universe looks at us with dark eyes. / And you, a tired, deaf soul, / Are you repeating about happiness - how many times?”
In 1916, Blok was drafted into the army. He served in Belarus, in Polesie. N. Gumilyov said about this: “This is the same as eating fried tongues of nightingales.” After February revolution 1917, as an editor, the poet was part of Emergency Commission to verify the political crimes of the tsarist government. Following this work, he wrote a documentary study “ Last days old regime" (1919). The October Revolution was perceived as a cosmically necessary cleansing thunderstorm. The drama of his perception is reflected in the poem “The Twelve,” a work that completes Russian classical literature and opens the first page of the history of Russian Soviet literature.
The interpretation of the poem “The Twelve” includes at least two polar points of view: according to one of them, Christ sanctifies the acts of the twelve new apostles of the revolution - the Red Guards, walking with a “sovereign step” through Petrograd, and thus the poem is a justification of the revolution. According to another interpretation, Christ, whom twelve shoot through a blizzard in order to destroy all that is most bright and holy, ascends to Golgotha with a bloody flag and symbolizes the path of suffering in Russia. According to this interpretation, the author of the poem “The Twelve” exposes the false values of the newly-minted apostles, reveals the anti-Christian essence of the revolution, which justifies murder and takes aim at the whole world (“We will cause grief to all the bourgeois / We will fan the world fire”). The symbolism of the poem is manifested both at the level of its structure - twelve chapters, and at the level of content - Petrukha, who kills Katka out of jealousy, bears the same name as the Apostle Paul. The ambivalence of reading is dictated by the structural complexity of the poem, its polyphony, suggesting different interpretations, and the personal anxiety that permeates the work. A.M. Pyatigorsky noted: “Having anticipated and foreshadowed a revolutionary catastrophe all his life, Blok was still somewhat surprised when he discovered that they would kill not only the whore and the “bourgeois at the crossroads” from the “Twelve,” but also, in some way, himself.”
Blok expressed his views on the fate of Europe and Asia at the time of the “collapse of the old world” in the poem “Scythians” (1918). The poem “Retribution” (1910–1921), which is based on a biographical beginning, remained unfinished. The idea of retribution matured in Blok through the deepening social topics(the “City” cycle, 1904–1908) and understanding the terrible world (the “Scary World” cycle, 1908–1916). Blok's mature lyrics contrast the past and the present, the “beautiful” and “terrible” worlds, paradise and inferno. “Scary world” is conceptualized as hell. Not only the undivine, but the blasphemous and atheistic essence of “life here” is emphasized: “...In the melodies of your secret<…>/ There is a curse of sacred covenants”; “And there was fatal joy / In the trampling of cherished shrines”; “He forgot how to praise God / And sang sinful songs”; “I’m going to throw down an evil challenge / to Heaven...”; “He was only a fashionable writer, / Only a creator of blasphemous words.” Good paradise is opposed to evil, the highest Truth is opposed to the lie of inferno, or the “terrible world.” Blok believed that it is really possible to defeat evil only by becoming “incarnated.”
Oh, I want to live crazy:
All that exists is to perpetuate,
The impersonal - to humanize,
Unfulfilled - make it happen!
E. Kuzmina-Karavaeva felt that Blok is “a symbol of our entire life, even a symbol of all of Russia.” She told the poet: “Before her death, before her death, Russia concentrated all her most terrible rays on you, and you are burning for her, in her name, as if in her image.”
In Blok’s literary-critical heritage, his journalism, questions of creativity are raised (“On the Realists”, 1907; “Elements and Culture”, 1909; “On the Modern State of Russian Symbolism”, 1910; “On the Purpose of the Poet”, 1921), the problem is formulated relations between the people and the intelligentsia, the intelligentsia and the revolution (“Intellectuals and Revolution”, 1918; “Catilina”, 1919). Blok was the first to point out a qualitative change in the value system in modern world(“The Collapse of Humanism”, 1919). The rethinking of revolutionary events and the fate of Russia was accompanied by a deep crisis and mental depression of the poet. Some of Blok's last poems were poems dedicated to Pushkin and the freedom he glorified. In his speech about Pushkin, delivered six months before his death, the poet said: “Peace and freedom. The poet needs them to free harmony. But peace and freedom are also taken away. Not external peace, but creative peace. Not childish will, not the freedom to be liberal, but creative will - secret freedom. And the poet dies because he can no longer breathe: life has lost its meaning.”
Blok's lyrics have the power of hypnotic suggestion; pure tonic metric, image-symbols endowed with polysemantic overtones had a significant impact on subsequent Russian poetry. Blok became a symbolic figure in Russian culture in the first quarter of the 20th century. M. Tsvetaeva presented him with her works at one of the poetry evenings and dedicated poems to him. Arriving in St. Petersburg, S. Yesenin first went to Blok. A. Akhmatova sent him a magazine with her publication, in “Poem without a Hero” she called Blok “the tragic tenor of the era.” N. Klyuev writes him a letter asking him to explain the essence of modern culture. V. Mayakovsky was the only one who shook hands with him during the revolutionary days: “Hello, Alexander Blok!” I. Northerner gives him his book with the inscription “Poet!..”. Vl. Khodasevich will say about Blok’s poetry: “... in it very early and very correctly they heard, guessed, sensed the “fatal news of death.” They fell in love with Blok, not really understanding what his tragedy was, but feeling its undoubted authenticity.”
Blok, having gone through many creative and life trials, retained his love for life and people. He created a unique artistic world. The musical basis of his lyrics and Blok’s images of his homeland became the golden heritage of the Silver Age. Blok's premonitions, scattered in his diary entries, came true in the most catastrophic way, as did his confidence in the prophetic meaning of everything that was happening.
Essays
Blok A. L. Collected works: In 8 vols. M.; L., 1960–1963.
A. Blok, A. Bely: Dialogue of poets about Russia and the revolution. M, 1990.
Literature
Avramenko A. P. Blok and Russian poets of the 19th century. M, 1990.
Alexander Blok: New materials and research. T. 92. M., 1980.
Gromov P. L. Blok, his predecessors and contemporaries. L., 1986.
Kling O. A. Alexander Blok: the structure of a “novel in verse.” Poem "Twelve". M., 1998.
Maksimov D. Poetry and prose of A. Blok. L., 1975.
Mints Z. G. Blok and Russian symbolism. Poetics of Alexander Blok. St. Petersburg, 1999.
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