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| In spring without end and without edge. Blok Alexander - oh spring, without end and without edge |
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Literature test Oh, spring without end and without edge ... (A.A. Blok) for 9th grade students. The test consists of two options, in each option there are 5 tasks with a short answer and 3 general tasks with a detailed answer. Oh, spring without end and without edge - I accept you, failure I accept sleepless arguments I accept desert scales! And I meet you at the threshold - Before this hostile meeting And I look, and I measure enmity, 1 optionShort answer questions 1. What is the name of the poetic direction to which Blok's work belongs? 2. And I greet with the sound of the shield! 3. I accept sleepless controversy, 4. Specify the name of the reception: Never I will not drop my shield... 5. Determine the size of the poem. Questions with a detailed answer 6. 7. 8. Option 2Short answer questions 1. What is the name of the poetic cycle that opens with this poem by Blok? 2. Name the means of allegorical expression: And the wells of earthly cities! 3. What is the name of the visual medium? I accept sleepless controversy, 4. Specify the name of the reception: Oh spring without end and without end — 5. Specify the rhyming method. Questions with a detailed answer 6. How does the mood of the lyrical hero change? 7. What is the role of exclamatory sentences in a poem? 8. What is consonant with the worldview of the lyrical hero of the poem A.A. Blok "Oh, spring without end and without edge ..." to the worldview of the lyrical hero A.A. Feta in the poem "Learn from them - from the oak, from the birch"? Fragment of a poem by A.A. Feta "Learn from them - from the oak, from the birch"Learn from them - from the oak, from the birch. All the angrier blizzard and every minute But believe in spring. Genius will rush her Answers to the test in literature Oh, spring without end and without edge ... (A.A. Blok)
Analysis of Blok's poem "Oh, spring without end and without edge ..."Alexander Blok is a rather complex and multifaceted poet, whose works have their own subtext, therefore they cannot be taken literally. This is partly due to the symbolism, which the author has been an adherent of for many years. However, to a greater extent, the interpretation of Blok's poems is complicated by the fact that the author put into them only one well-known meaning, which can be traced if we compare the facts from the poet's biography. The poem “Oh, spring without end and without edge ...”, which was written in October 1907, also belongs to such a multi-level work with subtext. This fact alone indicates that it will not be about the time of year or the weather at all, but about memories that are associated with a specific period in the life of the author. More precisely, about the break in relations with his wife Lyubov Mendeleeva, who in the spring of 1907 left him for the poet Andrei Bely. Therefore, against the background of the riot of spring, which is presented to the poet as “a dream without end and without edge,” the author rethinks his relationship with his beloved woman and writes about his humility before circumstances. “I recognize you, life! accept! And I greet with the ringing of the shield! ”, The author declares publicly. The shield in this case is a subtle metaphor behind which Blok tries to hide his confusion and heartache, as well as to protect himself from subsequent life disappointments, which, as the poet suspects, are inevitable anyway. After all, his love story is not yet completed, and there is no certainty in relations with his wife. Therefore, preparing for a decisive battle for his beloved, the poet writes: “I accept you, failure and good luck, my greetings to you!”. He is ready for any development of events, emphasizing, but he will not be shy of either tears of despair or joyful laughter. In his imagination, Blok imagines an upcoming meeting with his wife, secretly dreaming of her return. It is noteworthy that he really anticipates this moment, and in fact will meet her at the doorstep with "with a violent wind in snake curls." However, preparing for this meeting, the poet notes: "I will never throw down my shield ...". This means that he does not want to suffer anymore and be tormented by the unknown. The poet is ready for any twists of fate, even if she wants to forever separate him from the one he loves. However, the "drunk dream" of a happy family life still does not leave Blok., although he understands that it is unlikely that he will be able to lay down his own marriage from fragments. Being deceived by the one he idolized, the poet cannot control his feelings, experiencing enmity and hatred for his wife. However, at the same time, he still continues to love her, and is ready to forget all the pain that she caused him. Therefore, Blok ends the poem with the line "It's all the same: I accept you!". The amazing gift of predicting the future, characteristic of this poet, does not fail him this time either. The subsequent relationship between Alexander Blok and Lyubvi Mendeleeva develops exactly as the author predicts. The unfaithful wife still returns to the poet, but this does not mean at all that from now on the family is reunited. Formally, these two people remain spouses and even claim that they still love each other. However, the load of mistakes made (Alexander Blok, during the period of breaking off relations with his wife, also starts several fleeting novels), do not allow them to live under the same roof for a long time. Lyubov Mendeleev constantly tours and continues to change lovers like gloves. However, Blok is now looking through his fingers at such a shocking behavior of his wife. In his soul, he managed to preserve the image of a loving, gentle and caring woman, with whom he is not going to part even after it becomes known that Lyubov Mendeleev is expecting a child from another man. Video: “Oh, spring without end and without edge ...” A. Blok
Analysis of the poem by A.A. Blok "Oh, spring without end and without edge ..." For everything, for everything, I thank you: For the secret torment of passions, For the bitterness of tears, the poison of a kiss, For the revenge of enemies and slander of friends; For the heat of the soul, wasted in the desert. M.Yu. Lermontov Oh, spring without end and without edge - Endless and endless dream! I recognize you, life! I accept! And I greet with the sound of the shield! I accept you, failure And good luck, hello to you! I accept sleepless arguments Morning in the veils of dark windows, So that my inflamed eyes Irritated, intoxicated spring! I accept desert scales And the wells of earthly cities! And the languor of slave labor! And I meet you at the threshold - With a violent wind in snake curls, With the undeciphered name of God On cold and compressed lips... Before this hostile meeting I will never drop my shield... You will never open your shoulders... But above us - a drunken dream! And I look, and I measure enmity, Hating, cursing and loving: Anyway: I accept you! A poem by A.A. Blok “Oh, spring without end and without edge ...”, written on October 24, 1907, is included in the cycle “Spell by fire and darkness”. The poem is imbued with optimism, fullness of life feeling, has symbolic meaning, which marked the onset of a new period in the history of Russia. A.A. Blok was close to the poetry of M.Yu. Lermontov and the tragic charm of his personality. This deep connection is found not only in epigraphs, reminiscences, paraphrases from Lermontov, but also in the common ideological orientation of the poets' work, in the similarity of the very manner of depicting reality and poetic devices. The poem “Oh, spring without end and without edge ...” was written under the influence of Lermontov’s “Gratitude”, which sums up the poet’s relationship with the world that “did not accept” him. As you know, Lermontov’s gratitude is ironically rethought in the last verses that Blok does not include in his epigraph: Arrange only so that from now on you It didn't take long for me to say thank you. The similarity of the poems is only in the very “key” of the contradictory image, the difference is in their meaning: for Lermontov this is “gratitude” not for the joys of life, but for suffering, for Blok it is an optimistic perception of life, the world, despite its inconsistency and even disastrous : For torment, for death - I know - Anyway: I accept you! The compositional structure of the poem mediates the connection between its idea and the speech means of its implementation. The perception of life is perceived constructively as the interaction of the lyrical “I” and life (the world): I recognize you, life! I accept! And I greet with the sound of the shield! The lyrical hero acquires armor in the allegorically depicted “feuding meeting” with life, which quenches the thirst for struggle (the latter is emphasized by the optimistic-sounding words “And I greet with the ringing of the shield!”), Leading to a cherished and enticing dream. It is an uncompromising struggle, a struggle to the end. Life itself appears embodied in a female image “with a violent wind in snake curls” (“you can love your mother, sister and wife in the same person of the Motherland - Russia”). Blok is a poet of subtle metaphor: Before this hostile meeting I will never throw down my shield... You will never open your shoulders... But above us is a drunken dream! The complexity and inconsistency of life and the world is depicted by a whole system of its opposing and mutually exclusive sides, opposite emotions of their perception: failure - luck, crying - laughter, hatred - love, etc. Other oppositions also play an important constructive role, emphasizing the immensity of time: sleepless disputes (night) - morning and spaces: villages - cities. The same thought is reinforced by the attributes of spring and dreams (“without end and without edge”). The complexity and inconsistency of life and the world is depicted by a whole system of their aspects. In a poem, one can distinguish the so-called keywords, reference points of the composition and its ideological content. Here such a constructive element is the verb form “I accept”, which is repeated five times, organizing the general emphasized rhythm of the verses. Its analogues - contextual synonyms are other linguistic means: greetings, my greetings to you, that the eyes ... intoxicated spring, I meet, I will not throw down my shield, cursing and loving and others. The integrity of the poem, its semantic and structural unity is organized by the perception of the depicted world by the lyrical hero, a man of his era, his experiences, emotions and volitional impulses, as well as the character and type of speech. The thoughts and feelings of the lyrical hero, his moral position are refracted and evaluated in the image of the author as the highest “poetic instance”, where the mosaic details are synthesized into a single contradictory whole: the joy of fighting, the readiness to go into battle (“I greet with the ringing of the shield”), the readiness to give everything exhausting work (“the languor of slave labor”) and the impotence to unravel life, to know its secrets to the end (“with the unsolved name of God on cold and compressed lips”, “you will never open your shoulders”), a contradictory perception of the world (“hating, cursing and loving"). In the ideological, compositional and linguistic structure of the poem “Oh, spring without end and without edge ...”, the lyrical “I” itself is, therefore, the subject of evaluation and understanding of the essence of human existence, the meaning of life - everything that has worried people for centuries living on earth. The language structure of the poem “Oh, spring without end and without edge...” is motivated by its content and composition. The dominant figurative means in the poem is repetition. The poem begins with an expressive repetition of a phraseological unit - definitions in postposition and preposition: defined words, which expressively enhances the impression of the infinity of the world as a blooming spring and the same immense human dream: (spring) without end and without edge without end and without edge (dream) The repetition of synonyms in each of these expressions draws attention to itself and forms the emotional beginning of the verses, emphasized by the interjection “o”, the intonation of the exclamation and the pause in comparing the content of the first two verses (“Oh, spring without end and without edge - Without end and without edge dream !”) I accept the through repetition of the verb form (together with its analogues) semantically and structurally organizes the text of the poem as its leitmotif: I recognize you, life! I accept! I accept you fail... I accept sleepless arguments... I accept desert scales! Anyway: I accept you! Life is accepted enthusiastically in all its fullness, in all its most extreme manifestations. This idea is artistically embodied with the help of antonyms: I accept you, failure And good luck, hello to you! In the enchanted realm of weeping, In the secret of laughter - there is no shame! This is the same function of contextual antonyms: I accept sleepless arguments Morning in the veils of dark windows ... I accept desert scales And the wells of earthly cities! Illuminated expanse of heaven And the languor of slave labor! Here are night disputes and mornings filled with creative search, deserted villages and high-rise cities, the joyful expanse of a bright sky and forced, forced and, perhaps, hopeless labor without “creative soaring”. A complex and contradictory attitude to various phenomena and aspects of life, perhaps even some spiritual split is transmitted with the help of antithesis: hating, cursing and loving. In the works of the poet, as it were, a special metaphorical speech is created, a kind of second stage of language above the usual, first, that is, the language of symbols. Such is the image of life in the poem - first, in the first four stanzas, the usual, and then the symbolic: And I meet you at the threshold - With a violent wind in snake curls, With the undeciphered name of God On cold and compressed lips ... The depicted appears, as it were, in double illumination, in two planes, which are either connected or separated. Usual life suddenly "appears" in the guise of a mysterious, not fully cognizable woman - nature - the sphinx. The general figurative and symbolic duality of the poem is based on the development and deployment of a metaphorical series. Life is presented in spring without end and without edge: spring intoxicates the eyes of the poet, inflamed from sleepless nights; the mystery of life unsolved by him is overshadowed by a drunken dream, in which there is both excited despair, and recklessness, and hope (spring - spring intoxicates - a drunken dream). The figurative structure of the poem is also supported by other metaphors - symbols (“In the enchanted area of \u200b\u200bweeping, in the secret of laughter - there is no shameful one!”), As well as metonymy (sleepless disputes - that is, disputes of awake people) and hyperbole (without end and without edge - oh spring and dream). It is necessary to say a few words about the intonation of the poem. The emotional structure of the poems is reinforced by the intonation of the exclamation, which gives them an enthusiastic look and solemnity and creates a declamatory style. It is important in this regard to pay attention to exclamation marks; in a relatively small poem there are 12 of them. It must be said that the number 12 in Blok has always been something symbolic. The excitement and pathos of the poet's lyrical confession are syntactically conveyed by the addition of homogeneous members, emotionally separated into independent exclamatory sentences: I recognize you, life! I accept! And I greet with the sound of the shield! I accept desert scales And the wells of earthly cities! Ordinary phrases are, as it were, torn into pieces, accentuated intonation (I recognize, I accept). The poem is compositionally integral; internal thematic completeness and metrical unity clearly appear in it. The verse is expressive, the four-line stanza vividly reveals the inner content of the work. And I look, and I measure enmity, Hating, cursing and loving: For torment, for death - I know - Read by V. Kachalov Alexander Blok Oh, spring without end and without edge - I accept you, failure I accept sleepless arguments I accept desert scales! And I meet you at the threshold - Before this hostile meeting And I look, and I measure enmity, Blok Alexander Alexandrovich - biography: Blok Alexander Alexandrovich (1880–1921), Russian poet. Born 16 (28) November 1880 in St. Petersburg. The son of a law professor, with whom Blok's mother divorced shortly after the birth of the poet. He was brought up in the family of his grandfather A.N. Beketov, botanist, rector of St. Petersburg University. Relations with his father, who occasionally came to St. Petersburg from Warsaw, were reflected in the unfinished poem Retribution (1917-1921). The image of a “demon”, alien to any illusions, but at the same time endowed with ineradicable dreaminess, is inspired by reflections on the fate of his father, the last Russian romantic who fell victim to the fate of history, which brought the era of catastrophes of unprecedented scale and tragedy very close. Blok also felt himself to be such a romantic, who also experienced the retribution of history. The high ideals by which the Beketov family lived were especially organically embodied in the poet's mother (according to her second husband - A.A. Kublitskaya-Piottukh), who until the end of her days remained the closest person to him. In the Shakhmatovo estate near Moscow, where the family spent the summer months, Blok first discovered the beauty of Russian nature. The landscapes of these places are recognizable in Blok's numerous poems. The earliest of them, included in the posthumously published book Boyish Poems (1922), were written by him at the age of 17. Blok's departure from symbolism began at the time of the revolution of 1905-1907 in Russia, which he perceived as a "merry time" - a sign of great spiritual changes. In a letter to his father (December 30, 1905), Blok admits that he is organically incapable of serving the “public”: “I will never become either a revolutionary or a “builder of life.” However, the collection Unexpected Joy (1907) testifies to the increased interest in the real world, although comprehended under the sign of "mysticism in everyday life" and the "demonic" attractive force that this everyday life conceals, especially the world of the city. The same "demonism" is inherent in Blok's earthly passions that capture him; he is also endowed with his image of Russia, where "dark, devilish forces" lead their "night round dances" on the roads and crossroads, and "sorcerers with soothsayers enchant cereals in the fields" (Rus, 1906). After Blok's death (apparently from exhaustion and nervous depression) on August 7, 1921, these words began to apply to himself. Oh, spring without end and without edge - I accept you, failure I accept sleepless arguments I accept desert scales! And I meet you at the threshold - Before this hostile meeting And I look, and I measure enmity, Analysis of the poem "Oh spring without end and without edge" by BlokAfter the revolution of 1905, Blok gradually began to experience disappointment in symbolism. He is increasingly annoyed by mysticism and the isolation of this current from real life. The emotional conflict is intensified by a difficult relationship with his wife. In 1907, Blok was seriously carried away by N. Volokhova. It is believed that it was she who inspired the poet to create the poetic cycle "The Spell by Fire and Darkness." Integral part cycle is the poem "Oh, spring without end and without edge ...". Blok was very respectful of creativity, so he used lines from his in the epigraph. The work is imbued with optimism and hope for a better future. The central refrain of the poem, repeated several times and greatly enhancing the overall impression, is “I accept”. The author accepts life without any reservations and doubts. The uncertainty of the future is like a boundless dream. The poet understands that life is not a cloudless fairy tale, therefore he immediately declares his readiness to fight (“I greet with the ringing of the shield”). He does not yet know what awaits him ahead, but he is ready for anything. The simultaneous greeting of good luck and failure suggests that the author will gladly accept any outcome of the upcoming struggle. It is not the result that is important, but the life process itself. With the help of figurative symbols, Blok describes the spatial diversity of life ("desert villages", "wells ... of cities"), the multi-level structure of society ("the expanse of heaven", "languor of slave labor"). The image of the lyrical hero himself, meeting life, is also deeply symbolic. "The unsolved name of God" probably symbolizes the desire to discover the main laws of the universe. The encounter with life takes on the character of enmity in the work. Despite the inevitable collision lyrical hero, experiencing both love and hatred, reiterates that he accepts it. The life-affirming nature of the work is emphasized by the repeated use of exclamation marks. The work as a whole contains a large number of expressive means. These are epithets (“sleepless”, “inflamed”), metaphors (“wells ... of cities”, “languishing ... labors”), antonyms (“failure” - “luck”, “crying” - “laughter”), etc. In general, the poem is a powerful call for an active, rich life. A huge charge of positive energy breaks through a complex structure filled with symbols. |
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