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| In spring without end and without edge. Alexander block - oh spring, without end and without edge |
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Literature test Oh, spring without end and without edge ... (AA Blok) for 9th grade students. The test consists of two variants, each variant has 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 door - Before this warring meeting And I look, and I measure enmity, Option 1Short answer assignments 1. What is the name of the poetic direction to which Blok's work belongs? 2. And greet with the sound of the shield! 3. I accept sleepless disputes, 4. Indicate the name of the reception: Never I will not throw my shield ... 5. Determine the size in which the poem is written. Tasks with a detailed answer 6. 7. 8. Option 2Short answer assignments 1. What is the name of the poetic cycle that opens with this poem by Blok? 2. Name the means of allegorical expressiveness: And the wells of earthly cities! 3. What is the name of the visual medium? I accept sleepless disputes, 4. Indicate the name of the reception: Oh spring without end and without edge — 5. Indicate the way of rhyming. Tasks with a detailed answer 6. How does the mood of a lyric hero change? 7. What is the role of exclamation sentences in a poem? 8. What is consonant with the worldview of the lyric hero of the poem by 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 an oak, from a birch"? A fragment of a poem by A.A. Feta "Learn from them - from an oak, from a birch"Learn from them - from the oak, from the birch. All angry blizzard and every minute But trust the spring. A genius will rush her Answers to the literature test Oh, spring without end and without edge ... (AA 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 symbolism, which the author was 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 in them only one meaning known to him, which can be traced if we compare 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 multilevel work with subtext. This fact alone indicates that it will not be about the season or the weather at all, but about memories that are associated with a specific period in the author's life. More precisely, about the severance of 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 the circumstances. “I recognize you, life! accept! And I greet with the sound of the shield! ”- the author declares publicly. The shield in this case is a subtle metaphor behind which Blok is trying to hide his confusion and mental pain, as well as to protect himself from subsequent life disappointments, which, as the poet suspects, are inevitable anyway. After all, his love story has not yet been 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 about 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 foresees this moment, and in fact will meet her at the doorstep with "a violent wind in serpentine curls." However, preparing for this meeting, the poet notes: "I will never throw a shield ...". This means that he does not want to suffer and be tormented by the unknown anymore. The poet is ready for any twists and turns of fate, even if she wants to forever separate him from the one he loves. Nevertheless, the "intoxicated dream" of a happy family life still does not leave the Blok., although he understands that it is unlikely that he will be able to lay down his own marriage from the fragments. Being deceived by the one whom 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 "All the same: I accept you!" This poet's amazing gift of predicting the future does not fail him this time either. The subsequent relationship between Alexander Blok and Lyubov Mendeleeva is developing 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 has been reunited. Formally, these two people remain spouses and even claim that they still love each other. However, the burden of committed mistakes (Alexander Blok, during the period of breaking off relations with his wife, also starts several fleeting romances), does not allow them to live under one roof for a long time. Lyubov Mendeleeva is constantly touring and continues to change lovers like gloves. However, Blok now turns a blind eye to such a shocking behavior of his wife. In his soul, he managed to preserve the image of a loving, gentle and caring woman, whom he is not going to part with even after it becomes known that Lyubov Mendeleeva 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 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 greet with the sound of the shield! I accept you, failure And good luck, my hello to you! I accept sleepless arguments Morning in the curtains of dark windows So that my sore eyes Annoyed, intoxicated by spring! I accept the desert scales And the wells of earthly cities! And the languor of slave labor! And I meet you at the door - With a violent wind in serpentine curls, With the unsolved name of God On cold and compressed lips ... Before this warring meeting I will never throw a shield ... You will never open your shoulders ... But above us - a drunken dream! And I look, and I measure enmity, Hating, cursing and loving: All the same: I accept you! Poem by A.A. The block “Oh, spring without end and without edge ...”, written on October 24, 1907, is included in the cycle “The Curse by Fire and Darkness”. The poem is imbued with optimism, fullness of life sense, has a 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 the epigraphs, reminiscences, and paraphrases from Lermontov, but also in the generality of the ideological orientation of the poets' work, in the similarity of the very manner of depicting reality and poetic methods. The poem "Oh, spring without end and without edge ..." was written under the influence of Lermontov's "Gratitude", which summarizes the relationship of the poet with the world "did not accept" him. As you know, Lermontov's gratitude is ironically rethought in the last verses, which Blok does not enter into his epigraph: Arrange just so that from now on you I didn’t thank you for long. The similarity of the poems is only in the very “key” of the contradictory depiction, the difference is in their sense: for Lermontov, this is “gratitude” not for the joy of life, but for suffering, for Blok - an optimistic perception of life, the world, despite its contradictory and even disastrous : For torment, for death - I know - All the same: I accept you! The compositional structure of the poem mediates the connection between his idea and the speech means of its embodiment. The perception of life is perceived constructively as the interaction of the lyrical “I” and life (world): I recognize you, life! I accept! And greet with the sound of the shield! The lyrical hero gains armor in an allegorically depicted “hostile encounter” with life, quenching the thirst for struggle (the latter is emphasized by the optimistic words “And I greet with the clang of a shield!”), Leading to a cherished and enticing dream. This is an uncompromising struggle, a struggle to the end. Life itself appears embodied in a female image “with a violent wind in serpentine curls” (“you can love a mother, sister and wife in the single face of the Motherland - Russia”). Blok is a poet of subtle metaphor: Before this hostile meeting I will never throw my shield ... You will never open your shoulders ... But above us is an intoxicating dream! The complexity and inconsistency of life and the world is depicted by a whole system of its opposed and mutually exclusive sides, opposite emotions of their perception: failure - luck, crying - laughter, hatred - love, etc. An important constructive role is played by other oppositions that emphasize the immensity of time: sleepless arguments (night) - morning and spaces: all - cities. The same thought is reinforced by the attributes of spring and dreams (“without end and without edge”). The complexity and contradictions of life and the world are depicted by a whole system of their sides. In the poem, you can find the so-called key words, 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 analogs - contextual synonyms are other linguistic means: greetings, my greetings to you, that the eyes ... spring intoxicated, I meet, I will not throw a 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, the person of his era, his feelings, emotions and volitional impulses, as well as the nature and type of speech. Thoughts and feelings of the lyric hero, his moral position are refracted and evaluated in the image of the author as the highest “poetic instance”, where mosaic details are synthesized into a single contradictory whole: the joy of struggle, the willingness to go to battle (“I greet with the sound of the shield”), the willingness to give everything yourself to exhausting work (“languor of slave labors”) and powerlessness to solve life, learn to the end of its secrets (“with the unsolved name of God on cold and compressed lips”, “you will never open your shoulders”), a contradictory perception of the world (“hating, swearing and loving ”). In the ideological, compositional and linguistic structure of the poem "Oh, spring without end and without edge ...", the lyrical "I" is itself, thus, the subject of evaluating and understanding the essence of human existence, the meaning of life - everything that has worried people for centuries living on Earth. The linguistic structure of the poem "Oh, spring without end and without edge ..." is motivated by its content and composition. The dominant pictorial means in the poem is repetition. The poem begins with an expressive repetition of phraseological units - definitions in postposition and preposition: defined words, which expressively reinforces the impression of the boundlessness of the world as a blossoming 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 - Endless and without edge dream ! ”) I accept the end-to-end 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, failure ... I accept sleepless arguments ... I accept desert scales! All the same: I accept you! Life is accepted enthusiastically in its entirety, in all its most extreme manifestations. This idea is artistically embodied with the help of antonyms: I accept you, failure And good luck, my hello to you! In the enchanted area of \u200b\u200bcrying In the secret of laughter - there is no shameful one! The same is the function of contextual antonyms: I accept sleepless arguments Morning in the curtains of dark windows ... I accept the desert scales And the wells of earthly cities! The illuminated expanse of heaven And the languor of slave labor! Here are night disputes and a morning filled with creative search, deserted villages and multi-storey cities, the joyful expanse of the bright sky and forced, involuntary and, perhaps, hopeless labor without "creative soaring". A complex and contradictory attitude towards various phenomena and aspects of life, perhaps even a certain spiritual duality is transmitted using the antithesis: hating, cursing and loving. In the poet's works, a kind of special metaphorical speech is created, a kind of second stage of language over the usual, first, that is, the language of symbols. Such is the depiction of life in the poem - first, in the first four stanzas, the usual, and then symbolic: And I meet you at the door - With a violent wind in serpentine curls, With the unsolved name of God On cold and compressed lips ... The depicted appears, as it were, in double illumination, in two planes, which are now connected, now separated. Ordinary life suddenly "appears" in the guise of a mysterious, not fully known woman - nature - the sphinx. The general figurative and symbolic duality of the poem is based on the development and deployment of the metaphorical series. Life is presented in spring without end and without edge: spring intoxicates the poet's eyes, inflamed from sleepless nights; The mystery of life, unsolved by him, is overshadowed by an intoxicated dream, in which there is both excited despair, and recklessness, and hope (spring - spring is intoxicating - an intoxicated dream). The figurative structure of the poem is supported by other metaphors - symbols (“In the enchanted area of \u200b\u200bcrying, in the secret of laughter - there is no shameful one!”), As well as metonymy (sleepless arguments - that is, disputes of not sleeping 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 enhanced by the intonation of 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. I must say that Blok's number 12 has always been something symbolic. The emotion and pathos of the poet's lyric confession are conveyed syntactically by the addition of homogeneous members emotionally separated into independent exclamation sentences: I recognize you, life! I accept! And greet with the sound of the shield! I accept the desert scales And the wells of earthly cities! Ordinary phrases are, as it were, torn into parts, intonationally emphasized (I recognize, I accept). The poem is compositionally holistic, internal thematic completeness and metric unity are clearly visible in it. The verse is expressive, the four-line stanza clearly 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 door - Before this warring meeting And I look, and I measure enmity, Blok Alexander Alexandrovich - biography: Blok Alexander Alexandrovich (1880-1921), Russian poet. Born November 16 (28), 1880 in St. Petersburg. The son of a law professor, with whom Blok's mother parted ways shortly after the birth of the poet. He was brought up in the family of his grandfather A.N. Beketov, a 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, was 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 felt himself to be such a romantic, who had also experienced the retribution of history. The high ideals by which the Beketovs lived were especially organically embodied in the poet's mother (by her second husband, A.A. Kublitskaya-Piottukh), who remained the closest person to him until the end of his days. 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 recognized in many of Blok's poems. The earliest of them, included in the posthumously published book Adolescent Poems (1922), were written by him at the age of 17. Blok began to move away from symbolism from the time of the 1905–1907 revolution 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 an increased interest in the real world, albeit comprehended under the sign of “mysticism in everyday life” and “demonic” attractive force that this everyday life, especially the world of the city, conceals in itself. The same "demonism" is inherent in Blok's earthly passions capturing him; it is also endowed with his image of Russia, where “dark, diabolical forces” lead their “night dances” on the paths and crossroads, and “witches with sorcerers 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 refer to him as well. 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 door - Before this warring meeting And I look, and I measure enmity, Analysis of the poem "Oh spring without end and without edge" by BlokAfter the 1905 revolution, Blok gradually began to feel disenchanted with symbolism. He is increasingly annoyed by mysticism and the isolation of this trend from real life. The emotional conflict is exacerbated by a difficult relationship with his wife. In 1907 Blok was seriously attracted by N. Volokhova. It is believed that it was she who inspired the poet to create the poetic cycle "The Conjuration by Fire and Darkness". An integral part of the cycle is the poem "Oh, spring without end and without edge ...". Blok was very respectful of creativity, so he used lines from it 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 significantly reinforcing the overall impression, is "I accept." The author accepts life without any reservations or 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 sound of the shield"). He does not yet know what lies ahead for him, but he is ready for anything. The simultaneous greeting of good luck and bad luck means 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 hills", "wells ... of cities"), the multi-level structure of society ("the expanse of heaven", "languor of slave labors"). The image of the most lyrical hero 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 confrontation, the lyric hero, experiencing both love and hate, again declares 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 ... cities", "languor ... labors"), antonyms ("failure" - "luck", "crying" - "laughter"), etc. In general, the poem is a powerful call for an active, eventful life. A huge charge of positive energy breaks through the complex structure filled with symbols. |
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