On a damp night you went home. Analysis of the poem by A.A. Blok "About valor, about exploits, about glory." Comprehensive analysis of A. Blok's poem
Being an extremely romantic person, generous with spiritual personal feelings, with his poems he literally created a school of love experiences.
Dedicating poems to his muse, his beautiful lady, the poet literally dissolves in his own emotional impulses and difficult moods. This is the highest value of his life.
Blok considered spiritual intimacy to be the pinnacle of relationships.
The history of the conception and creation of the poem
Blok’s poem “About valor, about exploits, about glory...” was created based on real events that happened to the poet himself. It is known that when he saw his future wife for the first time, the author was captivated and delighted. That is why the lyrics of this period are so passionate and so impressionable. He hoped that his marriage with the woman he loved would be happy. But everything turned out not at all as the poet planned.
But Lyubov Mendeleeva was missing something in her marriage. She became interested in someone else again and went to him. She gives birth to a son from this man, but then decides to return to the poet again. All this time they did not interrupt contact, since Alexander Blok himself insisted on friendship, for whom spiritual intimacy was always more important than physical intimacy. It is known that they knew each other from early childhood, but then, having separated for a while, they met again. After they began to live together, the poet did not want any carnal relationships, since for him it was secondary and overshadowed spiritual intimacy. Lyubov Mendeleeva was an actress who, every time, both after her tours and after new hobbies, still returned to Alexander Blok.
All these love triangles eventually spilled out into a lyrical work in 1908.
About valor, about exploits, about glory
I forgot on the sorrowful land,
When your face is in a simple frame
It was shining on the table in front of me.
But the hour came, and you left home.
I threw the treasured ring into the night.
You gave your destiny to someone else
And I forgot the beautiful face.
The days flew by, spinning like a damned swarm...
Wine and passion tormented my life...
And I remembered you in front of the lectern,
And he called you like his youth...
I called you, but you didn't look back,
I shed tears, but you did not condescend.
You sadly wrapped yourself in a blue cloak,
On a damp night you left home.
I don’t know where my pride has a refuge
You, dear, you are tender, you found...
I sleep soundly, I dream of your blue cloak,
In which you left on a damp night...
Don't dream about tenderness, about fame,
Everything is over, youth is gone!
Your face in its simple frame
I removed it from the table with my own hand.
With great sadness, the poet describes the situation in which he found himself. The departure of the beloved is a tragedy that plays out before the reader’s eyes. Complete despair and disappointment engulfs the main character in “I threw the treasured ring into the night.”
Memories remain, a bright image, and as proof that everything happened, a photograph on the table “of your face in a simple frame.” Sadness and pain of loss do not cause negative feelings. The main character remembers the bright image “in front of the lectern.” Even the fact that the beloved has left for another man does not allow her image to be tarnished.
The poet does not blame anyone for his suffering; not a single bad word is said about the departed woman. The hero has no choice but to accept his fate. With a heavy heart, he mentally lets go of the object of his adoration.
To make it easier to cope with the loss, the abandoned lyricist removes the woman’s photograph with his own hand, hoping that this will make him feel better.
Composition “About valor, about exploits, about glory...”
Blok’s entire poem is divided into three large parts: the first is the author trying to forget the woman he loves, the second is his memory of her, the third is the decision to let go. he ends up removing her photograph from his desk. The composition in the work is circular and helps the author show the present time, the past and what awaits in the future.
The poet, trying to explain his main idea to the reader, uses a large number of verbs, but all of them are used in the past tense. The poet shows that everything has already passed, and there is now no suffering in his life at all. The author talks about those feelings that he has already experienced, it’s just that the memory remains of them. The soul of the main character has now calmed down and he can even sleep, calmly and without worries.
An interesting female image is shown by Alexander Blok in just a few descriptive features. She is beautiful, gentle, independent, fearless and proud. The poet’s attitude towards her is tender, as if he is creating a deity out of her. And her photograph, like an icon, stood on his table. He dreams of her as if she were bliss; dreams of her bring joy to the poet, not suffering. Perhaps that is why the author chooses the form of a message for this poem - a declaration of love.
Expressive means
The declaration of love that sounds in Alexander Blok's poem refers to the time when they were together with the woman they loved, but now this time has passed and will never return. The author tries to use as many expressive means as possible to diversify the literary text:
★ Metaphors.
★ Anaphora.
★ Epithets.
★ Syntactic parallelism.
★ Comparisons.
★ Paraphrase.
★ Personifications.
★ Inversion.
★ Dots.
All this helps the perception of the poem. By the end of the work, the reader sincerely sympathizes with the author, sharing his tragedy.
Symbols in the poem
One of the symbols that the author successfully introduced into the text is a ring. His main character throws into the night, as an indicator of a complete rupture. The rings that spouses gave each other are no longer a symbol of love and fidelity, so there is no need to stand on ceremony with this accessory.
The second symbol is a blue cloak, which is repeated several times in the text. The cloak is a symbol of the road, and the Blue colour- anxiety and loneliness. Blue is also the color of betrayal. For our lyrical hero, everything is mixed up from the betrayal of his beloved woman and disappointment, and Blok chooses a blue cloak to show even more clearly the tragedy of the situation.
Photography becomes a symbol of love and tenderness, and the author emphasizes “in a simple frame” several times. The author is so in love that he doesn’t care what quality the frame is. Photos are dear to my heart.
Analysis of the poem
The love story described in the poem is controversial and controversial. You can't return your former happiness. The problem that arose in family life- this is fateful rock!
Alexander Blok treated his own wife more like a muse, like a creative inspirer. And Lyubov Mendeleeva, although she was a person of art and an actress, apparently wanted to remain an earthly woman. This was the contradiction between the spouses, so talented and so different.
For the poet, his wife is not only a source of purity. He associates it with freshness, with youth. He notes that after her departure there is a farewell to youth: “Everything is over, youth is gone!” It’s as if with the woman’s departure the main character lost all his bearings, but realized that this was the point of no return. The point of no return to youth, love, former happiness.
His hopes were dashed, which is why he removes the portrait of his beloved woman from the table at the very end of the poem. It’s difficult for him to do this, but he understands that he must. The poet showed the reader that reason still triumphed over feelings, and no matter how sad he was, he still committed the final act. This decision turned out to be the most correct and correct. Now this enormous feeling of love will no longer bring him so much pain and suffering. And maybe happiness will soon appear in his life, and sadness and tragedy will go away.
Comprehensive analysis of A. Blok's poem
“About valor, about exploits, about glory...”
Completed by: Course attendee
in new sociocultural conditions"
1. Theme of the poem
The theme of love has always prevailed in the work of Alexander Blok. Joy and sadness were combined in his love lyrics, apparently because the ideal of a refined and sublime, proud and trusting, beautiful and gentle woman did not find its earthly embodiment.
Blok was at first very passionate about his future wife Lyubov Dmitrievna Mendeleeva, to whom he dedicated the series “Poems about a Beautiful Lady.” According to him, if you carefully read this book, you will see that “this is a true story about how one teenager fell so enthusiastically in love with his neighbor that he created the Radiant Virgin from her and transformed her entire surrounding landscape into unearthly villages. This was the same thing that Dante did to the daughter of Partinari’s neighbor.” lived and wrote in very difficult historical conditions, painfully feeling the lack of harmony in the “terrible world.” He didn’t feel it in his soul either. Only love could bring Blok that necessary, desired peace, without which it was impossible to live. Love was designed to eliminate chaos not only in the soul, but also in the world around the poet. Blok deified love, which revealed to him the high meaning of life. He dedicated a huge number of poems to this wonderful feeling. One of them is “About valor, about exploits, about glory...”.
This poem was written in 1908 and was included in the third volume of the poet's collected poems. The cycle of "Retribution", to which the poem belongs, continues the theme " scary world". The word "retribution" is usually understood as punishment for a certain crime. Moreover, punishment coming from the outside, from someone. Retribution, according to Blok, is, first of all, a person’s condemnation of himself, the judgment of his own conscience. The main guilt of the hero is betrayal of data once sacred vows, high love, betrayal of human destiny. And the consequence of this is retribution: spiritual emptiness, fatigue from life, submissive expectation of death. These motives are heard in all the poems of the “Retribution” cycle.
That lofty, sinless love has left the poet’s life forever, reality has destroyed the ideal, and the poet mourns the lost pure dream, in which he is now unable to believe so strongly:
About valor, about exploits, about glory
I forgot on the sorrowful land,
It was shining on the table in front of me...
Don't dream about tenderness, about fame,
Everything is over, youth is gone!
I removed it from the table with my own hand.
All the poems in the collection are imbued with a thirst “to see the unearthly in the earthly” (V. Bryusov). A purely personal experience is melted here into the universal, into a mystery with the impending descent to earth of the Eternal Feminine.
For six years, Blok wrote about one woman and dedicated 687 poetic works to her. In 1903, the poet married Lyubov Dmitrievna. This is where the lyrical diary addressed to the Beautiful Lady stopped. Blok’s poetic world includes new themes and new images. In the “Retribution” cycle, in which the poet prophesies a speedy judgment and retribution for a society that has shackled, enslaved and “frozen” a person, the now famous “On Valor, on Deeds, on Glory...” (1908) is published. The poem is written in a special manner and is noticeably different in style and theme from other poems in the “Retribution” cycle.
2. Genre
The genre of the poem is a love letter. This is a conversation with a portrait of a distant beloved who once left the lyrical hero. However, the hero perceives him as a living, spiritualized image. That is why he calls it not a portrait, but a face, and, turning to the portrait, he speaks as if the beloved who left him is able to hear his words, realize the depth of his mistake and, perhaps, return to the hero. The entire poem is built on the opposition of two images (the lyrical hero and his beloved woman), which only emphasizes the insurmountable distance between them.
3. Plot
The plot of the poem and its development are inextricably linked with the personality of the lyrical hero. In the first stanza we see that the hero’s entire world is focused on the image of his beloved. “About valor, about exploits, about glory
4. Artistic media
“I forgot on the sorrowful earth” - these first lines confirm that lovers tend to experience a feeling of complete satisfaction and harmony with the world and themselves only when the object of love is nearby.
But then “the hour has come,” in the second stanza the beloved leaves the hero. And the meaning of life disappears along with it. The loss of internal guidelines completely unsettles the hero, and he is left alone with the passions that “torment” his life.
Over the period of time contained in the next three stanzas, the life of the lyrical hero is filled only with memories and pain from the awareness of loss. However, in the last stanza we see that he finally manages to make a mature decision to let go of his lost love, and this undoubtedly shows the hero’s maturation and his emergence as a self-sufficient person.
Composition: meter, rhyme, rhythm.
Poem size:
_ _" / _ _" / _ _" /_ _"/ _ _" /_ iambic pentameter. This poetic meter was used by many poets from Shakespeare to his contemporaries " Silver Age" It recreates human speech within the framework of an epic or dramatic story, intensity of will, clarity and firmness are inherent in it. It is obvious that Blok uses this size to emphasize the tragedy expressed in the work.
Cross rhyme.
The first line of the last stanza “Don’t dream about tenderness, about glory...”, on the one hand, completes the poem, forming ring composition. On the other hand, it contains a deep thought that a person’s personal happiness and his social role are closely related.
Trails. To make the language of a literary work more expressive, special means are used: epithets, comparison, metaphors.
The first line of the work, “About valor, about exploits, about glory...” seems to deceive the reader’s expectations: it seems that we will be talking about the topic of civic duty. However, love experiences turn out to be the most important thing for the hero at a certain stage of life, so great and boundless is the bitterness of his loss. In the poem we encounter a large number of epithets: “on a sorrowful land”, “cherished ring”, “cursed swarm”, “damp night”. The tenderness with which the hero remembers his beloved, comparing her with his youth: “And he called you like his youth,” is reflected in the work with such epithets as: “beautiful face,” “you, dear,” “you, tender.” . There are personifications and metaphors in the poem: “when your face is in a simple frame”, “it shone on the table in front of me”, “I threw the treasured ring into the night”, “you gave your destiny to another”, “the days flew by”, “wine and passion
tormented my life,” “I sleep soundly.”
From the first lines, the poet hints to the reader about the mood of the entire work by using the epithet “On a sorrowful land.” In the second stanza centrally is a cherished ring- a symbol of love fidelity. The boundless despair of the lyrical hero, caused by the departure of his beloved, is expressed in the episode when he throws away the “cherished ring”. Night in in this case symbolizes darkness and the unknown. However, according to the aesthetic views of the symbolist poets, to whom he belonged, the meaning of a symbol can never be completely exhausted. In this case, it can be perceived more broadly: night is the time when demonic forces rise up. Despair and loss of the meaning of life for the narrator are described by the epithets “cursed swarm”, “on a damp night”.
To convey to the reader how much his chosen one meant to the hero, a comparison is used: “And he called you like he called his youth.” The author points out that when love goes away, so do better days the life of our hero. The serene youth is behind us, the time has come for harsh growing up.
The metaphors “when your face is in a simple frame”, “it shone on the table in front of me”, pointing us to the heroine, reflect the fact that the lyrical hero is inclined to deify and idealize her even after betrayal. “I threw the treasured ring into the night,” “you gave your destiny to another” - these metaphors seem to indicate the choice of both characters and the fact that their paths diverge. Blok uses the personifications “days flew by”, “wine and passion tormented my life” to show that otherworldly influences dominate the life and fate of the hero dark forces, with which he does not want to fight. The power of the lyrical hero’s love feeling is also updated by the dream motif:
“I sleep soundly, I sleep with your blue cloak,
In which you left on a damp night."
Stylistic figures:
Repeats/refrain: “a face in a simple frame.” Repetition demonstrates the importance for the author of the described object, process, action, etc. When using this figure, the author repeatedly mentions something that particularly excites him, also concentrating the reader’s attention on this.
Antithesis: Contrast is an expressive means that makes it possible to make a particularly strong impression on the reader, to convey to him the author’s strong excitement due to the rapid change of concepts of opposite meaning used in the text of the poem. Also, opposing emotions, feelings and experiences of the author or his hero can be used as an object of opposition.
“When your face is in a simple frame
It was shining on the table in front of me...
Your face in its simple frame
I removed it from the table with my own hand”;
Inversion: “They tormented my life,” “your blue cloak,” “she left on a damp night,” “I cleared it from the table.” Inversion in poetic texts performs an accent or semantic function, a rhythm-forming function for building a poetic text, as well as the function of creating a verbal-figurative picture.
Assonance: “I don’t know where your shelter is pride/ I sleep soundly, I dream of your cloak blue", "Everything is over, youth passed! / With my hand I removed table».
Anaphora gives the text additional emotionality.
“And I remembered you in front of the lectern,
And he called you like his youth..."
Even after years, the lyrical hero still remembers that fateful day of farewell:
“I called you, but you didn’t look back,
I shed tears, but you did not condescend.”
Synonyms: valor, exploits, glory; sweet, tender.
Archaisms: the hour has come, lectern, pride.
In the poem “About Valor, About Deeds, About Glory,” an image appears of a man devastated by life with a difficult fate. The poem is autobiographical, because during this period his first love, Lyubov Dmitrievna, the granddaughter of the famous chemist Mendeleev, left him and went to Blok’s close friend, the poet Andrei Bely.
Having parted with his beloved, the hero lost the meaning of life, he lost himself. He no longer meets true love, on the path of life he encounters only passion. We see that, having lost his beloved, the hero lost faith in life and lost his moral support. The loss turned the hero's carefree life into existence. He is tormented by wine and passion, but this is not spiritual life, but only a sinful parody of it, burning and devastating the soul. It is symbolic that the hero remembers his beloved in front of a lectern (a lectern is a high table with a sloping top, on which icons and holy books are placed in the Church). Obviously, in love he seeks salvation for his lost soul. Also, it is in front of the lectern in the Temple that the wedding ceremony is held. This image is used to show how dear to the hero are the already forgotten vows of eternal love and fidelity.
The line “Everything is over, youth is gone!” emphasizes that time cannot be turned back. A man, immersed in his suffering, and then, trying to console himself by spending his days searching for truth in wine, lost not only love. He lost everything. The ambitious dreams of youth are irrevocably a thing of the past. Life plans remained unrealized. Only after realizing this did the lyrical hero find the strength to remove the portrait of his beloved from the table. However, having lost his beloved, the lyrical hero did not become embittered against her. Years later, he still calls her sweet and gentle. The breakup is perceived by him as a fatal accident, for which pride is to blame.
All his life he cherished the hope of her return. The portrait removed from the table at the end of the poem testifies to the final loss of this hope, but at the same time it is also a certain courageous step of a person in which reason finally defeated a painful feeling that had grown to universal proportions. However, the hero managed to put so much grief and melancholy into this farewell gesture that the reader, even understanding the correctness of the action taken, still continues to sympathize with the unfortunate man.
The poem has a clearly expressed dramatic element, which is typical for lyrics in general. A typical love triangle has turned into a heartbreaking drama. Some of the images in the poem also resemble details of theatrical props.
During this difficult period, the poet breaks with his Symbolist friends. It seemed that Blok was drowning his despair in wine. But despite this, main theme poems from the “Terrible World” period, love still remains. 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 tortures and burns the poet, but he cannot break free from her bonds, her power.
Even about the vulgarity and rudeness of the terrible world, Blok writes spiritually and beautifully. Although he no longer believes in love, does not believe in anything, the image of the stranger in the poems of this period still remains beautiful. The poet hated cynicism and vulgarity - they were never in his poems.
If you carefully read the poem “About valor, about exploits, about glory...”, then it is easy to notice that it echoes the poem “I remember wonderful moment...".
When your face is in a simple frame
It was shining on the table in front of me...
In Pushkin we see similar lines:
I remember a wonderful moment:
You appeared before me.
“And I forgot your beautiful face” - “And I forgot your gentle voice.” “The days flew by” - “the years passed.” But, despite such a similar scenario, the endings of the poems are completely opposite: at the end of the poem there is an awakening of the soul, in Blok we see only bitterness, despair (the hero did not return his beloved).
A. Blok always believed in the saving faith of love, love as a cleansing bright feeling and strove to give all of himself to the great love for a woman, for the Motherland... He dedicated his feelings, thoughts, soul to love, which is clearly expressed in poems throughout his work a poet whose name Russia is still proud of.
About valor, about exploits, about glory
I forgot on the sorrowful land,
When your face is in a simple frame
It was shining on the table in front of me.
But the hour came, and you left home.
I threw the treasured ring into the night.
You gave your destiny to someone else
And I forgot the beautiful face.
The days flew by, spinning like a damned swarm...
Wine and passion tormented my life...
And I remembered you in front of the lectern,
And he called you like his youth...
I called you, but you didn’t look back,
I shed tears, but you did not condescend.
You sadly wrapped yourself in a blue cloak,
I don’t know where my pride has a refuge
You, my dear, you, my gentle one, have found...
I'm fast asleep, I dream, your cloak is blue,
In which you left on a damp night...
Don't dream about tenderness, about fame,
Is everything over, is youth gone?
Your face in its simple frame
I removed it from the table with my own hand.
I was not - and due to my age I could hardly have been - close to Blok. But I met with Blok, spoke with him, I remember a lot of what he said, and I want to talk about it.
The first time I saw Blok was in the first half of 1903 or at the very end of 1902, when Blok was 22 years old and I was only 12. He came to my brother Alexander Vasilyevich1 and sat at our family evening tea, in a gray, as they wore then, a student jacket. Of everything that happened that evening, I remember only one thing, but I remember it well: reading Blok’s poems and talking about them. It started with the fact that my father, in the midst of some seemingly indifferent conversation, suddenly said in a somewhat tense tone, turning to Blok: “Alexander Alexandrovich! Read the poems." To this Blok answered quite calmly and simply: “Yes, I’ll read it with pleasure.” He read "The Queen Watched the Screensavers." My father, an admirer and translator of Dante and Petrarch, smiled with slight irony. “Well, why do you write decadent poetry? Why blue riddles? Why are the riddles blue? Blok, after thinking a little, replied: “Because the night is blue,” but then, laughing, said: “No, of course, that’s not it.” And wanting, perhaps, to deflect the reproach of decadence, he read: “I am young, and fresh, and in love.” “This is a completely different matter. However, these are fragrant tears.” But Blok answered very convincingly: “No, maple’s tears are fragrant. Another question is whether a maple tree can have tears.” This seems to be the end of the dispute.
I will skip rare meetings in subsequent years (in 1906-1909, often at the Komissarzhevskaya Theater - at premieres) and move on to the time when I began to meet with Blok outside
Family and outside of his relationship with my brother, and independently - as a writer.
The first such meeting took place at the beginning of 1909. It took place, as it were, symbolically for me - almost literally on the threshold of the editorial office of the “New Journal for Everyone”2 and “New Life”, where I went to receive one of my first literary fees. “Are you in the “Magazine for Everyone”? - asked Blok. Were these your poems in the magazine? I liked it". This stingy praise would have been even more dear to me if I could then have foreseen his later and equally stingy: “I didn’t like it.” When I went up to the editorial office, I saw on the editorial table a piece of paper written in Blok’s clear handwriting. The lines that caught my eye:
You sadly wrapped yourself in a blue cloak.
On a damp night you left the house.
I didn't ask myself why the cloak was blue. By that time, Blok with his entire system of images had firmly entered into my consciousness, into my entire life.
V.V. Gippius "Meetings with Blok"
17.11.2011 15:05:00
Review: positive
Victor, let me be a little mischievous. :))
Excerpt from the novel "..."
Igor downed his glass and with an artistic gesture grabbed a blue volume from the shelf.
With your permission, gentlemen and ladies, let's take Blok. I beg your pardon, San Sanych, I will slightly shake your tripod with incense. What is the most famous poem by the great poet? Well, except for the poem “The Twelve”? Of course, this: “About valor, about exploits, about glory.” But! Think about it: the poem is entirely based on logical mistakes. We read the first stanza:
“About valor, about exploits, about glory
I forgot on the sorrowful land,
When your face is in a simple frame
It was shining on the table in front of me.”
What is it about? - Igoresha looked around the audience. - Some time ago the lyrical hero was in love. I even forgot about what usually occupies men much more than some beloved woman - fame. Of course, he was separated from his beloved. All that was left of the lady of the heart was a “face in a simple frame” - a photograph or portrait.
“But the hour has come, and you left home...”
Hello, you're welcome! It turns out that in the previous stanza she lived with him, this woman? She sat next to her, looked, for example, out the window, and at that time he looked at her portrait shining on the table. Apparently the portrait shone better. And he was staring at the portrait, not at his lady. Ha, dear Lear. hero! I know why she left you. If I were in her place, I would do the same.
“But the hour has come, and you left home,
I threw the treasured ring into the night.
You gave your destiny to someone else
And I forgot the beautiful face."
Forgot? So, did you throw away the portrait? Yeah, on the night together with the treasured ring. If the portrait had continued to stand on the table, the hero would not have forgotten his face. I’m not talking about the epithets “cherished” (ring) and “beautiful” (face).
This is the style of a cruel romance,” Lucy finally raised her voice. “Such things are acceptable there.”
“I called you, but you didn’t look back,
I shed tears, but you did not condescend,
You sadly wrapped yourself in a blue cloak,
You left the house on a damp night.”
Yes, this is a complete failure! Four verb rhymes in a row! And what! “She came down and left”, “looked back and turned around”! “I shed tears...” - a good tearful hero dreaming of glory! Any editor, seeing such a helpless technique, is obliged to close the manuscript and return it to the author. But this is Blok! Genius! He can! And, by the way, according to the logic of the plot development, it turns out that the heroine left again (again!). When did she manage to return? There is nothing about this in the text!
“I don’t know where my pride has a refuge
You, my dear, you, my gentle one, have found...
I sleep soundly, I dream of your blue cloak,
In which you left on a damp night...”
"I'm fast asleep." Lucy, how would you react to such a confession from your gentleman? Guys, if you ever want to tell your loved one that you feel bad without her, don’t tell her that you sleep soundly and have a good appetite! Further, on the psychology of lyres. hero: he either sheds tears or sleeps soundly. Let me remind Stanislavsky: I don’t believe it!
“No longer dream of tenderness, of glory,
Everything is over, youth is gone!
Your face in its simple frame
I removed it from the table with my own hand.”
How can you put “tenderness” and “glory” in the same semantic row? It’s like “warm” and “green” – the words don’t fit together. A classic mistake of inexperienced poets. As for the “face in a simple frame,” it was, in theory, removed from the table three stanzas ago. Remember when lyr. did the hero forget his face? How did this face end up on the table again?
And the epithets?! The cloak is blue, the frame is simple, the night is damp. Banality upon banality. Where is the symbolism for which Blok is so famous? Where, in what lines can it be found and assessed here? And this creation is presented as an example of poetry? In my opinion, all this - the face-ring, found-went, left-descended - does not stand up to the slightest criticism.
“I cut up Blok like a herring,” Lucy smiled sparingly. - It's funny.
It’s clear,” Dimka finally broke through Igor’s monologue, “to appreciate these poems, you need to understand their context, namely, have an idea of the personalities of Alexander Blok and Lyubov Mendeleeva. Readers - and these were people from their own circle - saw in these poems something more than just words. Symbolism precisely implies that there is some hidden, sacred meaning. It was believed that this secret knowledge was available to Blok’s “initiated” contemporaries. And you, Igorek, anatomized the text as a set of words, according to their first plan. With such an analysis, the entire spirit of the era evaporated.
Thanks for explaining, damn it. But let me, old man, misbehave a little and entertain Lucy. Yes, and agree, Dimych: if today someone brought you such poems without naming the author, you would gouge them out worse than me! I did not at all want to debunk San Sanych. I have a different goal: to show how the criteria of perfection and beauty can change depending on the era. Even in such a thoroughly lived-in environment as poetry. Lucy is right: today such a text can only be perceived as a cruel romance. Many masterpieces of earlier times are, let’s say, not relevant today. But the paradox of history is that the work, in fact, is long gone, but the glory of its author lasts.
And what I feel most sorry for in this poem is its heroine, Lyuba Mendeleeva,” Lucy shrugged. “During her lifetime, she was made into an idol and placed on a pedestal. No one remembers her tragedy on this pillar. Everyone - ah, Blok! And she?
As Anna Akhmatova said about her memoirs, “Blok and Bely loved you. Shut up!” - Igorek threw in some firewood.
Well, experts, tell me, which of the geniuses of Russian poetry rhymed “myself-you” and “couldn’t-sick”?
“Pushkin,” Dimych and I said in unison, looked at each other and laughed. - This is from the first stanza of Onegin.
Pour it up, boys! So why are we drinking?
And whoever is in tune with the era will have no problems! - Dimych immediately said."
About valor, about exploits, about glory
I forgot on the sorrowful land,
Once upon a time your face is in a simple frame
It was shining on the table in front of me.
But the hour came, and you left home.
I threw the treasured ring into the night.
You gave your destiny to someone else
And I forgot the beautiful face.
The days flew by, spinning like a damned swarm...
Vivo and passion tormented my life...
And he called you like his youth...
You sadly wrapped yourself in a blue cloak,
On a damp night you left the house.
I don't know where your pride is sheltered
You, my dear, you, my gentle one, have found...
I sleep soundly, I dream of your blue cloak,
In which you left on a damp night...
This poem was written in 1908 and was included in the third volume, in the “Retribution” cycle. This cycle continues the theme of a “scary world”. Retribution, according to Blok, is, first of all, a person’s condemnation of himself, betrayal of the once sacred vows, the payment for which is spiritual emptiness, weariness of life, submissive expectation of death. These motifs are heard in all the poems of the “Retribution” cycle.
The genre of the poem is a love letter. The hero turns to the woman he loves who has left him. He feels a passionate desire to return the love lost many years ago. This desire is conveyed in the poem using anaphors and syntactic parallelism:
And I remembered you in front of the lectern,
And he called you like his youth...
I called you, but you didn't look back,
I shed tears, but you did not condescend.
Having parted with his beloved, the hero lost the meaning of life, terrible days began to flow, swirling in a “cursed swarm.” The image of the “terrible world” is symbolic; it is one of the key ones in the poem. Merging with the image of a damp night, it contrasts with the “blue cloak” in which the heroine wrapped herself when leaving home (blue is the color of betrayal).
The poem “About valor, about exploits, about glory...” has a ring composition: the first stanza repeats the last, but is opposed to it. This technique closes the poem in a hopeless circle: in the words of the lyrical hero there is only bitterness and despair, the pure dream is dispelled, the hero no longer believes in love:
Don't dream about tenderness, about fame,
Everything is over, youth is gone!
Your face in its simple frame
I removed it from the table with my own hand.
