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Questions for analyzing the poem "On railroad»:
- Why is this poem included in the third volume of the poet's lyrics?
- What is the tragedy of the heroine?
- How the painting is created “ scary world»?
- Find the key words in the poem.
- Why did the author include this poem in the cycle "Homeland"?
The very title of the poem "On the Railroad" evokes an association with the motive of the path, and the first stanza concretizes that this is the path to the death, death of a young woman. The picture painted by the author is related to the theme of the Russian land. This is evidenced by the objective world, the details of the portrait: an unmown moat, a colored scarf, braids. The author tells about the life of the heroine, revealing the reasons for her death.
The verbal series accompanying the heroine speaks of her as if she were alive: “she walked with a decorous gait,” “she waited, worried, for love, she has a gentle blush, a cool curl. But the world, which is opposed to it, is indifferent to a person, a living feeling. He is deathly. Therefore, the author uses such words-images as "sleepy", "even gaze", "careless hand", "desert eyes of the carriages." Life indifferently rushes past the heroine, the world does not care about the expectations of youth. Therefore, a feeling is born of the meaninglessness of being, empty dreams, iron melancholy. The epithet "iron" is not accidental. It contains a dull despair associated with the "terrible world" that mortifies the soul. That's why
an image of a heart taken out appears ("the heart has been taken out long ago"). Even death causes nothing in a crowd of people, except for idle curiosity. And only the heart of the lyrical hero responds with pain.
This poem was placed in the cycle "Homeland" for a reason. The "scary world" is also a symbol of the modern bloc of Russia. There is a social hint in the poem: "The yellow and blue were silent, in the green they cried and sang." Yellow and blue - cars for wealthy people, green - for the common people. Therefore, the words-symbols "wept" and "sang" reflect the theme of suffering, the fate of the people.
Under the embankment, in the unmown ditch,
Lies and looks like she's alive
In a colored scarf, thrown on braids,
Beautiful and young.
Sometimes she walked with a decorous gait
To the noise and whistle behind the nearby forest.
Walking around the long platform,
She waited, worried, under the awning.
Three bright eyes oncoming -
Gentle blush, cooler curl:
The carriages followed the usual line
They shook and creaked;
The yellow and blue were silent;
They cried and sang in green.
Sleepy got up behind the glass
And they looked round with an even gaze
Her, the gendarme next to her ...
Only once, a hussar with a careless hand
Leaning against the scarlet velvet,
Slid - and the train sped away into the distance.
In empty dreams, exhausted ...
Road longing, iron
Whistling, breaking my heart ...
So many bows are given
So many greedy eyes are cast
Into the desert eyes of the carriages ...
Do not approach her with questions,
You don't care, but she's enough:
Love, mud, or wheels
She's crushed - everything hurts.
The creativity of A. Blok, with all the diversity of his problems and artistic solutions, is a single whole, one work unfolded in time, a reflection of the path traveled by the poet.
Blok himself pointed out this feature of his work: "... this is my path ... now that it has been passed, I am firmly convinced that this is due and that all the poems together are a" trilogy of incarnation. "
Cross-cutting motives, details, images permeate all the poet's lyrics. The poem "On the Railway" is included in the figurative system of Blok's creativity as the realization of the theme of the path, the through image of the road. It was written under the impression of reading the novel by L.N. Tolstoy's "Resurrection". Blok says about his poem: "An unconscious imitation of an episode from Tolstoy's Resurrection: Katyusha Maslova at a small station sees Nekhlyudov in a velvet chair in a brightly lit first-class compartment in the window of a carriage."
One involuntarily recalls the tragic death of another Tolstoy's heroine, Anna Karenina ...
The poem "On the Railway", with its visible external content, undoubtedly has another, deep plan, and its central position in the cycle "Homeland" is no coincidence.
The contingent series “under the embankment, in the unmown ditch,” which opens the poem, begins it with a tragic denouement, before us is the implementation of the reverse storytelling technique.
The tragic ending determines the emotional tonality of the retrospective descriptions, which constitute the main part, which is central to the position in the text. The first and last (ninth) stanzas form a ring, both of them are given in the momentary present, before us is a clear circular composition of the text. The central, retrospective part opens with the word "happened", placed at the beginning of the stanza and line of poetry, in the most "shock" position. This "happened" all subsequent actions are included in the general plan of a long past repetitive: "It used to be, walked, waited, worried ... walked, trembled, creaked, were silent, cried and sang, got up, circled, rushed ... exhausted, whistled ... tearing ...". All events, all actions related directly to the one that now "lies and looks like living", are given as if in isolation from the subject. Incompleteness becomes a structurally important factor in the text.
"She" appears only on the last line of the fifth stanza:
Sleepy got up behind the glass
And they looked round with an even gaze
A platform, a garden with faded bushes,
Her, the gendarme next to her ...
The approaching train is presented distantly, as an unknown creature. Then there is a gradual "recognition": at first, perception moves from auditory signals to visual signals: "noise and whistle behind the nearby forest, three bright eyes oncoming." Then: "the carriages went along the usual line." Each appearance of the "three bright eyes" is perceived as hope and promise, therefore:
... Gentle blush, cooler curl ...
The rough sketches make it clearer:
Always promised the unknown
Three red eyes oncoming ...
The recurring transformation of the heroine ("softer blush, tighter curl ...") is due to hope:
Perhaps some of the passing
Looks more closely from the windows ...
These two lines are improperly direct speech of the heroine. It is for her, who meets and sees off the train, that all the people in it are “passing”. Replacement of the indefinite pronoun "someone" by the interrogative-relative "who" is characteristic of colloquial vernacular. The voice of the one who now "lies and looks like she is alive" bursts into the voice of the narrator. “She” revives this piece: under the sign of hope and expectation, the story is transferred to another temporal plane - the present-future in the past: “softer blush, cooler curl” (now), “look” (future). The ellipsis as a default sign ends this stanza, breaking it off.
The carriages followed the usual line
They shook and creaked;
The yellow and blue were silent;
They cried and sang in green.
When it came to human destiny, hopes and expectations, ill-being was transmitted, among other means of expression, by breaking the direct word order. At the beginning of the verse, the circumstance was put forward (“under the embankment, in an unmown ditch”), then the introductory words (“happened”, “maybe”), then the definition became in the postposition (“three bright eyes of the incident”), then the anchor part of the nominal predicate was brought forward ("softer blush, tighter curl"); and only the beginning of the fourth stanza differs in the direct word order:
The carriages followed the usual line ... -
subject, predicate, minor members. In the world of machines and mechanisms, everything is correct and clear, everything is subject to a certain order.
The second part of the same stanza - already with the broken word order:
The yellow and blue were silent;
They cried and sang in green.
Here the movement of the train is given, as it were, in the perception of the heroine.
The formula of the movement unites the "her" and the "carriages" that were not revealed in the text: "walked with a decorous gait" - "walked in a familiar line." Moreover, in the verb go (walked, walked), in each specific case, different meanings of this verb are activated. She walked - "moved, stepping over" - "walked with a decorous gait ...". "The carriages went" - "they moved, overcoming space." Here these meanings are deliberately brought together, something mechanical, as if directed from the outside, appears in this movement towards each other. All actions (“walked”, “trembled”, “creaked”, “were silent”, “cried and sang”) are equally familiar and prolonged (“walked along the usual line”).
In pre-revolutionary Russia, the cars of the first and second classes, respectively, were "yellow and blue"; "Green" - cars of the third class. Here, the prosperous "yellow and blue" are opposed to the "green". This contrast is complicated by the contrast of grammatical structures - the two-part "The yellow and the blue were silent" (subtle metonymy) is opposed to the one-part with the indefinite personal meaning of the predicate: "They cried and sang in green" - it is not known, and it does not matter who is crying and singing.
Yellow, blue, green carriages are not just real signs of a running train, but symbols of differently developed human destinies.
Sleepy got up behind the glass
And they looked around with a sleepy look
A platform, a garden with faded bushes,
Her, the gendarme next to her ...
And again, inversion and contrast. Contrasted are "sleepy" with their "even gaze" and "she", which finally appeared in the text. "She" for the "sleepy" is the same boring and familiar subject, like a platform, a garden with faded bushes, gendarmes. And again the ellipsis as a means of highlighting a word, image, thought, as a sign of anxiety and expectation. "
In this stream of gray everyday life, one single bright spot suddenly flashed:
Only once a hussar with a careless hand
Leaning against the scarlet velvet,
Slid over her with a gentle smile ...
The tenderness, the melodiousness of the sound is intensified in this stanza by the rhyme on "-oi" (careless - gentle), where the commonly used form on "-oi" is also possible.
It is significant that at the beginning of the stanza the circumstance of time “only once” is placed, emphasizing the uniqueness of this happy moment. The whole picture is a contrast to the dull everyday life: the festive joy of life shines through even in the very pose of the hussar. Velvet is not just red - scarlet. Here, scarlet is a sign of hope, the possibility of love. The rhyming pair “scarlet” - “umchalo” turns out to be especially significant, which not only rhyme, but inevitably correlate with each other. Hope as hope, given in the third stanza:
Maybe some of the passing
Looks more closely from the windows ... -
destroyed by an inexorable fate, fate, that terrible force that controls human destinies in the Terrible world, rushing past by its appointed, iron path.
It is significant that the train did not run away, but it was "rushed away". The action appears to be taking place of its own accord, fatal. An unknown force took away the dream ("maybe"), whisked away the possibility of happiness - and the story returns to square one: further verb forms are used, which convey general plan long past, repeating ("happened") everything that came after:
So useless youth rushed,
In empty dreams, exhausted ...
Road longing, iron
Whistling, breaking my heart ...
Lexical repetitions: "the train drove off into the distance" - "this is how youth rushed" unite the sixth and seventh stanzas. The seventh stanza shows the image of the track, the image of a speeding train: "rushed," "longing road, iron", "whistled."
At the beginning of the next, eighth stanza, there is a particle "yes what", separated by a pause from the next text. It is this cry, "Yes that" that determines the emotional tone of the entire stanza, the last in the retrospective part. Anaphora: "So many ... So many ..." unites the second and third verse lines. The entire stanza is sharply emphasized by the first verse:
But what - the heart has long been taken out!
(the only exclamation sentence in the poetic text), and is united by repetitive grammatically homogeneous forms: "taken out", "given", "thrown".
“Three bright eyes of the oncoming people” turn into “empty eyes of carriages”; The "empty dreams" of the previous stanza are correlated with the "empty eyes of the carriages." "Only once" of the sixth stanza - the only, and even then, an illusory possibility of happiness - is opposed to the repetitive "So many bows were given, so many greedy gazes were cast ..."
The ninth and last stanza brings us back to the "present", to the one that "lies and looks like it is alive." The figurative system of this stanza is based on contrast. “She,” appearing for the second time in the role of a subject, is opposed to the inhabitants of the “carriages”: “She’s enough” - “You don’t care”.
Row homogeneous members: "Love, mud, or wheels ..." - unites common auditory antonyms. The first two members of the series reveal in a short passive participle "crushed" its metaphorical meaning - "destroyed, crushed morally"; the third term - "by wheels" - reveals the direct nearest meaning in the word "crushed" - "killed, put to death", "deliberately deprived of life." "Crushed by wheels" also evokes by association the idea of a metaphorical wheel of fortune, history, breaking human destinies. This image was used by Blok: "... he is ready to grab hold of his human hand for the wheel that moves the history of mankind ..." (from the Preface to Retribution).
The first members of the series - "love, dirt" are opposed to the third term - "wheels", but not only: the whole series is united by the verb "crushed" and the meaning common to each member of the tool, the instrument of action.
“She is crushed” is the final form that closes the series of short participles: “heart removed,” “many bows were given,” “many eyes were cast”. Especially the short passive participles in the lines are related: "But what - the heart has been taken out a long time ago!" and "She's crushed - everything hurts." These lines frame the last two stanzas of the poem.
The suffering form "crushed", "taken out" becomes a figuratively significant dominant of the entire poem.
Comprehension of the compositional and stylistic forms of the word in the work of Blok helps to understand the meaning of the poem in a different way, to enter the lyric world of the author.
In Blok's poetics, the path as a symbol, theme and idea plays a special role. The poem "On the Railroad" illuminates one of the facets of the end-to-end image of the track.
The railway is a symbol of the way, movement, development. A train, a steam locomotive, the image of a "road-track", a station as a stage of a journey or a moment of a journey, the lights of a steam locomotive and the lights of a semaphore - these images permeate all of Blok's texts, from poems to private letters. And his own, personal and creative, fate appears in the image-symbol of the train. In a letter to A. Bely, the same image of a path-destiny arises: “It is very likely that my train will make only the last turns - and then arrive at the station, where it will stay for a long time. Even if the station is average, it will be possible to look back at the path traveled and forthcoming from it. Nowadays, with the gradual slowdown of the train, many alarming scraps are still whistling in the ears ... ”. The image of a train is a symbol of fate, own life poet, rushing uncontrollably in an unknown path, appears in the poem "You were all brighter, more faithful and charming ...". The image of the railway grows into a symbol of the railway - an inexorable and boundless fate:
My train flies like a gypsy song
Like those irrevocable days ...
What was loved - everything by, by,
Ahead - the unknown of the way ...
Blessed, indelible
Irrevocable ... sorry!
In a letter from Blok to E.P. Ivanov has a significant message referring to the very day that marked the initial draft of the poem On the Railroad: “I was in Petersburg ... I wanted to come to your service; but suddenly waved his hand and climbed dejectedly into the carriage. Which Blunt pain boredom happens! And so all the time - life "follows" by, like a train, sleepy, drunk, and funny, and boring stick out in the windows - and I, yawning, look after me from the "wet platform". Or - they are still waiting for happiness, like trains at night on an open platform covered with snow. " All the correspondences between this recording and the poem are indicative and significant: both in the letter and in the poem there is a general emotional tonality that brings realities closer together: “... sleepy, drunk, and funny and boring ones stick out in the windows” - “... they got up sleepy behind the glass”, “were silent yellow and blue, in green wept and sang. And finally, the main motive that brings them together: the train as a sign of hope for happiness: "... three bright eyes of those who are approaching", "... they are still waiting for happiness, like trains at night on an open platform covered with snow."
The path, the road is not only a symbol of movement, development, but it is also a symbol of the exodus, as a promise and a pledge. The image of a track and a train appears many times in Blok's work as an object of comparison, suggesting a clear solution:
... Let this thought appear strict,
Simple and white as a road
How long is the journey, Carmen!
("Oh, yes, love is free, like a bird ...")
And the same image of a track, a train as a sign of an exit, of hope appears in the article “Neither Dreams nor Reality”: “All our life we have waited for happiness, like people at dusk wait for long hours for a train on an open platform covered with snow. Blinded by the snow, and everyone is waiting for three lights to appear at the turn. At last there is a tall, narrow steam locomotive; but not to joy: everyone is so tired, so cold that one cannot keep warm even in a warm carriage. "
The poem "On the Railroad" reveals the essence of life in the Terrible World, this inexorable, irresistible and ruthless path. The railway, in symbolic understanding, undoubtedly belongs to the number of symbols-signs of the Terrible World.
In the creative practice of A. Blok, "iron", "iron" is on the verge of symbol and reality, in constant interaction and interpenetration. Already in the "Poems about the Beautiful Lady" appears "iron" in a symbolic meaning:
We were tormented, erased by centuries,
They hardened hearts with iron ...
("About legends, about fairy tales, about secrets ...")
"Iron", "iron" - "cruel, merciless, inevitable":
This is the law of iron fate ...
("Retribution", ch. I)
And the wizard is in power
She seemed full of strength
Which by an iron hand
Trapped in a knot useless ...
("Retribution", ch. II)
Apocalyptic image - "rod of iron" in figurative system Blok appears as a symbol of an inevitable and formidable danger or as an instrument of punishment and retribution:
It is brought in - this rod is iron -
Over our head ...
The symbolic designation of inevitability, severe inflexibility through the image of "iron", "iron" stands out among the symbols of Blok with a sharp negative assessment, even if the word "iron" highlights the meaning of "strong, unbreakable":
It seems to them more iron, not awake
My dead dream ...
("Through Gray Smoke")
More often, "iron" stands for "inevitable"
With the necessity of the iron
Sleep on white sheets? ..
("All this was, was, was ...")
Iron age, iron destiny iron way acquire some stability as phrases denoting a circle of ideas inextricably linked with symbolic meaning the words "iron":
Nineteenth century, iron,
A cruel age indeed!
("Retribution", ch. I)
The metaphor "iron" appears in Blok's poetics as a symbol of cold and evil cruelty.
In the poem "On the Railway" the image of the railway appears as an image of a steady path, an inevitable rushing merciless fate.
In Blok's lyrics, the theme of the journey is inextricably linked with the theme of Russia, the theme of the Motherland:
Oh, my Rus! My wife! Painfully
We have a long way to go!
("On the Kulikovo field")
No, I'm going on a path that is not invited by anyone,
And let the earth be easy for me!
Relax under the roof of the tavern.
("Autumn Will")
Blok presents Russia as a “humanized” generalized image: “The more you feel a connection with your homeland, the more real and willing you imagine it as a living organism ... Homeland is a huge, dear, breathing creature ... she died and we did not. " In Blok's figurative system, Russia often appears in the guise of a Russian woman wearing a colorful or patterned headscarf:
And the impossible is possible
The road is long and easy
When the road shines in the distance
Instant glance from under the handkerchief ...
("Russia")
No, not a senile face and not a lean one
Under a Moscow colored handkerchief!
("New America")
In the poem “On the Railway”, the one that “lies and looks like she is alive, in a colored scarf, abandoned on her braids” - isn't this “crushed” Russia itself? (Let's remember that this poem is included by the poet in the cycle "Homeland").
5 (100%) 1 voteDedicated to Maria Pavlovna Ivanova
You can fully feel the depth of the tragedy in Alexander Blok's poem On the Railway, which the poet wrote in the summer of 1910 and dedicated to Maria Pavlovna Ivanova. What the author wanted to convey to the woman the question, history conveyed to us only that Alexander and the Pavlov family had close friendly relations.
The poem tells about the death of a girl under the wheels of a train. Already from the very first lines, the verses cling to the living and do not let go until last letter... Blok wants to emphasize the beauty of the deceased girl using symbolism. A colored scarf over a braid speaks of a woman's youth, and an unmown moat emphasizes a point in life, the moment when a person no longer cares about worldly concerns.
Waiting with no response
The girl lived near the railway and often waited under a canopy for the train to pass. This moment from the second quatrain says that the deceased was a local resident and the railway was hardly a wonder to her. She waited, when the trains flew past, that someone would look at her from the clinking windows, but no one was concerned with the lonely girl near the tracks.
The author does not go into details, but analysis without diving into the depths of the lines says that the beauty has experienced many bitter minutes in her life. Perhaps her lover did not reciprocate, maybe she could not say "yes" to someone's passionate words. As we will see from the ending of the poem, it doesn't matter.
The carriages followed the usual line
They shook and creaked;
The yellow and blue were silent;
They cried and sang in green.
The indifference of the railroad
V tsarist Russia the color of the cars depended on the class. We cried and sang in the green, because these are 3rd class carriages, where commoners were traveling. The yellow cars were of the second class, and the blue ones were of the first class. There were more on business, away from songs and crying, wealthy passengers. The girl near the railway did not arouse anyone's interest.
Trains and now, when the deceased lies near the tracks, run past with a whistle, but even now there is nothing to do with her. She was not needed alive, much less a dead woman was needed. Only one glance was from the carriage of the hussars, and even then he did it out of natural curiosity.
It was not in vain that the block chose the railway as the place of the tragedy, because the trains rushing along it symbolize the running youth well. Only yesterday the girl was blush and shone with beauty, but today she lies in a ditch and only her eyes remain, as if they were alive. She lived with hope and faith, but the deserted eyes of the carriages were indifferent - no one looked welcomingly from the window, no one caressed her in life, and now the path is over.
Epilogue
In the conclusion of the poem, Blok compares the deceased girl with the living one and does not advise anyone to approach her with questions. In the end, it doesn't matter what killed her - love, the dirt of life, or the wheels of a train! The fact remains one - regardless of the cause of death, the girl is in pain, because all the same, somewhere out there she will have to answer for early departure, for the fact that she did not drink the cup of life until the day, did not share her beauty with the world.
Despite the drama of the poem, there are also sprouts of life in it. Blok teaches us to value life and drink its bitter cup to the end, because the gift of birth was given to us from above. The author also hints that silence is sometimes better than inappropriate questions.
Under the embankment, in the unmown ditch,
Lies and looks like she's alive
In a colored scarf, thrown on braids,
Beautiful and young.
Sometimes she walked with a decorous gait
To the noise and whistle behind the nearby forest.
Walking around the long platform,
She waited, worried, under the awning.
Three bright eyes oncoming -
Gentle blush, cooler curl:
Perhaps some of the passing
Looks more closely from the windows ...
The carriages followed the usual line
They shook and creaked;
The yellow and blue were silent;
They cried and sang in green.
Sleepy got up behind the glass
And they looked round with an even gaze
A platform, a garden with faded bushes,
Her, the gendarme next to her ...
The poem "On the Railway", completed on June 14, 1910, is part of the cycle "Homeland". The poem consists of 36 lines (or 9 stanzas), written in iambic differences with two-syllable stress on the second syllable. The rhyme is cross. Alexander Blok clarifies in the notes to the poem that this is an imitation of one of the episodes of L.N. Tolstoy from "Resurrection".
The poem "On the Railroad" conveys pain, longing, naivety and faith in a possible easy, happy life for a pretty young girl who, nevertheless, could not curb her wayward fate, and preferred death to her unsuccessful life path.
Plot is being developed at the uncrowded passenger station of one of the stations, and the story is led by a person who knew this woman and remembered what she was like until she decided to follow in the footsteps of Anna Karenina. The poem has ring composition because in its last quatrain it takes us back to the first.
It is not clear why she was waiting for her happiness on the platform? .. Why so good woman, "Beautiful and young" could not arrange your life? Why did she choose death instead of fighting for her happiness? The author asks: "Do not approach her with questions.", but, imbued with the soul of this rhymed work, quite a lot of them arise.
But the image of the heroine laconic, nevertheless he does not repulse, but disposes to himself. It is clear that a woman in her youth chose the wrong path, which was very difficult to turn off. She flattered herself with the hope that some passerby would be enchanted and "Look more closely from the windows".
Of course, the woman secretly waited and wanted her attention to come from yellow or blue cars (which is equivalent to the first and second class), but "Only once a hussar ... Slid over her with a gentle smile ..."... The passengers of the yellow and blue cars were primly cold, indifferent to the whole world and, moreover, to this woman, whom they simply did not notice. Green cars (third class) did not hesitate to show their feelings, therefore, equally loudly "Wept and sang"... But even those cast indifferent glances at the heroine, some were uninteresting, others did not need, the third had nothing to give in return.
It is not for nothing that this poem is included in the cycle "Homeland", which reveals many aspects of patriotic themes. This is the fate of Russian women, and the bleak life in pre-revolutionary Russia, and the image of the beloved homeland.
- "Stranger", analysis of the poem
- "Russia", analysis of Blok's poem
- "Twelve", analysis of the poem by Alexander Blok
- "Factory", analysis of Blok's poem
- "Rus", analysis of Blok's poem
- "Summer Evening", analysis of Blok's poem
Alexander Blok wrote this interesting poem in 1910. And it is interesting because the poet himself made a note that this is a kind of imitation of one of the episodes of Leo Tolstoy's "Resurrection".
Speaking of the plot: this is a rather sad picture. The life of a young girl who hoped for happiness in life. But she found only death. One gets the impression that the lyrical hero knew the young lady, watched her fate. He takes pity on her, and at the same time, from some lines you can see that the girl herself went wrong life path... The action takes place on the platform of a railway station, where a young lady is trying to find a response in the hearts of passengers from the cars rushing past. Why is she waiting for happiness in such a place? Why, in the end, steps into the abyss of nothingness? Many questions arise as you read the work of A. Blok. In advance, Blok writes the lines "Do not approach her with questions, you don't care, but she's enough." It seems as if Blok wanted to say that the reader, like an indifferent passenger, will also sweep past, having finished reading. And yet, it can be assumed that the girl was looking for happiness on the platform, because she hoped to find comfort at least from strangers, because she was lonely.
A. Blok very skillfully selects expressions in his creation to convey the main theme. For example, in the seventh stanza there is a line "So useless youth rushed." Such a catchy word "useless" makes it clear that no one needs the heroine, no one knows about her, only the lyric hero and the reader turn their attention to the fate of the girl.
A sad fate attracts an unhappy soul to the image. Perhaps this is one of those poems in which you do not need once again look for meaning, you just need to pay attention to him, as to his heroine.
Analysis of Blok's poem On the Railroad
Alexander Blok wrote a work in the genre of a poem, which he called "On the Railway". This was done in 1910. Also, critics rank this work in his collection of poems, or a cycle called "Odin". And perhaps not without reason. Since there are many elements in the block's poem, which in themselves are illustrations of Russia, which once was not revolutionary yet.
That is pre-revolutionary Russia- this is an important thing that Blok wanted to show in his work. In addition, the main characters are also present. This is a beautiful, and a young woman. Besides, she is her lover. But from the very first lines of the poem it becomes clear that she is dead. Since the plot is as follows - she died after she threw herself under the wheels of a train.
But the fact is, she did it on purpose. After all, the whole point is that life is as hard as it seemed to her at that moment. Blok develops this idea further, and readers can see that everything is not so simple. After all, there was love, so strong and passionate, but everything seemed to have perished in one moment.
It was not for nothing that Alexander Blok chose such a plot. After all, it was inspired precisely by the works of Leo Tolstoy. Especially, the theme is the works in which the main characters die tragically, and this is "Anna Karenina", and even "Sunday". These heroes died because for them shame came first, and also - the frustration that people were not the same as themselves. Alexander Blok was able to present the plot in the poem in such a way that it does not look ridiculous or ordinary. Everything seems dignified and very tragic.
But who is the heroine herself is difficult to understand. Both beautiful and young, but what origin is not clear. But there was one fact - this woman constantly and regularly came at one and the same time, seeing off the passengers getting off the train, and then sadly looked after the departing train. It was like this all the time, and then, on an ordinary day, she died, thus perishing. What exactly prompted this act - not even the author himself knows.
Analysis of the poem On the railway according to plan
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A. Blok's poem "On the Railway" begins with a description of the death of the heroine - a young woman. The author also returns us to her death at the end of the work. The composition of the verse is thus circular, closed.
On the railway
Maria Pavlovna Ivanova
Under the embankment, in the unmown ditch,
Lies and looks like she's alive
In a colored scarf, thrown on braids,
Beautiful and young.
Sometimes she walked with a decorous gait
To the noise and whistle behind the nearby forest.
Walking around the long platform,
I waited, worried, under the awning ...
Many other symbols can be found in the poem "On the Railroad". The railway is a symbol of the path - destiny. Depicting continuous lines of passenger cars, Blok sets the theme of the road, a person's life path. People constantly move from carriage to carriage, someone is lucky, someone suffers the bitterness of defeat. People's life goes on in constant motion. Train, steam locomotive, station - a symbol of a stage or moment of travel. But the path, the road is also the harbingers of the outcome, to which each person moves, as to a cliff. Maybe the poet perceived this exodus as death old Russia and the birth of a new one, which all the people were looking forward to. The railway is a sign of a terrible world, ruthless to people.
In most of the poem, the poet writes about the past, but it is inextricably linked with the present.
The color scheme of the poem is also interesting. The color of Blok's poetry is a means of expressing emotional assessment, attitudes towards images. By colors the first and last quatrains contain practically no paint, they are colorless. In the past, in another world - a different flavor. Here are the "bright eyes" (lights) of the oncoming train, and the gentle, lively blush on the cheeks of this girl, and the multicolor of the carriages (apparently, the division into classes), Blue is the color of the sky, sublime are cars for the rich, yellow is a bright, cutting eyes the color of warmth and at the same time of illness is the middle class, and green is the color of grass, proximity to the ground is the third class carriages. It is noteworthy that the view from the platform is completely different from the view due to the glass of the cars. From the inside, the world is seen in faded, colorless tones. The only bright, harsh color in the carriage is scarlet. It can symbolize blood, irritation, aggression and cruelty of these people. Forest trees grow outside, behind the forest is a long platform with a canopy on it. The color scheme is not muted, but rather calm. Green color trees, apparently a blue gendarme uniform and, most likely, a wooden platform. The block deliberately does not give "color" definitions to some words, giving the reader the opportunity to imagine this picture in his own imagination.
In the poem, the author uses the technique of reverse narration, that is, he begins with the death of the heroine, tragedy, gradually revealing the previous events.
