Avilova Sofia Andreevna

research work

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Municipal budgetary educational institution

Egorlyk secondary school No. 1

"Department of Russian and Literature"

Research

Topic: “Specific features of the use of means of artistic expression in A.A. Blok’s poem “The Stranger”.

Avilova Sofia Andreevna 9 "A" class

Supervisor:

Miroshkina Tamara Alekseevna,

Scientific adviser:

Zharkova Lidia Petrovna,

teacher of Russian language and literature

St. Egorlykskaya

2013

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 1

The history of the creation of Stranger. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 2

Means of artistic expression in the poem "The Stranger"

2. Means of expression in the poem "Stranger". . . . . . 6

2.1. Hypothesis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2.2. compositional features of the poem. . . . . . . . . . . . . . . . . . 7

2.3. Artistic expressiveness. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

2.4. The image is a symbol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eleven

2.5. Anaphora. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eleven

2.6. The sound of a poem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2.7. Numerical symbolism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Chapter 3

Demonic and holy in the poem. . . . . . . . . . . . . . . . . . . . . . . 14

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

List of used literature. . . . . . . . . . . . . . . . . . . . . . . . . 20

Introduction

Problems of language learning fiction are attracting more and more attention from researchers.

Language is the most important means of depicting artistic life in literature. Language is the material of verbal art, like marble or bronze in sculpture, colors in painting, sounds in music. Literary images and all works of art are made up of verbal images. A verbal image is a single word, a combination of words, a paragraph, a stanza, a part of a literary work, or even a whole piece of art as a unique organized element of poetic speech. Such speech, in the words of V. B. Shklovsky, “differs from the usual spoken language “by the tangibility of its construction”. It attracts attention with a special sound organization (rhythm, rhyme, consonance, repetitions), figurativeness, unusual arrangement of words, use various means artistic expression.

Poetic language to some extent moves the reader away from reality with its concreteness and originality. V.B. Shklovsky writes: “Art is not born from the word, it overcomes the word. With verbal phrases, he breaks out of the world ... trying to see what has not yet been seen, to describe what exists, but has not yet been described. The writer is "fighting" with the word, subordinating it to himself in accordance with his creative idea. Only an accurately found expression, a figurative combination of words, is capable of reflecting reality in its concreteness and individuality in a literary work. That is why it is so important that the writer be able to skillfully use the means of artistic expression, the richness of his native language, to know the subtlest shades and nuances of this speech.

One of the greatest and unique masters of the poetic word in his work, in my opinion, is Alexander Alexandrovich Blok, a subtle lyricist, a unique artist with his own dramatic destiny.This work is dedicated to his sonorous, bright and always fresh word. The purpose of the work is to study and analyze the specific features of the use of means of artistic expression in the poem "The Stranger".

The formulation of this problem led to the following tasks:

1. To study the history of the creation of the "Stranger".

2. Analyze the means of artistic expression used by the poet.

3. Identify and note the features of the use of stylistic devices.

The work consists of an introduction, 3 chapters, a conclusion and a list of references. Chapter I discusses the history of the creation of the poem "The Stranger". Chapter II examines the features of the poetic language of Alexander Blok, in particular, analyzes special pictorial means, such as epithet and personification; the technique of double antithesis, image-symbol, numerical symbolism, sound writing, anaphora used by the poet, the originality of the language of the poet's lyrics are also considered. Chapter III deals with the issue ofdemonic and holy in the poem, which is the secret of Blok's talent.

The work uses methods of research, systematization, experiment, and partially - search, comparative, visual.

The debatable nature of most theoretical works devoted to Blok's work, the insufficient study of the artistic and semantic originality of his poetic word, the methods of its artistic transformation testify to the relevance of this problem. Despite the fact that the simple and lively language of Blok is understandable to everyone, nevertheless, behind its external simplicity and clarity, a completely different, deep meaning is almost always hidden, which is not understandable to everyone at first sight. I tried to analyze the traditional and specific means of artistic expression in the poem "The Stranger", with the explanation of which the poet's thoughts, his ideas, feelings, moods become clearer and closer. Although the work of A.A. Blok has been studied quite well (the study of the poetic work of Alexander Blok is associated with the names of such authoritative researchers as V.M. Zhirmunsky, Yu.N. Tynyanov, L.I. Timofeev, D.E. Maksimov, V.A. Orlov, Z. G. Mints, L. Ya. Ginzburg, P. Gromov, L. Dolgopolov, A. Gorelov), but there are still disputes among researchers on certain issues.

And "The Stranger" delighted and continues to delight both readers and researchers with its bright, original and original poetic language, where every phrase, every word expresses the whole complex and contradictory world of the poet.

The practical significance of the work lies in the fact that the results of this study can be used at extracurricular activities, when studying the work of Alexander Blok in literature lessons, for writing essays and as illustrative material in the course of vocabulary and style.

1. The history of the creation of "The Stranger".

For the first time I heard "The Stranger" by A. A. Blok, performed by a very young girl. She read mysteriously, in a singsong voice:

And every evening, at the appointed hour

(Is this just a dream?)

Maiden's camp, seized by silks,

In the foggy window moves.

It seemed that I did not hear the words, but immersed in a dream, I saw the evening window and in it - an obscure silhouette of a woman floating in the foggy twilight. There was a secret in this vision. Like the fairy tales my mom used to tell me at night. And now, when I read or hear "The Stranger", I see that very window and that very silhouette. It seems that the wonderful melody of Blok's verse is pouring from the heavens themselves. How was it possible to write such amazing lines using the most ordinary words?

Truly, poetic talent is a divine gift! And Blok is a poet, of course, special: he has no equal in the beauty of his poems. It was not for nothing that K.I. Chukovsky called him a “degraded seraph”, yearning for his stellar homeland. It was this longing of the poet for the "enchanted shores" that became the main pathos of his poem "The Stranger". Where did this longing come from?

Back in 1900, a young man - a poet wrote the first lines about the one he called the Beautiful Lady. Contemporaries claimed that for several years She was his "only light", "the only sun of his universe." Symbolist poets saw in Her Eternal Femininity, and the young poet was called Her herald and Her prophet. However, it was impossible not to notice that through the image Mysterious Virgin Blok, as it were, shone through the image of a real, earthly woman. It is not surprising, because the poet at that time was in love with his future wife, L.D. Mendeleev. And not just in love, but, as it seemed to him, had a feeling for her that was "above all love." The image of a lovely golden-haired girl, romantic Ophelia, as Lubov Dmitrievna saw the poet, is guessed in the Beautiful Lady. But family problems after the wedding, difficult experiences soon destroyed this image. And with him, the idyllic world of the poet, the world of his dreams and youthful dreams, went into oblivion. It was during this period that his second book of poems appeared, which caused violent rejection in fans of Blok's early lyrics: he was accused of betraying the Beautiful Lady. And how could it be otherwise?

Life with all its grimaces broke into the poet's abode. How this affected the work of A. A. Blok, K. I. Chukovsky told in his book “Blok as a Man and as a Poet”. He wrote: “Seraphim from his non-objective world fell straight into the Petersburg night. And a miracle happened to him: he saw people. The first thing he learned about people was that they hurt.”

Blok felt this pain in himself. Feelings of trouble, a brewing catastrophe take possession of the poet’s thought: “The Terrible World” did not spare anyone, he grinded people, corrupting souls, and it was impossible to escape from him.

In the spring of 1906, Blok had a favorite place near St. Petersburg - the Primorsky Station in Ozerki, where he went to "drink red wine." Here, in the station cafe, he often spent whole nights, fleeing from the universal anguish and family troubles. On one of these nights, therefore, he dreamed of the image of the One whom he irrevocably changed, but about whom he endlessly yearned. So the poem "The Stranger" appeared.

2. Means of artistic expression in a poem

"Stranger".

Each generation understands this work of the great Master in its own way, finds in it something of its own, bewitching, enchanting. Many literary scholars and researchers of Blok's work tried to comprehend the secret of his mastery. Disputes about the Stranger are still ongoing. So I, having modest literary knowledge, but being a fan of Blok’s poetry, decided to turn to the topic “Specific features of the use of means of artistic expression in A. Blok’s poem “The Stranger”.

Artistic means - techniques that make artistic speech brighter and more expressive.

2.1. Hypothesis.

Hypothesis: there are traditional means of expression, but there are specific ones. What is more in "The Stranger" - traditional or specific? Suppose there are more traditional means than specific ones, but specific ones are more significant? Or vice versa?

Let's look at the title of the poem. "Stranger". The name itself, in my opinion, is one of the specific means of expression, indicating a rare or single use of a given word.

What is behind the image of the Stranger in Blok? Interpretations of this image in literary criticism are different: The Stranger is a transformed image of the Beautiful Lady. This is an ordinary visitor to a country restaurant, a “fallen star”. This is a "vague vision" of a lyrical hero. The image of this heroine symbolizes the duality of the hero's consciousness, creates a motif of duality. He moves away from the rough, vulgar reality, but the world around him does not disappear anywhere, he continues to exist, it is in him that the Stranger comes. All this deprives the image of the lyrical hero of the integrity necessary for harmonic, happy life, gives this image a tragic note.

Researchers compared Blok's Stranger with Gogol's heroine from the story "Nevsky Prospekt". In Gogol, the panel beauty drives the unfortunate artist crazy, appearing before him in the form of an unearthly vision. Blok, on the other hand, considers this plot from a different perspective: illusion triumphs over the vulgarity and monotony of life. Subsequently, the poet develops this theme in the lyrical drama "The Stranger". However, in this play, Blok already asserts a bitterly ironic attitude to the situation: his poet is doomed to eternal longing for a beautiful ideal.

Stranger - who is she? Real woman or poet's dream? We see the evolution of the female image in Blok's work. The stranger dressed in mourning, she "descended from heaven to earth", lost the aura of holiness that was characteristic of the Beautiful Lady. At the same time, we notice the approach of the image to reality, to the real world, the poet's desire to find something unearthly in an earthly setting, to elevate an ordinary woman to heaven.

One of the researchers of Blok's work, L. K. Dolgopolov, wrote: “The stranger is “just a vague vision that arose in the drunken brain of the poet, a ghost created by intoxicated imagination. And that is why, unlike the Beautiful Lady, the image of the Stranger no longer carries any cleansing and “liberating” functions.

A. V. Ternovsky accurately noted: “His hopes, his ideas about the true and beautiful are incompatible with reality. The world born of his fantasy is devoid of concrete outlines, fragile and unsteady. But this is his "treasure" - the only salvation from the carrion of the environment, the opportunity to remain himself, to remain alive. And this world, inspired by the image of the Stranger, the poet gives to the readers.

The whole work is permeated with the desire for beauty as the highest truth, the dream of a genuine, lofty feeling and, at the same time, the consciousness of its impossibility in a prosaically vulgar world.

I also refer to the specific features of the technique of double antithesis: external antithesis (the beauty of the Stranger is opposed to the carbon monoxide world of restaurant life) and internal antithesis (the world of vulgar life is opposed to spiritual world poet). Internal antithesis is the spring that gives energy to the whole poem.

2.2. compositional features of the poem.

Let's analyze the compositional features of the poem.

The poem is divided into two parts.

1 part

In the evenings above the restaurants
Hot air wild and deaf
And rulesshouting drunk
Spring and pernicious spirit.

away, over the dust of the alley,
Over the boredom of country cottages,
Slightly goldenbakery pretzel,
And the cry of a child is heard.

And every evening behind the barriers
Breaking pots,
Among the ditches walking with the ladies
Proven wits.

Over the lake oarlocks creak,
And a woman screams
And in the sky, accustomed to everything,
pointless the disk is bent.

And every eveningonly friend
Reflected in my glass
And moisture tart and mysterious,
Like me, humble and deaf.

And next to the neighboring tables
Sleepy lackeys stick out,
And drunkards with rabbit eyes
"In vino veritas!" scream.

part 2

And every evening, at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.

And slowly, passing among the drunk,
Always without companions, alone,
Breathing in spirits and mists,
She sits by the window.

AND breathe ancient beliefs
Her elastic silks
ANDmourning feather hat
AND in the rings a narrow hand.

And chained by a strange closeness,
I'm watchingbehind dark veil,
And I see shore enchanted
AND enchanted distance.

Deaf secrets are entrusted to me,
Someone's sun has been handed to me,
And allsouls of my bend
The tart wine pierced.

And ostrich feathers inclined
In my brain they sway
ANDbottomless blue eyes
Blooming on the far shore.

In my soul lies treasure ,

And the key is entrusted only to me!

You are right drunk monster!

I know: the truth is in wine.

(Keywords are in bold)

In the first stanzas, A. Blok creates a fantastic image “ scary world which he, by his very nature, cannot accept. abundance epithets allows the poet to paint a picture of a vulgar life: “hot air”, “pernicious spirit”, “drunken shouts”, “alley dust”, “female squealing”. Avatars give the poetic canvas fantastic. The poet, as it were, enlivens the surrounding atmosphere, so every detail becomes mystical, ominous, and, ultimately, all together grows into an image of a nightmare: “hot air is wild and deaf”, “pernicious spirit” “rules drunken shouts”. And above all this living nightmare, the disk of the night luminary “senselessly curves” (in esotericism - a symbol associated with demonic forces) and “children’s crying is heard”.

In the poetry of A. Blok, children's crying often accompanies the description of the "terrible world". What does it mean in the symbolism of the poet? Based on the study of other poems (“The girl sang in the church choir ...”, “The child is crying. Under the moon crescent ...”, etc.), I dare to assert that the crying child is an unconscious messenger of universal grief, and his cry is a cry for the doomed , the tragic fate of human earthly life.

Everything in the first part of the poem is subordinated to one thing: to show that the boredom, idleness and vulgarity of an aimless life is that all-consuming emptiness that is a product of the spirit of evil and inevitably leads to death. It is probably not without reason that the number of stanzas in this part is six. INnumerical symbolismsix is ​​the most sinister number associated with the sign of the Beast. The “child involved in mysteries” is right: a person is infinitely lonely and defenseless in this world marked with the seal of death. His only friend is bitter irony! - own reflection in a glass of wine. This is the whole truth.

Even contemporaries argued that the main charm of Blok's lyrics is in his dual perception of the world. This duality, indeed, is so organic that we, the readers, do not notice how it happens: what we just saw in the restaurant is suddenly covered with fog, disappears somewhere, and now, in a dull blue window, She appears, inaccessible and beautiful . And then from ir real world She comes down to us. “And slowly, passing among the drunks,” lonely and thoughtful, “sits down by the window.”

The intonation, vocabulary, sound of the verse completely change:

And breathe ancient beliefs

Her elastic silks

And a hat with mourning feathers

And in the rings a narrow hand.

2.3. Artistic expressiveness.

The artistic expressiveness of the literary image is also facilitated by such widespread means of language as epithets, comparisons, metaphors, metonymy. With the help of these means, poets can highlight certain features or aspects of the depicted objects or phenomena that are important under these specific circumstances.

Alexander Blok very often resorts to such a pictorial means of language as an epithet.

An epithet is a figurative characteristic of an object or phenomenon, expressed by an adjective (sometimes an adverb or a noun).

In Blok's poetry, epithets occupy a special place; they clearly and originally reflect the originality of his lyrics, the peculiarities of the language and style of the poet. In this regard, we can cite an exhaustive statement by A.N. Veselovsky: "If I say that the history of the epithet is the history of poetic style in an abridged edition, then this will not be an exaggeration. And not only style, but also poetic consciousness."

Blok's epithets are very diverse in their lexical composition, and over the years they have noticeably changed and improved. In "The Stranger"the selection of epithets is careful, sublime ones prevail, with a touch of mystery: “ancient beliefs”, “bottomless eyes”, “mourning feathers”, “deaf secrets”.

2.4. The image is a symbol.

The image is a universal category of aesthetics: an object, a phenomenon, a picture, creatively recreated in a work of art. The stability of the phrase "image-symbol" indicates the correlation artistic image with phenomena of extra-artistic reality. The fundamental property of the image is its separation from the empirical world by the framework of artistic convention: the image differs from the real object by belonging to the “illusory” world of a literary work. The image has some properties: it not only reflects, but generalizes the features of certain phenomena of the real world, singles out their most stable, essential properties. The image is created with the participation of imagination, fantasy, fiction - it is not a mirror image, but a picture passed through the prism of subjective perception. The author does not recreate the visible image of the subject, but only directs the reader's imagination, activates associative links. In the minds of each reader, a unique, individual image arises, which, however, retains the one set by the author.

In the poem "The Stranger", the symbolist poet twice uses a very strong image of fog. Fog is what envelops, makes the outlines of objects and people obscure, blurry. Blok also shows that behind the fog there is always a mystery that you want to unravel.

The impression of the mystical is also left by luminous - sparkling and radiant images: here are the "sun", and the "treasure", and the "souls of the bend".

2.5 Anaphora.

A striking means of expression in this poem is anaphora , i.e. unanimity. The constantly repeating union "and" is not only a semantic secret. He also gives the sound of the verse monotony, which is also achieved with the help of monotonous constructions and repetitive harmonies. It is monotony that creates in the reader a feeling of immersion in a dream, through which everything described in the poem is perceived.

And chained by a strange closeness,

I look behind the dark veil

And I see the enchanted shore,

And the enchanted distance.

And bowed ostrich feathers

In my brain they sway

And bottomless blue eyes

Blooming on the far shore.

2.6. The sound of the poem.

To the specific features of the use of means of artistic expression, I also include sound writing - an important means of the style of poetics.

The use of the sound composition of words for the purpose of onomatopoeia, emphasizing the expressive possibilities, musicality of poetic speech. Sound writing finds expression primarily in sound repetitions - alliteration and assonance.

Sound recording of the first part

Alliteration - repetition of identical or similar-sounding consonants, usually used for sound expressiveness, but also having visual capabilities.

In "The Stranger", linking among themselves different in meaning, but similar-sounding words, alliteration thereby establishes non-traditional semantic connections between them.

EVENING OVER RESTAURANTS
Hot air is wild and deaf,
And ruled by screams drunk
Spring and Festering Spirit.

Far above the dust of the lane,
Over the boredom of country cottages,

Slightly golden Pretzel bakery,
And a child's cry is heard.

And every evening, behind the Barriers,
Breaking the Cauldrons,
Among the ditches they walk with the ladies
Proven wits.

Over the lake the oar-locks creak
And a woman's squeal is heard,
And in the sky, accustomed to everything
Senselessly Disk is crooked.

Sound recording of the second part

And every evening, at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.

And slowly, passing between the drunks,
Always without satellites, alone
Breathing spirits and mists,
She sits at the window.

And they breathe ancient beliefs
Her elastic silks,
And a hat with mourning feathers,
And in the rings a narrow hand.

We see the emergence of assonance. (Assonance is a repetition of vowel sounds.) K. I. Chukovsky also wrote: “And who among us does not remember that exciting, blood-changing impression when, after a solid “a” in an unforgettable line: “Breathing in spirits and fogs” - suddenly this "a" turns into "e": "And they breathe with ancient beliefs ...". It is the use of sound writing, which, in my opinion, in this poem can be attributed to specific means of expression, makes everyone think about the question: from what worlds, from what “enchanted distances” did She come, “breathing” with spirits and mists? Mysterious, like a legend… But why did She choose a place for herself here, in a restaurant, among mocking vulgars and obliging lackeys, in a suffocating atmosphere of drunken intoxication and cigarette smoke, in that terrible emptiness, disastrous world, which is marked with the number of the Beast? How could this Star Woman be here? And is there another one hiding under her appearance? Who did the poet actually sing?

2.7. Numerical symbolism.

The symbol is the central aesthetic category of symbolism, the concentration of the absolute in the singular: in a folded form it reflects the comprehension of the unity of life. The ideas about the symbol of Russian symbolist writers of the late 19th - early 20th century do not coincide with the traditional ones. Blok's symbol is the most important "tool" necessary for comprehending reality. This is a means of cognition - penetration into the world of mystical "essences" through the world of simple and clear, sensually perceived "things".

If we turn again to numerical symbolism, we will see that the part of the poem dedicated to the Stranger consists of seven stanzas. The number seven is a symbol of purity and holiness. But let's not jump to conclusions. The poem consists of thirteen stanzas. Thirteen is an unlucky number in everyday life. In mysticism - the number of the Devil, this is the number of doom, the predestination of a terrible end. The seventh stanza, full of mystery, doubt and understatement, in my opinion, is the link between the first and second parts of the poem.

3. Demonic and holy in the poem.

The poet himself spoke about the image of the Stranger he created: “This is not just a lady in a black dress with ostrich feathers on her hat. It's a diabolical fusion of many worlds, predominantly blue and purple." Researcher S.Yu. Yasensky argued that the purple color and its shades in the mind of Blok, the symbolist, were associated with world chaos, the demonic beginning of life and art. But blue always meant starry and high, Divine. So, in the image of the Stranger, two mutually negating principles are connected: demonic and holy. How could this happen?

For those who are well acquainted with the work of A.A. Blok, it is clear that the Eternal Virgin, who was sung by the “lighting the candles youth”, “departed” from him forever. Only a mortal longing for Her remained, and he was ready to see Her in any, by no means Divine woman. The poet himself is aware of this.

You're right, drunk monster!

I know: the truth is in wine.

This means: it doesn't matter who she is, the important thing is that the wine helps the poet to see her unearthly and Divine. But did the poet hide the whole truth about her from himself? .. In the second version of The Stranger, her image is so grounded that it immediately becomes clear who she is. Why, then, did he sing of her, a hopelessly earthly woman accustomed to tart wine and sweet pleasures? After all, the more beautiful the voice of the poet sounded, attributed to the tavern girl, the deeper, it seems, should be the fall of him, the messenger and prophet of Eternal Femininity. Indeed, it was a betrayal!

The veil over this paradox, it seems to me, is lifted by a poem written a month before The Stranger. It has these lines:

Believe me, we both knew the sky:

You flowed like a bloody star

I measured your path in sorrow

When you started to fall

We knew with unspeakable knowledge

The same height.

And together they were behind the fog,

Drawing an evasive line.

The poem is addressed to a comet. But is it not clear who the comet is? ..

The poet knew the depth of his fall, but he also knew the height from which he fell. In every woman, he saw the divine features she had lost. For him, she former star that fell from heaven to earth. He pitied her and grieved for her fall as well as for his own. Is it really surprising now that behind the dark veil in the blue “eyes” of an ordinary representative of a vulgar, empty, disastrous world, the poet saw both “the enchanted coast”, “and the enchanted distance”?

"The Stranger" is a stunning masterpiece that sang of a fallen star, doomed and lonely, like the poet himself. Literally everything in the poem fascinates: the perfection of the verse, the form, the rhythm. And especially that amazing Blok musicality, which here reaches its peak and which, no matter how hard we try, is just as impossible to unravel as it is impossible to understand the beyond.

K.I. Chukovsky searched for a long time for the reason for the exquisite musicality of Blok’s lyrics and, finally, admitted his impotence, explaining everything by the “seraphic ear” that, in his opinion, the poet was endowed with. “Our children will never understand why she (A.A. Blok’s poetry) excited us,” the researcher wrote. And I was wrong. Great-grandchildren have already grown up, and the lyrics of the great Blok continue to bewitch our hearts. And in the first row of his most fascinating works is the poem "The Stranger", in which the earthly and the divine, the real and the mystical merge.

So what is the secret of Blok's talent? Why does his poem, written at the beginning of the last century, arouse genuine interest among current generation? I think it's because in "The Stranger" Blok masterfully combined the traditional and specific features of the use of means of artistic expression. Or maybe because after reading the charming lines, clear and deep in meaning, there remains something more that has not yet been discovered ... And the image of Blok's Stranger will live forever, exciting the souls and hearts of people.

Conclusion.

Suggested work does not pretend to literary analysis poetic text. From the variety of problems that arise in the analysis of a work of art, I tried to single out a relatively narrower one - the aesthetic nature of a literary poetic work, taking into account the use of means of artistic expression.

A powerful weapon was received along with the speech of a man! The word is not only able to convey a thought in all its shades and subtleties, but also to draw and depict. This pictorial ability of the word is a great help for the poet. A live "show" is always more convincing than long and abstract reasoning. And very many methods of working on the word, accumulated by many years of experience, come down precisely to making wider and deeper use of the visual means of the language.

In literature, language occupies a special position, since it is thus building material without which a work of art cannot be created. The artist of the word - the poet, the writer - finds, in the words of L. Tolstoy, "the only necessary placement of the only necessary words" in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author . All this is available only to the language of fiction, so it has always been considered the pinnacle of the literary language. The best in the language, its strongest possibilities and the rarest beauty are in the works of fiction, and all this is achieved using the means of artistic expression.

Tropes and stylistic figures help to achieve amazing expressiveness in speech. It is important that each of us knows how to use the wealth of our native language. The bright, sonorous and fresh word never ceases to amaze. The aesthetic function of language is that it can water our souls with the healing balm of beauty. The figurative and expressive means of the language contribute to this.

So let's learn from the masters of the word to speak and write expressively, to learn language skills.

A word even with zero stylistic coloring in a certain context, under the pen of a master, can “appear” and sound bright.

The more means for expressing concepts, the richer the language. The process of studying, comprehension of the native language is endless, since the depths and richness of the native language are endless, including its figurative and expressive means, both traditional and specific.

Summing up, it should be noted that a certain amount of literary sources was studied, analyzed, systematized. It seems to me that materials work may be requested as additional literature for research purposes for writing abstracts, reports on this topic.

Application

Alleged images of Blok's Strangers

I. Kramskoy. "Unknown" 1883

List of used literature:

1. A. Blok "Selected Works". Moscow, "Art. Literature", 1988

2. A. Blok, "Stranger", M., OLMA-PRESS, JSC PF "Red Proletarian", 2005.

3. Audiobook "Poems by A. Blok" performed by V. Tolubeev and G. Kolosova.

4. A large reference book of literature for schoolchildren and those entering universities. "Drofa", Moscow, 2007, (432 pages).

5. S.R. Fedyakin. "Poems about the Beautiful Lady". Moscow. Bustard, 2007 BK.

6. T.T. Crook. "Poetry of Alexander Blok". Moscow, "Enlightenment", 1998

7. Textbook "Literature of the 20th century", grade 11. Authors: V.A. Chalmaev, S.A. Zinin. Moscow, "Native Word", 2006.

8. Educational and methodical newspaper "Literature" No. 3, 2004 (The issue is dedicated to the work of A. Blok).

9. Photographs and poems by A. Blok.

10. http.//az.lib.ru/b/blok. Symbolism. Creativity of A. Blok. December 27, 2007

11. www.airis.ru. A. Blok and his era. Illustrations for works. 25.12. 2007

12. www.osvita.ua. Materials for the analysis of A. Blok's poem "The Stranger". Electronic version.

13. www.readr.ru. Block A. O state of the art Russian symbolism. Electronic version.

"The Stranger" is one of Blok's most beloved poems. He is known and remembered even by people who are far from the literature of modernism and intricate elite poetry. In this sense, it has become a truly folk work. And all because this refined lyrics has become a symbol of romance, faith in beauty and love, without which human life is unthinkable.

Block's Stranger is a transformed image of the Beautiful Lady, which has acquired real features. A graceful woman, light and fragile, dressed in a dark veil. She is so strongly knocked out of the general picture of her environment, as if she had descended from a completely different reality, devoid of rudeness, vulgarity and unrestrained drunkenness. She appears like a dream, shrouded in mystery and alluring beauty. "Bottomless blue eyes" are full of charm and mystery. The stranger is the "lifeline" of the lyrical hero, this is what he needs so much to get out of the bottomless abyss. In addition, this image helps to create the effect of two worlds and show the duality of the narrator's consciousness. Despite the fact that, thanks to the stranger, he is fleetingly distracted from the rough and difficult reality, the world around him does not disappear anywhere, although it temporarily fades into the background. This woman reflected all the romantic dreams of the poet and his faith in goodness. She is the embodiment of romance and purity, which also purifies the poet, helping him, in the end, to give up drinking and make a choice in favor of life.

Composition

The composition is divided into two parts. Such a system allows you to better reveal the main idea of ​​the author and depict the contrast of opposites. The first part (six quatrains) depicts the realities of the vulgar base world. The second (the next seven quatrains) tells us about the sublime world, the focus of Blok's dream, which seems so subtle and inaccessible, but at the same time, this is the only thing that helps the hero to escape and not fall into the deaf and gloomy abyss of reality surrounding him. These two spaces are so incompatible, so parallel, that one of them seems to be an illusion or a hallucination. But in this opposition, the poet wanted to express his desire for pure and selfless love, which even the most immoral and vulgar reality cannot tarnish.

main idea

Even in the most callous, low and miserable world you can find beauty, you just have to believe in it. In such a fragile feminine nature, the hero saw an incredible strong personality who, despite her mental anguish, copes with her experiences on her own, not looking for "forgetfulness in wine." It was this that struck the lyrical hero to the depths of his soul and made him think. Thanks to the stranger, the hero indulges in thoughts about his own life, begins to analyze his behavior and admits his mistakes. As if having seen the light, he understands that difficult trials can fall to the lot of each person, but you need to find the strength to cope with them. We must not give up, there is no point in inaction and drunkenness, everything depends only on ourselves. Beauty inspired the narrator so much that he soared in spirit and forgot about the surrounding vulgarity. This means that the soul needs to see and appreciate the beauty around itself - this is the main idea of ​​"The Stranger". You should not bend under the burden of problems, only then will a person be able to find harmony with himself, spiritual fullness, strength of mind and cope with all the trials and sorrows that life has prepared. And the charm of the surrounding world will help him in this. That is what needs to be brought into the heart. Here, Dostoevsky's important thought continues: "Beauty will save the world."

Subject

Spiritualized people suffer more often. Their worldview is more complicated than that of hardened inhabitants with their everyday consciousness. They face not so much external as internal obstacles: they live in more mind, not body. Therefore, the main theme in the poem "The Stranger" is the clash of reality and dreams. Blok also experienced this conflict and could not ignore it in his work. On the contrary, he strove to put his feeling on paper and be healed.

For the dramatic internal struggle the author uses methods of opposition or antithesis. A bright romantic ideal is opposed to harsh reality. This conflict is typical of the romantic direction, in the direction of which, as to the origins, the symbolist poet returned.

The world in Blok's "Stranger"

The protagonist is filled with complete disgust for everything that happens around him. He tries to drown out the hardships, experiences and torments of a lonely existence with wine. The narrator seems to be in a labyrinth of drunkenness, hopelessness and meaningless existence, from which there is no way out.

Here everything is devoid of beauty and harmony. And suddenly, among this thundering abyss, the Stranger appears, shrouded in a mysterious haze and the aroma of perfume. She will stop as the embodiment of the beautiful and feminine, the personification of everything that the world so lacks - love, harmony and sublimity.

Stranger - this is a dream. She painted the stench of everyday life with the smell of exotic flowers and unknown countries. Her advent awakens the author's fantasy and muse, forcing him to rise above the hustle and bustle, to indulge in love, albeit invented, envisioned, ephemeral, but still charming and exciting his feelings offended by reality.

The tavern for the Russian poet traditionally acts as a symbol of unnatural and cruel reality. Recall at least Yesenin, who did not devote half of his lyrics to drunkenness. No, the point is in the perception of this place: a dirty, fetid and vicious world of people who intoxicate and poison themselves, just not to see everyday squalor - that's what the poets mean by this image. Each of us lives in oblivion, otherwise it is simply impossible to get used to the idea of ​​the futility and sinful essence of being.

Size and genre

The work is written in iambic tetrameter (the size at which stress is placed on each even syllable) with pyrrhichi (missing the stress when reading aloud to achieve ease and melody), quatrains (ended in meaning by separate stanzas), cross-rhyme (the first line rhymes with the third, the second with the fourth, and so on), with clauses (syllables following the stressed ones). Genre "Strangers" - a story in poetic form.

History of creation

The poem was written in an extremely difficult period for the poet. The wife cheated with his friend, Andrei Bely, in addition, in the same year, Alexander made a break with the symbolist poets. Of course, such shocks could not but affect his work. All these wanderings, emotional experiences and impressions are reflected in the "Stranger". Apparently, the author decided to create an illusory reality for himself, as a refuge from earthly suffering. The dream of an ideal, embodied in the poem, gave him an incentive to live and create. After all, if there is beauty dressed in rhyme, then there is also the purpose of the creator, given to Blok from above.

The image of a lyrical hero

The main character is a lonely wanderer. A person who rejects the reality around him. He is dissatisfied with his own life, he simply lost interest in it and lost any incentive to exist, he is weak and sees no reason to resist the blows of fate, letting himself go down the "alcoholic" rivers. The whole reality surrounding him resembles a noisy booth, where there is nothing holy, spiritual and beautiful. The world kills him, squeezing in its suffocating embrace of intoxicated intoxication. He has no friends who could support him and direct him in the right direction. All those around him are lovers of swearing and cheap booze.

A stranger appears unexpectedly, filling the hidden corners with light inner world hero. It becomes the only outlet, helping to forget about the reality that poisons him and find the true ideals to strive for.

The hero realizes that not everything is lost in his life, there is still something that can excite his stone heart. But only he himself can help himself to rise from the bottom, only he is entrusted with the key to the treasure of his own soul.

Means of artistic expression

In this work, Alexander Blok managed to depict for us a picture full of visible images, sonority and even tangibility. He was helped a large number of figurative means, such as: epithets, (“sleepy lackeys”, “bottomless eyes”, “hot air”, “mourning feathers”), metaphors (“the only friend is reflected in a glass”, “seized by silks”), comparisons (eye of drunkards with "eyes of rabbits"), personifications ("the disk is twisted").

In addition to vivid pictorial paintings, the poem also contains remarkable sound motifs. For example, the sound -p- gives a feeling of anxiety, trembling, screaming, fear ("hail", "pernicious", "right", "restaurant", "entrusted" and so on). Next, we notice an abundance of sounds -a-, -o-, giving the impression of a slow, measured narration. To convey sharp sounds, the author uses the sound -i-, and to create a sense of smoothness, mystery - the sounds -l, -m, -n.

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This poem by Alexander Blok belongs to the period of writing “The Terrible World”, when the main thing in the perception of the world by the poet were feelings of longing, despair and disbelief. The gloomy motives of many poems given period Blok protested against the cruelty of the terrible world, which turns all the highest and most valuable into bargaining items. It is not beauty that reigns here, but cruelty, lies and suffering, and there is no way out of this impasse. The lyrical hero surrenders to the poison of hops and violent revelry

And every evening the only friend
IN reflected in my glass
And moisture tart and mysterious,
Like me, humble and deaf.

During this period, the poet breaks with his symbolist friends. His first love left him - Lyubochka, the granddaughter of the famous chemist Mendeleev, went to his close friend, the poet Andrei Bely. Blok seemed to be drowning despair in wine. But despite this, main theme poems of the period of the "Terrible World" still remains love. But the one about whom the poet writes his magnificent poems is no longer the former Beautiful Lady, but a fatal passion, a temptress, a destroyer. She torments and burns the poet, but he cannot escape from her power.
Even about the vulgarity and rudeness of the terrible world, Blok writes soulfully and beautifully. Although he no longer believes in love, does not believe in anything, but the image of a stranger in the poems of this period still remains beautiful. The poet hated cynicism and vulgarity, they are not in his poems.
“The Stranger” is one of the most characteristic and beautiful poems of this period. Blok describes the real world in it - a dirty street with sewers, prostitutes, a realm of deceit and vulgarity, where "tested wits" with ladies walk among the pouring slops.

In the evenings above the restaurants
Hot air is wild and deaf
And rules drunken shouts
Spring and pernicious spirit.

The lyrical hero is lonely surrounded by drunkards, he rejects this world that terrifies his soul, similar to a booth, in which there is no place for anything beautiful and holy. The world poisons him, but a stranger appears amidst this drunken frenzy, and her image awakens bright feelings, it seems that she believes in beauty. Her image is surprisingly romantic and alluring, and it is clear that faith in goodness is still alive in the poet. Vulgarity, dirt cannot tarnish the image of a stranger, reflecting Blok's dreams of pure, selfless love. And although the poem ends with the words “In vino veritas”, the image of a beautiful stranger inspires faith in the bright beginning of life.
The poem has two parts, and the main literary device is antithesis, opposition. In the first part - the dirt and vulgarity of the surrounding world, and in the second - a beautiful stranger; this composition allows you to convey the main idea of ​​Blok. The image of a stranger transforms the poet, his poems and thoughts change. In place of the everyday vocabulary of the first part, spiritualized lines come, striking in their musicality. Artistic forms are subordinated to the content of the poem, allowing them to be more deeply imbued with it. Alliterations in the description of a dirty street, heaps of rough consonant sounds are further replaced by assonances and alliterations of sonorous sounds - [p], [l], [n]. Thanks to this, the most beautiful melody of the sounding verse is created.
This poem does not leave anyone indifferent, it cannot be forgotten once read, and beautiful image worries us. These verses touch to the depths of the soul with their melodiousness; they are like pure, magnificent music flowing from the very heart. After all, it cannot be that there is no love, there is no beauty, if there are such beautiful verses.

Analysis of A. Blok's poem "The Stranger"

The image of a mysterious stranger has been revealed more than once in art. In the painting of the 19th century, I. Kramskoy turned to him (the painting "Unknown", 1883), in the 20th century the artist I. Glazunov painted a number of paintings-illustrations for the lyrics of A. Blok. The poem "The Stranger" was written by Blok on April 24, 1906 in the holiday village of Ozerki. It was a very difficult period in the personal life of the poet. His wife, L.D. Mendeleeva, an affair began with Andrei Bely, a close friend of the poet. The poem was born from wanderings around the St. Petersburg suburbs, from the impressions of walking in Ozerki. Many real features and signs in the poem come from here: a restaurant, the dust of alleys, barriers.

The genre of the work is a story in verse. The plot is a meeting of a lyrical hero with a Stranger in a country restaurant. The main theme is the collision of dreams and reality. The composition is based on the principle of opposition - antitheses. The dream is opposed to rough reality. Compositionally, the poem consists of two parts. One part (the first six stanzas) shows the reality of the vulgar world, the second part (the last seven stanzas) depicts the romantic ideal of the lyrical hero. These two worlds are incompatible for Blok. The world of his dreams is fragile and thin, devoid of real outlines. But this world is his only salvation and opportunity to remain himself. This world, inspired by the image of the Stranger, Alexander Blok gives to his readers.

The poem begins with a description of a spring evening. However, the fresh breath of spring is not felt at all, describing the spring air, the poet uses the epithet rotten. The first part of the poem is full of prose details. This is alley dust, and the boredom of country cottages, and the bakery's pretzel, and the tried wits who "among the ditches walk with the ladies." The author uses coarse language (sleepy lackeys stick out), uses unpleasant sound images (baby crying; female screeching; oarlocks creaking). The vulgarity of the real world infects everything around with its pernicious spirit. And even the traditionally poetic image of the moon appears here in a distorted form:

And in the sky, accustomed to everything,
The disk is pointlessly twisted.

In this part, the author deliberately piles hard-to-pronounce consonants. For example: “In the evenings over restaurants, / The hot air is wild and deaf”: pvchrm ndstrnm grch vzdh dk glh. And instead of the assonances (repetition of vowel sounds) typical of Blok’s poetry on a-o-e, which add melodiousness to the poem, we hear deaf alliterations (repetition of consonant sounds) and assonances on and (hotly And th air d And To And deaf; female in And zg; kr And V And tsya d And sk), which cut the ear. In this world, instead of the sun, “a bakery pretzel is golden”, and love is replaced by ladies walking with “tried wits” (who probably repeat the same jokes every day). "Tested wits" walk with the ladies not just anywhere, but "among the ditches." The image of the restaurant is also symbolic - it is the embodiment of vulgarity. The author depicts not just an evening restaurant, but a space where “hot air is wild and deaf”, where “spring and pernicious spirit” rules the general gloom. Here boredom, drunkenness and monotonous fun took on the character of a repetitive and meaningless rotation. About the whirling of life in this automatic wheel says the phrase: "And every evening." This phrase is repeated three times, as well as the union and - this achieves the feeling of a vicious circle: (And the spring and pernicious spirit rules drunken shouts; And a child's cry is heard; And a woman's screech is heard). All verbs are used in the present tense. This world is disgusting and terrible. Literally in everything, the lyrical hero feels a repulsive disharmony of sounds and smells, colors and feelings. He finds consolation in wine:

And every evening the only friend
Reflected in my glass
And moisture tart and mysterious,
Like me, humble and stunned.

The motif of intoxication is repeated several times: "drunkards with rabbit eyes" shout: "In vino veritas!" - "Truth in wine!" (lat.). The stranger walks “between drunks”, the lyrical hero himself speaks of “tart and mysterious moisture”. But intoxication is also an immersion in the world of dreams. This disgusting world is opposed by the Stranger, who appears "every evening, at the appointed hour" in the second part of the poem. Alliterations - repetition, a rough heap of consonant sounds in the description of a dirty street - are replaced by the repetition of vowel sounds - assonances:

Breathing in spirits and mists,
She sits by the window.
And breathe ancient beliefs
Her elastic silks.

Hissing convey the rustle of silk. The repetition of sounds [y], [e] create a feeling of airiness of the female image. The stranger is devoid of realistic features, she is all shrouded in mystery. This image is fenced off from the dirt and vulgarity of reality by the elevated perception of the lyrical hero. The stranger is the ideal of femininity and beauty, a symbol of what the lyrical hero lacks so much - love, beauty, spirituality. The mysterious Stranger "always without companions, alone." The loneliness of the heroes not only distinguishes them from the general crowd, but also attracts them to each other:

And chained by a strange closeness,
I look behind the dark veil
And I see the enchanted shore
And the enchanted distance.

“The Enchanted Shore” is a symbol of a harmonious, but unattainable world. It seems that here he is, nearby, but it is worth stretching out your hand - and he disappears. The image of the Stranger is exotic:

And bowed ostrich feathers
In my brain they sway
And bottomless blue eyes
Blooming on the far shore.

The poet uses a word that has come out of wide use eyes. This archaism gives the image of the Stranger a sublimity. Her bottomless blue eyes (the blue color in Blok means starry, high, unattainable) are contrasted with the rabbit eyes of drunkards. The Stranger is a transformed image of the Beautiful Lady. Who is she: an ordinary visitor to a country restaurant or a “vague vision” of a lyrical hero? This image symbolizes the duality of the consciousness of the lyrical hero. He really wants to get away from the reality he hates, but it does not disappear anywhere - and it is in this world that the Stranger comes. This brings tragic notes to the image of the lyrical hero. Spirits and mists, the bottomless blue eyes of the Stranger and the distant shore are just dreams, momentary intoxication, but the true meaning of life is revealed to the lyrical hero precisely in these moments. He speaks about this at the end of the poem: "I know: the truth is in wine."

Using various means of expression, the poet builds his work on the antithesis. This technique serves to enhance the expressiveness of speech by sharply contrasting concepts. Two parts of the poem are contrasted. Images and landscapes, smells and faces, sound images of the first and second parts of the poem are contrasted. Dream and reality are contrasted. Here are just a few examples: "hot air is wild and deaf" - "breathing with spirits and mists"; "boredom of country dachas" - "enchanted distance"; "ditches" - "bends" of the soul. For the second part of the poem, the poet selects romantic epithets (the enchanted shore; tart wine; bottomless blue eyes) and metaphors (eyes ... bloom; souls ... pierced bends ... wine). The poem is written in classical poetic size- iambic tetrameter, rhyming - cross.

In the center of the first volume of Blok's lyrics is a large cycle "Poems about the Beautiful Lady" (spring 1901 - autumn 1902). The female image created in the first volume, changing and varying, went through all the poet's lyrics. A kind of compositional center of the second volume is the 1906 poem "The Stranger" (Blok), which we will analyze.

The lyrical hero of Blok, turning away from the surrounding world, vulgar and boring, seeks a different world, sublime and beautiful. The compositional solution of this work emphasizes the confrontation between the two worlds, typologically bringing Blok's poetry closer to the experience of a romantic worldview.

The first part of "The Stranger" (six stanzas) grotesquely reproduces the social and everyday environment, alien and unpleasant to the lyrical hero. The context of the poem is filled with a whole series of symbolic details that reduce the image of reality: it is characterized by “drunken shouts”, “alley dust and boredom of country cottages”; the lyrical hero hears the “creak of oarlocks” and “female squealing”, this is the world of “sleepy lackeys” and “drunkards with rabbit eyes”, “tried wits” walking with ladies between ditches. The negative context created by such images also correlates with the details of the urban landscape, which, it would seem, are quite neutral in nature: “bakery pretzel”, “barrier”. The social background is also superimposed on the landscape, distorting and deforming it: the spirit of spring, new life, prosperity, renewal becomes “pernicious”; the moon, an image with a huge literary tradition, turns into a mindlessly writhing disk. Thus, a feeling of ominous disharmony of the real world, the tragic loneliness of the lyrical hero in it is created, which determines the appearance of an image of a different reality, an image brought by the Stranger.

The motive of loneliness and intoxication motivates the plot possibility of the appearance of an image of another being:

And every evening the only friend

Reflected in my glass

And moisture tart and mysterious,

Like me, humble and deaf.

The appearance of the Stranger brings completely different images, transforms reality, or opens other worlds before the lyrical hero. From that moment on, the surrounding reality takes on a different shape. The “bakery pretzel”, the ditches, the creaking of the oarlocks above the lake are replaced by something mysterious and unknowable.

The fragility, ephemerality, belonging of the image to a rather fictional world, accessible only to the lyrical hero, and not to the real environment, emphasizes the motive of loneliness that accompanies the image of the heroine (“Always without satellites, alone”), and the motive of doubt about the truth of her phenomenon (“Or is it just a dream to me?"). However, the question of the fictitiousness or reality of the image of the Stranger is not of decisive importance for the lyrical hero: more important is the feeling of “strange closeness”, familiarization with the secret of the female image, which begins with the details of the portrait (“elastic silks”, “hat with mourning feathers”, “in rings narrow hand”, “dark veil”), bringing the lyrical hero closer to the breath of “spirits and mists”, brought by the Stranger and inaccessible to anyone but him. This communion reveals a different, true being, the image of which is created with the help of broad symbols. The look of the lyrical hero “behind the dark veil” reveals not just the face of a mysterious and beautiful woman, but “the enchanted coast and the enchanted distance”, which make it possible to comprehend one’s own purpose, life’s field in a different way, to realize oneself as the keeper of some higher secret. These secrets are unknowable, they can be embodied in broad symbolic images:

And ostrich feathers bowed

In my brain they sway

And bottomless blue eyes

Blooming on the far shore.

Try to offer your interpretation of this stanza. At the same time, pay attention to the fact that the real is combined here (a look behind the dark veil opens blue bottomless eyes female face unearthly beauty) and belonging to another world, the “far shore”, the features of which the lyrical hero seeks to see clearly.

The appearance of the Stranger, who slightly opened the “enchanted shore” in front of the lyrical hero, gives him a sense of his own chosenness, involvement in the secrets of life:

There is a treasure in my soul

And the key is entrusted only to me!

This feeling in the last two lines of the poem “The Stranger” (Blok), the analysis of which we are interested in, is reduced by self-irony: the lyrical hero agrees with the “drunken monster”, who, following the ancient Romans, is looking for truth in wine. However, this self-irony is also ambiguous: let us recall that it is the motive of intoxication that motivates the appearance of the Stranger and the revelation, in which the lyrical hero is involved.