The cooking "Idean-artistic peculiarity of the poem A. Blok" Twelve

The poem was written in 1913, immediately after revolutionary events. The poem was reflected as real events that the block was witness (harsh winter of 1918, fires on the streets, redarmeys, patrolling streets, colloquial speech of those times) and the views of the poet himself, the essence of civilization and culture. The perception of the revolution block is very peculiar, and this perception is primarily associated with the philosophical and aesthetic views of the block itself, which were formed in the 10th. XX century.

The poet is hated by the vulgar, meaningless, the poor life of the overwhelming majority of people, the "man in the street", gradually the catastrophicity of the worldview develops into a certain theory, which treats civilization and history in the spirit of nice. A similar look at the history and civilization was divided by a block, which wrote in his articles: "Intelligentsia and Revolution", "Art and Revolution", "Wheel of Humanism". It is like a destructive element, "Dionisievskoe" the beginning that came to replace the dilapidated culture, the block and perceived the revolution. It is this topic that the two last poems of the block are developing - "twelve", and "Scythians". Hence the characteristic features that are consciously underlined by the block in the essence of the revolution:

but) destructive element (the image of the wind, merrying representatives of the "old world", anarchic nature of the actions and ideologies of the "Twelve");

b) antichristian orientation (Refrain "Eh, Eh, without a Cross!", Orthodox Christianity is perceived by the block as well as part of civilization, that is, the "Apollonical Beginning", a roll call with the nice idea of \u200b\u200bthe "death of old gods"), the block had its own logic. For him, the destruction of the delegate civilization is a blessed action, the key to understanding the image of Christ can serve as the phrase "world fire in the blood; Lord, bless! ";

in) amoralism (Killing Katki, hostility of heroes of orthodox morality: excerpt "I'm a rapid hurry, honey ...", the motive of weapons: "Rifle black straps", shooting, etc.);

d) the death of old culture, civilization, the whole "old world" .

By meaning his poem "Twelve", the block into the revolutionary and the era (17 - 18 years old) appeared to "listen to the music of the revolution", implying under the "music" of the Nizaschean idea of \u200b\u200b"musical Dionisievskaya Element". The block perceived the revolution as a universal destructive fire, which was supposed to bring the desired update. It is not by chance that the block after 18 did not write anything substantial to his very death in 1921. The disappointment that followed the fact that the revolution was not the fact that the block saw in it, and, by expressing the block itself, from "socialist construction" (He writes about this in his diaries) was this reason.

The initial name of the poem is the Thirteenth Apostle - was replaced by censorship. Mayakovsky told: "When I came with this work in censorship, I was asked:" What did you want to the cautious? " I was asked - how can I connect lyrics and great rudeness. Then I said: "Well, I will, if you want, like mad, if you want, I will be the most gentle, not a man, but a cloud in the pants". " The first edition of the poem (1915) contained a large number of Censored bills. Fully, without bills, the poem came out at the beginning of 1918 in Moscow with preface V. Mayakovsky: "" The cloud in the pants "... I consider the catechism of today's art:" one love is your love! "," Your own art! "," Loop your line! " "Down with your religion" is four cries of four pieces. " Each part of the poem expresses a certain idea. The poem is not completely separable on the compartments with his "Down!", But is a holistic, passionate lyrical monologue caused by the tragedy of unrequited love.

The writing

The poem A. A. Blokok "Twelve" was established in 1918. The poem was born as an inhale-new rush, harmoniously whole, but many images are unclear to the poet itself, which only proves the complexity and depth of the work. The poem was printed in the "Banner Banner" newspaper on February 18, 1918.

The poem "Twelve" is characterized by a compound of realistic and symbo-leaf start. In the content of the poem - history. The block sought to capture turn-free stage in the development of the history of Russia. This causes genre and poetics. Images, details, without losing their concreteness and realism, acquire a generalizing and symbolic meaning, which is characteristic of the entire creativity of the block.
Alexander Aleksandrovich Blok - a brilliant master of the word, one of the first Russian poets managed to hear and persecute the "music of the revolution". In the "Twelve" poem, the block tried to capture such an unusual, violent and interesting.

The composition of the poem is quite complex, but it is extremely important for perception and understanding of the work. We will try to consider it.

It is important for the perception of the composition of the poem of her plot. At the heart of the plot-Love story, the relationship of Katki and Petrukhi, and his attempt to deal with Vanka. The random murder of Katki reflects the block's understanding of the revolution, in which an innocent person is most often. Killing Katki reflects the murder old Russia. Element rages not only on the streets of St. Petersburg, but also in the souls of people. The main conflict of the poems is the struggle of the old - new, light - darkness, good - evil - is reflected in the destinies of heroes. The life situation in which the world's first socialist revolution is consolidating the scale of the image to the world-historical. Every detail has symbolic meaning.

One of the composite techniques that A. block uses is the combination of real and symbolic plans. So, for example, the image of the wind. On the one hand, the wind is perceived as winter signs of 1918, and on the other hand, the "wind cheerful" personifies the revolution that A. Blok perceived as element.

We give another example. It is known that the detachments that patrolling Petrograd of 1918, consisted of twelve people. At the same time, the number of "twelve" sends us to the biblical plot about the twelve apostles. Therefore, we can say that twelve red guardians in the poem is not only the historical sign of time, but the image is deeply symbolic.

Another artistic reception is the annular composition of the poem. The poem consists of twelve chapters, which is also not accidental. I I. XII chapter correlated among themselves. In the I Chapter there is a narrowing of real space. First, this is the whole world:

Wind, vete -
For all God's light!

But they gradually appear buildings, social challenges of time (the slogan "All Power to the Constituent Assembly"), finally, individual passers-by: old woman, "bourgeois at the intersection", "Comrade Pop" and others. The rope between buildings as it should be tightened by the real space.
In the last chapter there is a reverse process: the space begins to expand. And not only the real space expands (due to the blizzard, the outlines of houses disappear, specific details characterizing the city), but also symbolic. Before our eyes, a lousy dog \u200b\u200bturns into a symbol of the old world:

Disturb you, peeling, I tossed with a bayonet! The old world, like a piped dog, crawled - a generation!

The action of the remaining chapters is concluded in the strict framework of urban streets: Patrol from twelve people goes according to Petrograd. A. The block resorts to a narrowing of the space so that as much as possible and extensively show the life that the country lives after the revolution. Expansion of the symbolic space The author uses the events taking place in the internal chapters to give an universal scale.

The poem consists of twelve chapters, this number will repeat once again at the twelve revolutionary soldiers guarding the order in Petrograd, and in semi-rigging on the students of Jesus, going ahead, "burying at home." The poem is surprisingly music calcina: each chapter has its own rhythm and melody. Starting by the reckless Russian hour - stew:

How our guys went to the Red Guard to serve - in the Red Guard to serve - put the head head!

In the distance go to the showing step ... - Who else there? Come out! This is the wind with the Red Flag spiked ahead ...

The block is not afraid to include in its work spoken vocabulary of a simple soldier, an old woman, passing out. These words are not exotic inclusions, but the existent detail of the poem. The author shows the life of revolutionary St. Petersburg with real heroes:

Won Baryn in Karakule

To the other turned:

Clearly cried, cried ...
Slipped
I- Batz-Rassed.

The poem "Twelve" is built on a favorite Blokovsky Take - Antithesis:

Black evening.
White snow.
Wind, wind!
There is no man on the legs.
Wind, wind -
For all God's light!

Two contrasting colors, white and black, dominate the poem. Only at the end will appear a red banner. In this poem, the revolution is presented in two colors. In the poem, the block draws a merciless portrait of the participants and winners of the revolution:

The wind walks, snow flies. There are twelve people. Rifle black straps. Circle - lights, lights, lights ... in the teeth of the cyguard, the cards will take place. On the back b it is necessary to the Bubnov Ace!

The composite center of the poem is VI and VII chapter. In the VI chapter there is a murder of Katki. The head stylistically messy, many exclamations, dots, but everything overlaps one call:

Revolutionary keep a step! Before the enemy is not a dream!

And in the VII chapter we see the repentance of the killers, the lyrical motive of the re-mining appears, but in the end there are already sticking cries:

Eh, Eh!
To do not be sin! ... Lock the cellage - now Goleutba now!

The poet shows that blood spray is an everyday event for that time.

Another composite reception is an ever-changing verse size. This technique is to accurately convey the chaos that reigned at this time in Pet Rograina. The poem sounds and the motive of Marsha ("Forward, Forward, Worker People!"), And the chastushki ("Eh, Eh, Bunch! Patiently the legs are good!"), And the romance ("no noise of the city ..."), and Panhides ("Overall, Lord, the soul of the slaves ...").

All these techniques, combined and intertwining in the poem, express the whole depth of this work and the author's attitude to the events taking place.

Other writings on this work

Ideological artistic peculiarity Poems A. Blok "Twelve"

Candidate ped. Sciences, Associate Professor KFU

The poem "Twelve" marked new stage In creativity. Written in the first winter after the October coup, she surprised contemporaries with their unusual content and shape. "Immortal like folklore," said the poem of the contemporary block O. Mandelstam.

In the "Twelve" poem, the block pointed the question of the spiritual essence of the vertices new story XX century. In the center of the poem "Twelve" - \u200b\u200bthe state of human souls. The main thing inner theme The poems are the question of faith, conscience, chance of belief, the Russian reckless tendency to sin and repentance.

The problems of the poem required the updates of aesthetic arsenal, qualitatively different artistic expressiveness. The author is set to convey the "music of the revolution". He seeks to find a new form, the most appropriate content of the poem. It breaks the multi-voiced noise of the revolutionary city with its rhythms, sounds, and their songs.

In the poem, A. Bloka "Twelve" traces the traditions of oral people -oietic creativity.

Just as in Russian folk fairy tale There is a fabulous "dwemic", in which there is "his" world (the kingdom of the hero) and the "alien" world (the kingdom of the enemy), and in the poem of the block the real world is divided into two contrasting halves. The specific manifestation of reality is the "bourgeois at the intersection", "Hungry Dog", a public house, officer debauchery, "disassembling" with a knife blow, the killing of the officer, pop, etc. The Polar world has found his expression in the "Holy" beginning of the revolution - the image Christ associated with the idea of \u200b\u200bupdating.

A small poem of the block due to the presence of multivalued, symbolic parts amazing the depth of the insight.

The poem's action unfolds "for all God's light" against the background of the raging natural elements. Noise, rhythms, the voices of the revolutionary swirl of Russia were brilliantly embodied by the block in the poem.

In the poem there are images of wind, snow and blizzards. These are images - symbols not only the swelling element, but also of future changes. It seems that everything was mixed, twisted in the whirlwind. Circle chaos and mess, where the fight is fighting and evil, black (old world) and white ( new world). The swelling natural element of snow takes the heroes from the comfort of the house, from love and passion to the world of others - cruel, cold, requiring courage.

The element itself sounds in the "twelve". Here is its musical topics, her rhythmic game, dissonances and contrasts. At the heart of the rhythmic structure of the poem - the conversational song of the Russian People's Speech. It is both ductushki, and lubok, and crying, and inhibit. They are adjacent to the city romance and march. "Twelve" is the most unconventional product of the block.

The poem is inherent in real and metaphorical plans. The procession of twelve sailors is really a movement along the snow-covered streets, but also symbolic - as the path of revolution and history.

Black evening.

White snow.

Wind, wind!

There is no man on the legs.

Wind, wind -

For all God's light!

The "old world" is present in the poem in the image of the bourgeois and the image of PSA, rootless, lonely and wild. Twelve fused into a certain one-piece, monolithic image, for the element is embodied through them. Their fusion is expressed in the adoption.

The block does not closes his eyes on the female elements. Her cruelty causes internal protest in it. But a different road, like through tragedy, through "sin", simply no. The brown Volnitsa with robbery and drunkenness is perceived by the poet of not the personal wine of the barbarians, but their tragic trouble.

Space and earthly, world and everyday non-unimaging in the poem. Natural elements invas with human, human storms cause response wind in the world. After the death of Katki: "There was a blizzard, oh, blizzard, oh, blizzard! Do not see each other's completely for four fees! " The swelling blizzard makes Petruhu remember, exclaim: "Oh, some, SPACE!" But comrades reappear him again: "- Petka! Hey, do not freeze! What are you from the gold iconostasis from? The unconscious you, the right, judge, think about the healthy hands not in the blood because of the Katkin love? " And again the refrain - he is not addressed to one Petrich - to all the fighters of the Red Guards, to the entire rebel people: "- Hold the revolutionary step! Normal enemy is restless! " And in confirmation - persistent, domineering, obliging, on behalf of history - a triple call to strain power: "Forward, forward, forward, working people!"

An important place in the poem occupies the idea that freedom is, but the saint began not yet:

Freedom, freedom,

Eh, Eh, without a cross!

The heroes of the block are "without a cross." But at the chapter, their poet seemed not anyone else like Jesus Christ. The author wanted in the image of Christ to embody the symbol of a new world, carrying moral cleansing, the age-old ideals of humanism. The block holds an analogy between the decay era tsarist Russia And the epoch of the death of Rome, when and arose a legend of Christ as a proclaimer of the new world religion. It was such a prostineer who was supposed to speak in the poem of Christ - a symbol of life update. But for most real Red Guards, Christ actually identified with religion and tsarism against which they fought.

The block himself felt insufficient conviction of the image of Christ in the text "Twelve". However, nevertheless, it was this way he concluded his work. It was in the image of Christ that the block embodied and his expectation of the revolution, and his faith in her purification force, and his disappointment in it, and the acquisition of a new faith - faith in the moral rebirth of people.

The block wrote: "When I finished, myself was surprised: why Christ? But the more I looked out, the clearer I saw Christ. And then I recorded: "Unfortunately, Christ."

In the plot of poems you can see similarities with a biblical legend. New eraIn understanding the block, is an update of public consciousness: instead of pagan beliefs and sacrifices, the gods approved the new faith associated with the need for universal equality. On the one hand, the world has deserved deserving. The poet is rejoicing that something new, perhaps more perfect, is going to replace this ugly world. On the other hand, this approved new in some details is inextricably linked with the past. Therefore:

Malice, sad malice

Breasts ...

Black Evil, Holy Evil ...

The detachment of Red Guards from twelve people associated with the apostles, creates terrible acts in its path: the murder of Katki, robbery and stabbing. This is due to their connection with the old world - the world of wild, unbridled, evil:

And go unnamed saint

All twelve - away,

Everyone is ready

Nothing sorry

The block does not accept the moral poverty of the twelve red guardians, but that is why he poses at the head of their Jesus Christ. Christ in the poem acts as a symbol of a new, symbol of the spiritual update of the nation.

Red Guards are not yet aware of the renewal, which they, according to the poet, carry people, but they undoubtedly carry it. That's why

Ahead - with a bloody flag

And for the blizzard invisible,

And from bullets will be unharmed,

Tender passage

Snowflower pearls,

In the White Went of Roses -

Ahead - Isus Christ.

The master of the poem is heterogeneous, but in general this stylistic disconnection is designed to give a real display of reality. In the poem you can find elements of folklore, prison lyrics, chastushki, vulgarisms. Here, next to the revolutionary pathos, the elements of the declared bases are free, and all the manifestations of life are taken in some minor details, as in the present reality.

i wrote about the poetic wealth of the poem of the block: "Immersed in his native element national uprisingThe block overheard her songs, spied her images ... ".

During the period of writing the poem, the block was especially interested in urban folklore, recorded the heard voices of urban streets. Here and the turnover of modern spacious (even beads), and a traditional-song vocabulary. The familiar words and vulgarisms ("Elekstric", "Junker", "UZO") determine the social sporsting of the heroes.

The block sought to convey the "music of street words and expressions." Sounds of this music he heard in everything: "In passion and in creativity, in the folk rebellion and in scientific labor, in revolution. " The music of the revolution is transferred to the poem not only the elements of the spacious, which is saturated with scenes on Petrograd bridges. On the change of "mundane" comes oratorical pathos.

Rows from the "Twelve" returned to the people's speech everyday: so deeply penetrated the poet in its specifics. Many of the poems formulas sounded as proverbs and sayings: "The wind, the wind - for God's light!", "What are you up with gold iconostasis from?" The slogans of the poem could be seen on the Red Army banners, posters and armored trains. "Twelve" - \u200b\u200bthe vertex reaching the block in the development of folklore.

In folk dedicious creativity traditional symbolism numbers. Often there are words, multiple three and reflecting the ancient mythological thinking of people: 3,6,9,12. Twelve - the key number of the poems, and many associations can be associated with him. First of all, this is twelve hours - midnight, twelve months - the end of the year. It turns out some kind of "border" number, since the end of the old day (or year), as well as the beginning of the new - it is always overcoming a certain turn, a chamber in an unknown future. A. Bloka has such a turn of the fall of the old world. It is unclear what ahead. Probably, the "global fire" will soon reinfect everything.

Another Number Association is the twelve apostles. This indirectly indicate the names of two of them - Andryukhi and Petrukhi. Recall the history of the Apostle Peter, thrice rejected from Christ in one night. But by A. Bloka, on the contrary: Petruch for one night returns three times to faith and retreats three times again. In addition, he is the killer of his former beloved.

Dressed the handkerchief on the neck -

Do not recover in any way.

The poem's musicality is expressive to its rhythm. Stripping and however, the difficulty of movement is underlined by the rhythm impulsive and difficult, as if the poem itself is in motion, in constant interruptions. The rhythm of the verse is changing all the time, emphasizing the rapid change of life itself, corresponding to the displayed episode. When a detachment of twelve red guardians joins the poem, Rhythm becomes clear, march. The change of rhythm causes the extraordinary dynamics of verse. Thanks to the energy of the rhythm "Works" literally every word. The block wrote: "Rhythm power raises the word on the ridge of a musical wave ..."

The poem's language combines the familiar to the previous book vocabulary with a common, "square" talking, and slanging expressions. The poet uses words from folk songs, coupled verses. Inserts real slogans for those days:

From the building to the building

Stretch the rope.

On the rope - poster:

"All power to the constituent assembly!"

The range of vocabulary is unusually wide - from solemn intonations:

Revolutionary keep a step!

Before the enemy is not a dream!

to coarse vulgarism:

Gheetters gray wore

Chocolate "Mignon" fought,

With a junker went to walk -

With Sullen Now I went!

"The poem" Twelve ", however, managed to break through the widespread crowd, that crowd, which was never read before the block before. The poem "Twelve" this crowd identified hearing as a kindred of her verbal design, a verbal phonetics, which could hardly be called "book" and which was rather approaching a chastulent form. Despite the occurring creative silence of the poet, its popularity, thanks to the "street" phonetics "Twelve", grew from day to day, "this was assessed by the artistic peculiarity of the poem Shklovsky.

The poem of the Blok "Twelve" was the result of the Block's knowledge of Russia, its rebellious elements, creative potential.

Literature

1.Aleksandr block. Collected Works in six volumes - l.: Fiction., 1982. - T. 5. - P. 248.

2. Zhirmunsky Alexander Bloka. Overcoming symbolism. M., 1998.

3. Cling O.: Structure "Roman in verse". Poem "Twelve". M., 1998.

4. The blocks of the block - M.: CenterPolygraf, 2001. - P. 533-534. - 618 p.

5.Shklovsky table // Shklov account: articles - memories - essay (1914-1933). M.: Soviet writer, 1990. S. 175.

6.Etkind Poem A. Blok "Twelve" // Russian literature. 1972. No. 1.

In January 1918, A. Blok creates his most famous poem - creates in a few days, in a single inspirational impulse. Usually demanding to yourself, he, evaluating his creation, writes: "Today I am a genius." The poem printed in February caused violent and contradictory responses. They spoke about it everywhere. Much in it seemed unacceptable brethren on literature. The explosion explosion was encountered by the Russian intelligentsia. Bunin fell on the author with angry criticism, some of his friends turned away from him. But despite this, the poem of the block on the right took its place in the history of Russian literature.

In the "Twelve" block captured the image of the revolution in which he believed, which opened him in the glow of fires, in Burkem, in Russia's breathing. The author showed a revolution in his poem as a cleaning fire, in the fire of which all the old should be destroyed:

We are on the grief to all bourgeois

World fire blow

World Blood Fire -

Lord, bless!

In each line, we hear the music of the revolution, - the one that the block called on to listen to the "all the body, with all my heart, all consciousness." But she has no incomprehensible and barely audible hum, as in early verses, and a powerful time symphony: laughter and crying blizzards, scraps of revolutionary songs, shots, steps of Red Army.

The creative method of a symbolist block is clearly manifested in this work: it is using the characters that the author shows what is happening. The old, who rotted the world, whose representatives become at the Bourges Block at the Crossroads, the "long-oil" pop, the reaction intelligent, contemptuously called "Vitia", is personally in the poem street ps:

And the old world, like a dog shy,

Standing behind him, pushing the tail.

Old world, like a piped dog,

Dropped - a generation

The block shows post-revolutionary chaos and anarchy as an inevitable process, accompanying a great break. The revolution itself is shown in the poem in the generalized and symbolic image of the Universal Wind, a snowstorm breaking into the life of the average man:

Black evening.

White snow.

Wind, wind!

There is no man on the legs.

This is the element, let the cleansing, but ruthless, destructive. And its representatives become twelve Red Guards. Nothing said about each of them, but together they are the power that will destroy the world "to foundation." They themselves are very vaguely realize what is their goal. The author shows at the beginning of the poem, as much of them in common with ordinary criminals:

In the teeth - Tsygarka, take the cards,

On the back, you need a tambourine ace?

Their street promotion should be a symbol of their evolution. At the first stage of its path, twelve appear by anarchists, destroyers. They should not palpate "in the Holy Rus". They have only their "holy evil", but there is no organization. Haathing leads, not love for people. They will entail freedom - "Eh, without a Cross." Their movement is spontaneously, instinctively and gently sometimes not only for enemies. They have no god in the highest sense of the word: the old religion is the religion of slaves - for them is unacceptable, and they have not found a new one. And then the author shows meaningless, no justified murder is the culmination of the poem. After it, everything changes in the narration. The inner shock forces the heroes to realize their destination, discard an anarchist and non-serious approach to their revolutionary activities. The playful replicas disappear, foreign conversations, lines acquire rigidity, rhythm chasing:

Revolutionary keep a step!

A red flag beats in the eyes.

There is a measuring step.

Being previously part of the element, from now on, twelve should fight her themselves. However, until the very end, they are "without the name of the saint", and therefore, without understanding and without taking the finally ideals of a new life. And then the Christmas tree displays the figure of Christ, who leads heroes with a bloody flag:

And for the blizzard invisible,

And from bullets will be unharmed,

Delicate

Snowflower pearls,

In the White Went of Roses

Ahead is Jesus Christ.

The image of Christ is not amenable to unambiguous interpretation. Whether this is not yet recognized and not recognized by God, the leader, whether the victim is not visible in blizzard, or a mute witness and judge. Intentionally or not, the author left underwent it in his poem. Decide - the reader and his time.

In the poem "Twelve" the block also performed as a reformer in the field of artistic form. To change the usual manner, he substantiated what to write about the new, the revolutionary needed by a new language. Therefore, the work is a striking contrast compared to previously written.

The poem consists of twelve small gears - by the number of capital heroes. At the same time, the author did not escape the symbolist hobbies of the magic of numbers - after all, the mystical "loading" of the number of "twelve" is well known. In addition, it was so many apostles, the students were Christ, but biblical motifs Participated in the poem directly with its way. "Twelve" can be called a dramatic poem, since the main thing in it is a carrier of which the main characters are. Most The narratives make up replicas and dialoants of characters. Each of them has its own language: at the wretched old woman, at Baryni, the writer, in the Red Army. The poem is typical of the diversity of artistic and speech styles, its language includes vocabulary and poetic and spaticral, even vulgar. Political slogans folklore motifs, urban romance, robber songs and chastushki - the author as if seeking to express all the streets of the streets using various genres artistic speech. The rhythm and size of the verse are also diverse: from the chastial to the marching, from four-rescue chorea to Dolnik.

The combination of various speech styles, genres, rhythms, herself, the dramatic form of the poem allowed the block to express, embody what he called the "music of the revolution", its polyphony, spontaneity. The poet sought to unity of content and form, and his poem - bright things the confirmation. At the same time, the block does not avoid familiar symbolic techniques and methods.

In his poem, the author tried to reflect the fact that he saw and felt. His point of view can be accepted not by all. In principle, art does not require recognition of their images for reality, and even more so, for the only possible truth. The poem "Twelve" can be interpreted in different ways, especially now, when the death words of the block were known that the poem should be destroyed as a failed. I believe that the poet was sacredly believed, I wanted to believe in what I wrote, in the greatness and nobility of the plans and ways of revolution, but in 1921 he managed to see how long his dreams from reality were. And the poem lives as an indisputable testimony of stressful search - ideological, formal - its author.

Test
on the history of Russian literature
on the topic:
Idean-artistic peculiarity
poems A. Blok "Twelve"
Performed: Student
Faculty of Russian language and literature
6 courses (correspondence department)
Gordeeva Ksenia.
Checked: Gorlans G.E.

Penza 2011.

Content :
Introduction

Symbolic images and their meaning in the poem "Twelve"
Conclusion
Bibliography

Introduction
Poem Alexander Alexandrovich Blokok "Twelve" is one of the brightest works of Russian literature of the 20th century. The work was created in January 1918. The author creates a poem in a few days, in a single inspirational impulse. Usually demanding to yourself, he, appreciating his creation, writes: "Today I am a genius."
The poem is interesting for researchers as a kind of form and depth of ideological content. What is this poem? About the wind, night darkness, snow blizzard, human passions, a people's feat, Russia, revolution. More precisely, about revolutionary Petrograd at the turn of 1917 and 1918. More precisely - about what happened in Petrograd on the eve of January 5, 1918, the day of convocation and overclocking of the Constituent Assembly. Soviet power was for two months.
The topic of the revolution resulted in the work of the poet to the most significant and inspirational poem - "twelve". The work of the block is an unbiased, an objective diary of revolutionary events. Alexander Blok said that "twelve" is the best that he ever wrote. The content of the famous poem, where the music of the revolution sounded at the full voice, where the spontaneous folk element rushed into the future, became the greatest takeoff of the People's Spirit and People's Wrought. And the poet was consecrated and blessed into its way that the highest starts of human life personified for him - the beginning of equality and fraternity. For the author, the revolution is a folk element that escaped. In the article "Intelligentsia and Revolution" he wrote: "It is akin to nature. Mount to those who think to find in the revolution fulfillment only their dreams, no matter how high and noble themselves. The revolution, like a thunderstorm whirlwind, as a snow buran, always carries a new and unexpected; She brutally deceives many; It is easily crippled in his whirlpool worthy; She often makes it unworthy of unworthy; But - it is her particular, this does not change the general direction of flow, nor of that formidable and deafening hum, which makes flow. This hum is still always - about great. "
The poem printed in February caused violent and contradictory responses. They spoke about it everywhere. Much in it seemed unacceptable brethren on literature. The explosion explosion was encountered by the Russian intelligentsia. Bunin fell on the author with angry criticism, some of his friends turned away from him. But, despite this, the poem Alexander Bloka was rightfully ranked in the history of Russian literature.

Features of the plot of the poem "Twelve"
To understand the ideological - artistic meaning of the poem Alexander Blok, it means its unique genigar structure and features of the plot.
As a work of truly innovative, "twelve" is not amenable to strict genre definition. It is not by chance that the genre nature of this work remained not quite clear to the block: he called him the poem, the poetic cycle, and even just - "a number of poems under the general title" Twelve ".
The composition of it is built on alternation, on interruptions of dramatic situations and lyrical motives. It turns out that chapters written in white paper, i.e. Those with which work on the poem began to enter into one of the most important moments of the dramatic plot of this work. Here and the appearance, the "first exit", the twelve of Krasnogvardeys, and the exposition of dramatic action - the conversation about Vanka and Katka (Ch. XI), and the murder of Katki - the climax of drama (ch. Vi), and the suffering of Petrukhi (ch. VII), And the resolution of his torment is a kind of social catharsis: "We are on the mountain to all bourgeois // World Fire Spanish" (ch. VIII and XII to line 327th). It is very significant that the whole XII chapter to a lyrical ending with Christ is given in the poem as a continuationthe monologue of Petruchi, started in the VIII chapter and interrupted by lyrical retreats of the heads of intermediate.
The poem "Twelve" is divided not only to the chapter, but internally, hidden - on scenes with monologues and dialogues. The narrative part is presented in it quite modest, and if we speak more precisely, the story here constantly develops into a dramaturgical structure, and the author himself from the lyrical narrator is also turning into actor. The first chapter "Twelve" is a kind of prologue, in which the author himself is played by a significant role. His voice sounds from the extension:
Black evening.
White snow.
Wind, wind!
Initially, these words can be perceived as a remark of the playwright, which gives an idea of \u200b\u200bthe situation in which the stage action has to turn around. Such "remarks" block uses in other places, for example: "The wind walks, snow flies. There are twelve people, "but these are remarks of a special kind, which are filled with deep meaning and gradually pass into the monologue or the scene of the general conversation. The contrast of the remarks, opening the scene of the prologue, from the very beginning, makes it expressive, and after the word "wind" turns out to be repeatedly repeated, the emotional tension increases, at the same time folling with meaningful meaningfulness, anxiety, thought about a person who was in the Universal Wind:
Black evening.
White snow.
Wind, wind!
There is no man on the legs.
Wind, wind -
For all God's light!
The first chapter of the poem is a common exposition. Here, as on cinematic tape, the panorama of evening petrograd is captured. Blowing a sharp wind, plays a gym, "under the snowy - Ice". On the streets - people, the motley population of the big city: the old woman invested from the whole occurring; Angled bourgeois, hiding her face in the collar; Intelligent - "Vities", something in a fighting muttering about the "death of Russia", thick-breed and frightened pop, frying and boiled ladies; just passersby; Street prostitutes; Homeless Tramp ...
Any plot is deployed on this background. Late in the evening, under the black sky, in the flewing blizzard, in the empty city there is a guard patrol of the Red Guards from twelve people. They sentence: "Freedom, freedom, eh, eh, without a cross!" , complain about the cold ("Cold comrades, cold!", Possessed ("revolutionary keep a step! The restless does not sleep the enemy!", Remember the Vanka and Katku, who are wondering, sit in warm clothes and are busy with fun.
Vankka, as it turns out, has also been recently with them. He could be in the patrol of the thirteenth, but changed a common cause and debt: "Our Vanka was, and the soldiers became!" . That is, according to the exact meaning of words, I went (also voluntarily) in the soldiers of Kerensky, - maybe he was signed up in the shock battalions, which formed Kerensky as the main support, - and then, as can be seen, deserted and now fed and drunk, " It is rich "(probably speculates), drags on the kabaks, chasing on Likhach, became the" Sukina Son "and" Bourgeois ". Katya, too, the girl with the past: the street prostitute is not from the most shabby. She and in the "lace underwear", and walked Even S. officers, but the lack of time touched her and her: "With a juncher to walki went - now I went with salt. " In the nearby past she was a mistress of one of the twelve - Petrukhi (it was in the custom of the girls of her profession: a lover for the soul, "guests" for a matter), but changed him for the sake of the rich, succeeding Vanka. Life with jealous and violent Petrukh was full of vicissitudes: he, as it turns out, killed some officer with whom Katya "Warlila" Yes, and she also got it:
You have on your neck, Katya,
Scar did not heal from the knife
You have Katya under your breast
That scratch fresh!
There is a dramatic picture of the boosal of passions and characters, frying love and blind jealousy.
Petruch is hardly experiencing treason of Kati and full of hatred of Vanka, who broke the unsolicited law of the street - became with a "girl someone else's walk." And so - in this blurred, anxious night to meet the Red Guard Patrole the scratching, screaming, and in the sledding - the Vanka traitor hugs a coach of cathe. For the second time, the jealousy of Petrucha with the help of comrades creates ignition: they shoot from rifles, - shoot, of course, in the vanka, but the crazy bullet is in a lacker in his companion. Likhach with a surviving Vanka disappear in the blizzard, and in the snow there is a random sacrifice with a shot-blindly head. Petruch threatens the polenka pole:

Utek, scoundrel! Uzho, wait,
I will disappear tomorrow I am with you!
And, blinded by malice, hatred, thirst for revenge, he with cold contempt addresses to the dead Kate:
What, Katka, is glad? - Nor gu-gu ...
Lying you, Padal on the snow!
But Petruch firmly loved Katya. And when Marevo Evilo and Revenue came out with his eyes, the "poor killer" completely fell in the spirit, "swipe". He, with sincere spiritual pain, recalls his Katya, the crumpled nights spent with her, the troubled delets of her fire nights, the cherished "Punchman's Mountain":
I ruined, stupid,
I ruined, hagging ... ah!
Comrades shame and are encouraged by Petrukh, sternly remind him of the big general matter, for which they united. They are not before his trouble. They have their own concerns: "Forward, forward, working people!" . And again there is a measuring, iron, powerful step - through the darkness and blizzard, protecting the revolution from the goat jammed, but restless enemies ...
V. Orlov, in his monograph, noted this: "But all this dramatic story of love clashes and change - only the framework of the poem, and not her flesh. The "twelve" captured the grandiose historical picture of the decisive revolutionary fracture. She does not fit in the outlined plot. As a great work of art, "twelve" leads the idea and imagination of the reader of Wishyre and deep into. Over the plot grows the tree of the universal "world fire", behind the scenes of Petrogradskaya Street - all of Russia, thickened with anchors, for the twelve Red Guards - the whole people who moved to a new life. The main thing is that it is possible and should say about the poem, this is what she brilliantly conveys the thunderstorm atmosphere of October. "
The question of the features of the plot of the poem remains controversial and now. First of all, it is due to the change in ideology, an understanding of public events. Modern researchers note that the block captured a grand historical picture of the struggle of good and evil that occurred in Russia after the 1917 revolution. For a love plot, a glow of "world fire" rises, for Petrogradskaya Street - not only Russia, but also "All God's Light", not only the Russian people, but also all of humanity.
Between the beginning and the final in the poem occurs significant event: Petruch kills Katya. And although the "poor killer" is unlawful to separate from the rest, awarding only his one "Bubnov Ace", the role in the poem is really valid. What is the meaning of this dramatic episode that occupies such a great place in the poem?
Consider building the poem. Recall the course of events. The first chapter of the poem is of character exposure. The main characters appear in the second chapter. In a conversation about Vanka and Kate, several people take part. Petruhe belongs the last replica:

Well, Vanka, Sukin Son, Bourges
MY, Try, kiss!
This is a personal theme of Petruchi, the voice of his jealousy and anger on the coolant and robin. Here he still sounds like a random dress and immediately hesitated by the voice of a common debt.
The third chapter develops this topic: "How our guys went to the Red Guard to serve ...". But in the fourth, fifth, sixth and seventh songs For the soul! ", Red Guards hunt for a Vanka, and crazy Petrukhina bullet overtakes Katya. All twelve participate in the scene of chase and murders.("Stop, stand! Andryukha, help! Petrukha, in the back of run! ..", but here and on, in the songs of the seventh and eighth, Petruha - the main character. According to Criticism, it begins, it is deployed and his drama is completed, which is not the rest of the special matter. The murder scene is significant in this sense ends with a familiar call not to forget about the total duty: "Revolutionary keep a step! Before the enemy does not sleep! " . Petrucha remains one on one with his small human tragedy. Now he is a deeply unhappy man, heavily nervous and fell into bitter, obscure remorse:
And again there are twelve,
Behind the ruge.
Only a poor killer
Do not see a very person ...
Faster and faster
Collects a step.
Dressed the handkerchief on the neck -
I will not recover in any way ...
He fell in spirit that comrades who are not at all to his little tragedy, try to cheer it up. First - in a friendly, gentle:
What, comrade, are you not cheerful?
What is a friend, swingled?
What, Petruha, nose hung,
Or Katka regretted?
Then (as Petrukha is diverted all the way) - much more severely, demanding and irreconcilable:

Iha, sterchaets, started scarmer,
What are you, Petka, Baba?
- True, soul inside out
Did you pull out? Estimated!
- Support your posture!
- Hold control over yourself!
- not this time,
To nurse with you!
Potted will be burden
We, comrade dear!
The last argument is decisive: Petruch slows down the hurry steps, throws her head. Again, as you can see, the topic of common debt triumph. The last verse is one of its ideological burden - one of the most important in the poem. The nature of its collective hero is quite clarified: the Red Guards are aware of the greatness of time and know that there are even more severe tests in front.
Ashamed Petruch ceases to turn out the soul, tries to take himself in his hands, "He chewed again." But his fun is bitter, adsadd, - not fun, but all the same showing, Zalijat, crying delets, followed by a heavy longing, and unsuccessful remorse. Here he begins to "scare", threaten to pour the memory of the "gap", the Lord God recalls VRE:
Eh, Eh!
Nothing sin!
Put the email
Today there will be robbery!
Lock the cellar -
Walks now Golyutba!
However, who he scares? The answer to this gives the following, the eighth, brilliant song, with amazing skill, recreated the spirit, flavor and the form of folk "poppipes":
Oh, you, grief - bitter!
Boredom boring
Mortal!
I'm talking about
Conduct, spend ...
I'm a tech
Honor, scratch ...
I'm seeds
Semi-off, seating ...
I'm not a knife
Band stripe!
And then this bitter, inspidant, intake delets finds the only goal: you fly, bourgeois, a groove!
I will drink the roof
For the gazne
Chernobrow ...
In this furious outbreak, there is a deep psychological confidence: Petrukhi has their scores with the Bourgeois world, with whom his Katya (walked with officers and junkers) was confused and who ultimately turned out to be the culprit of her inadvertent death - after all, a Vanka, because of which she Died, also "Burzhuy".
The eighth and ninth chapters are the central and turning point of the poem. Here the plot breaks: all personal, who nominated was to the first narrative plan - a recklessness, a love tragedy, jealousy, a crime, despair and the "grief-bitter" murderers, is absorbed by a wide, free and powerful melody. It was here, in the song of Krasnogvardeys, the image of the old world appears for the first time - "Parsive PSA". It is asked: why the block took such a great place to Petruchi's personal drama, and then suck it on no? "Not this time is" - here is the formula for this belief. Any personal tragedy at such a time sinking in the "Sea" of the revolution, in the universal, world-historical tragedy of the catastrophic collision of the two worlds. In his personal plan, the block solved this question categorically: "The revolution is me - not alone, and we"; No personal - because the world's revolution becomes the content of life; A person who fell to be a witness to the birth of a new world should be remembered as little as possible about personal weaknesses and tragedies. Just do not need to be simplified. The categorization of the solution did not meant that it was a simple and easy to accept it. Hate to the old world was in the block feeling of dominant, all-consuming, justifying everything. He understood of course, what, together with violence, lies, meanness and vulgarity of the old world in the fire of revolution, inevitably burns something from the fact that he "soloved ", with which his lonely" demonic delights "were connected. But hei also understood that in the name of a large, universal historical truth, you need to sacrifice my little "truths". In this, the spiritual force of the block, the "fearless sincerity," that was noticed in him bitterly affected. The thought of the block on the immeasurable "personal tragedies" with the greatness of what is happening peculiar (with amendments to the plot and character) responded in the history of Petrukhi. It is impossible to say that the poet condemns Petruhu. Rather, he regrets him. And the spiritual flour of this desperate, "stupid", confused from the path of man, and his passionate, stuffy love with the inspidant memories of "black nights" and "fiery eyes" - all this could not be close to the poet, who always found a high inspiration source In the topics of tragic passion and human despair. But all this should blown in the fire of the revolution. So it is necessary to be born a new person. After all, one of the important tasks set by the revolution, the block saw in to direct her cleansing fire in the "Rasputie corners of the soul and blow it into the fire to the sky to burn him to the sky, so that the tricky was burning, lazy, slave lust."
Desperate, who lost his head, Petruch is the weakest of twelve. If they themselves do not constitute an avant-garde of the revolution, then Petruha is their own ariergard. He and now powerlessly commemorates the save, - and again comrades read him a harsh submission:
- Petka! Hey, do not freeze!
What do you drop from
Golden iconostasis?
The unconscious you, right,
Judge, think healthy
Ali hands not in blood
Because of Katkin Love?
- Step hold revolutionary!
Needs the enemy restless!
Here Petruma and received a true characteristic, - and from its own comrades: "unconscious." They know, in the name of which they hold their revolutionary step. "To all ready, nothing is sorry," "the burden will be sweating ...", "their rifles are steel on an invisible enemy", "in the distance they are holding a holding step ...". Isn't that such a distinctive and so permanent note of the revolutionary debt's dumping scream of spiritual Gulba, which we hear in the replicas of the "poor killer" Petrukhi?
Twelve are busy with their own business: go a ward to the night city. They are on the lamp: "Here it is wake up the enemy ...". And they sing do not thorny divers and not superplicit patchwork, but pick up the motive of "Warsawans": "Marsh, a march forward, working people!". And in the pace and the rhythms of this beautiful combat song of the working class, without the remnant of the motif of the reckless Gulbi (Petruch in the end, after all, it pulled up and attached to the step of his comrades), and the topic of the disadvantageous forces of the rebels of the rebel, the uncontrolled movement of the twelve Objectives:
And go unnamed saint
All twelve - away.
Everyone is ready
Nothing sorry ...
In the eyes beats
Red flag.
Once
Dimensional step.
Here - wakes up
Lyut's enemy ...
And blizzard dust in the eyes
Days and Nights
Nut ...
Go-go,
Work people!
And so on - with ever-increasing expression to achieve the highest tension and pathos in the final. The buoy "Wolnitsa" turns into a strict, musically organized revolutionary will.
You can answer an ideological questionable question only by holding the structural chain of events. Having lined up this chain, we will see that the personal drama in the poem occupied a great place. It is such a construction of the poem that helped determine the place of this episode in the work.
Revolutions, as you know, are different. That revolution, whose combat force considered "twelve", was a unique one of a kind. It was the destruction of "to the ground" of the "old world", "break" between two historical zones. "Twelve" - \u200b\u200bthe Apostles of the New World, the Valtors of the "New Sky and New Earth". Blokovsky Red Guards - also children, "Children in the Iron Age", as called them in their diary record author "Twelve". They do not know what they are doing, but it does not remove guilt with them for creating a world in which the main principle will be violence.
--- more than once, critics were noted that "twelve", with all the seeming simplicity, the work is not completely simple. Pay attention to the mysterious central episode of the poem. Why, in fact, in the center of this poem about the revolution - a criminal offense, deprived of any class or revolutionary grounds? What was so annoyed by the Red Army Vanka and Katka, why do they strive to deal with the Vanka, and the death of Katki is perceived by them as fair retribution? But we'll figure it out first with the first, with a soldier Vanka. The poem seems to be explained by the cause of hunting for him:
Fuck - Tararh! You will know
As with a girl someone else's walk! ..
If with someone else, it means, with Petkina, but why are all the "twelve" so strive to deal with the new lover of Katki? What is the case, in the end, before Petkin feelings? And then: Katka is a prostitute, she is not Wankina, not Petkin, she is for everyone and draw. Something is clearly not so, but we will leave these considerations so far and talk about other possible motifs of the strange hatred of the Red Guards to their former comrade. The motives of these two. First, Vanka is someone else's; Secondly, - rich. Both motive are present in the replica of one of the "twelve":
Vanya himself is now rich ...
There was a Vanka, but became a soldier!
In the same chapter, the Vanka is called bourgeois. Vanka is a soldier of the Petrograd garrison that has not defended the temporary government in October Days. And the word "soldier" was then not counter-revolutionary. Why nevertheless Vanka "Not OUR" - from the point of view of the Red Guards? Were there any conflicts or friction between the Red Guards and Soldiers? The friction between the soldiers and the Red Guards, therefore, were, and the soldiers of the Red Guards were envied, and not the opposite. But it did not reach armed conflict. Maybe the reason for the Samoya, who "twelve" strive to arrange over the Vanka, is that he is a thief? However, theft and robbery then - a mass phenomenon. This enrichment path was not closed for "twelve", although they preferred only the wine cellars. But the "richness" of the Vanki, they clearly envy and therefore call him a "bourgeois". So envy to Wankina "wealth" is undoubtedly present at the "twelve". But it is not the reason for dislike, moreover, hate to him of the Red Guard Patrol. The reason is something or in someone else.
And randomly the murder of Katki? Petka makes it in a state of affect, the rest of the patrol killing her were not going. But they are not flawed, but perceive the resulting criminal cynicism with a purely criminalism:
What, Katka is glad? - Nor gu-gu ...
Along you, Padal, in the snow!
But no "music of the revolution" can not, however, to relieve the spiritual flour of the "poor killer" Petrukhi. If there was a city, which would have a top of him in a plot, it would probably be easier for him. But during the revolution there is no city, the Red Guard Patrol is the representative of the revolutionary order, and therefore the Petka one with his pain before God. Attempting to forget in a drunken bite leads it only to the "death boredom", to spiritual emptying. Comrades do not understand him. For them, step over blood is not a crime, but the communion to the truth of the revolution. "Among them there are such," the block wrote in the article "Intelligentsia and the Revolution", which go crazy from self-seekers, cannot withstand blood, which was shed in the darkness of their ... ". So Petka from these. He suffers, he wants enlightenment, and he is offered to keep the "revolutionary step". And yet, from this flour of the "poor killer" Petki - a thin thread to Christ, not to what appears in the final, but to the present, Gospel.
etc.................