Class: 11
Presentations for the lesson
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Goals:
- Show the polemical nature of the poem, its artistic features.
- To improve the ability of students to draw independent conclusions after getting acquainted with the work of the poet.
- Repetition of concepts: style, genre, composition, symbol.
- improve expressive reading and the ability to analyze poetic text.
- To cultivate attention to the word, to determine the author's attitude to the events of the 1917 revolution.
Techniques and methods: analysis of a poetic text (search and partially research methods of work), independent work students according to a given program (interpretation of a literary text, creation of the final product of an activity - a computer presentation), group work of students.
Equipment:
1. Multimedia projector
2. Computers.
3. Screen for reproducing the results of work - presentations.
DURING THE CLASSES
I. The word of the teacher. Announcement of the topic of the lesson.(Slide 1)
II. Setting goals and objectives of the lesson.(Slide 2).
Appeal to the slide film of the project “Cyril and Methodius” - 2 slides of the multimedia lesson “A. L. Blok. Poem "Twelve"; listening to a recording of a fragment of the poem.
III. Appeal to the epigraph .
Teacher: By writing the poem "The Twelve". Block exclaimed: “Today I am a genius!”. "Twelve" - whatever they are - is the best thing I've written. 'Cause back then I was living in modernity", - said the poet. (Slide 3).
Teacher: In January 1918, something happened to Blok that he was able to embody all the chaos that surrounded him - the chaos of the revolution, from which, he believed, the harmony of the future should be born, and therefore he blessed this chaos and captured it not only in words, but and in the musical images of his poem. (Slide 4).
O. Paramonov (author of the project “The 20th century through the eyes of Russian poets”), an honored teacher of Russia, recalls: “ When I read this poem to a Mongolian student whom we met during my studies in Leningrad, he, who did not know Russian well, said: “This is a snowstorm in the steppe". Blok really managed to embody the state in which Russia was, and in which the poet was these days. (Slide 5).
What prompted the poet to create such an ambiguously interpreted work. The first group of students who prepared a presentation on a given topic will tell us about this.
IV. Band performance(no more than 5 minutes each).
1 group
Preliminary task: tell about the idea of the poem “The Twelve” (the period of creation, the attitude of the author to the work, the idea of the work). Pay attention to the author's attitude to his work, reviews in criticism, interpretation of images, political aspect (if any). Create a reference slide.
(Slide 7). Blok in his poems foresaw the awakening of Russia, welcomed its cleansing coming, because real life was impossible for him. When he completed this poem in January 1918, he, quite strict with himself, wrote in his diary: “Today I am a genius”
In general, “The Twelve” is a paradoxical work. It was written in January 1918, that is, in hot pursuit, two months after the October Revolution. It is very difficult for a contemporary to realize the significance of the event - “great things are seen at a distance”. The poem surprised even Blok's contemporaries. According to V. Mayakovsky, "some read in this poem a satire on the revolution, others - the glory of it." But if the poem is about the revolution, why are the revolutionary actions, the leaders of the revolution, not depicted in the poem? Why is the pursuit of the “traitor” Katya (actually a prostitute) and her murder at the center of the epic narrative?
According to the literary critic L. Dologopolov: “Blok created a new form of the epic poem, and the novelty of the form was in direct proportion to the novelty of the content. The philosophy of the revolutionary era, as Blok understood it, was embodied in The Twelve in a completely new poetic system, which was reflected in new rhythms, in a new style, in vocabulary..
The characters are drawn concisely and expressively. This is a figurative comparison: “the old woman, like a chicken, / somehow rewound through a snowdrift”; speech characteristic: “Traitors! Russia is dead! / Must be a writer - / Vitya ... ”, a biting epithet and an oxymoron: “And there is a long-haired one - / Side by side behind a snowdrift ... / What is sad now, / Comrade priest?”. Twelve heroes make up one squad: “In the teeth - a cigarette, a cap is crushed, / An ace of diamonds should be on the back!” - short and clear - “the prison is crying for them” (a rhombus was sewn onto the clothes of convicts). Among them is Petka, the “poor killer”, who cheered up from the reminders of his comrades: “Keep control over yourself!”
Katka is shown in more detail. Here and appearance: “the teeth shine with pearls”, “it hurts the legs are good”, “fat-faced”, and the way of life: “she has Kerenki in her stocking”, “she fornicated with officers”, and attractive charm: “because of the prowess of the trouble / In her fiery eyes, / Because of a crimson mole / Near the right shoulder...”).
Teacher: How the name of the poem and its construction are interconnected, the 2nd group of students will tell.
2 group
Preliminary task: tell about the composition of the poem (on what principle it is built, how many chapters, what they are devoted to, how they are arranged, what techniques are used by the author). Create a reference slide.
First, the poem contains twelve chapters. Secondly, the heroes of the poem are twelve Red Army soldiers. Thirdly, the image of Christ walking ahead of these Red Army soldiers (at the end of the poem) evokes associations with the twelve apostles. The next question arises. Why Christ? What does this image mean in the poem?
(Slide 10). Some perceive the image of Christ as an attempt to sanctify the cause of the revolution, others as blasphemy. The appearance of Christ, perhaps, is a guarantee of the future light, a symbol of the best, justice, love, a sign of faith. He is “unharmed from a bullet”, and he is dead - “in a white halo of roses”. “Twelve are shooting at him, albeit 'invisible'.
“Christ in the poem is the antithesis of the “dog” as the embodiment of evil, the central “sign” of the old world, the brightest note of the poem, the traditional image of goodness and justice” (L. Dolgopolov).
(Slide 11). “Twelve” is an epic poem, as if composed of separate sketches, pictures from life, quickly replacing one another. The dynamism and randomness of the plot, the expressiveness of the episodes that make up the poem, convey the confusion that reigned both on the streets and in the minds.
L. Gorelov: “Blok's poem consists of a mass of small details, sketches, pictures of everyday life, remarks, conversations, ditties, threats, exclamations, complaints. But all of them are merged together, firmly soldered by a single rhythm, that powerful and formidable semantic subtext, which is the main thing in The Twelve.
Teacher: Knowing that Blok is a symbolist poet, one cannot but pay attention to the poet's use of symbolic images in his poem. The 3rd group of students will tell about this aspect of the work.
3 group
Preliminary task: talk about the style and genre of the poem (the use of image symbols: for example, wind, colors, the image of Christ, 12 Red Guards - 12 apostles, etc.). List the genres that the author uses when creating certain images. Create a reference slide.
(Slide 12). The composition, reflecting the elements of the revolution, determines the stylistic diversity of the poem. “Listen to the music of the revolution,” Blok urged.
This is the music in the poem.
First of all, Blok's “music” is a metaphor, an expression of the “spirit”, the sound of the elements of life. This music is reflected in the rhythmic, lexical, and genre diversity of the poem. Traditional iambic and trochee are combined with different meters, sometimes with non-rhyming verse.
(Slide 13). In the poem, the intonations of the march sound:
It beats in the eyes
Red flag.
Is distributed
Measure step.
Here - wake up
Fierce enemy. (ch.ll)
An urban romance is heard. It is interestingly played up: the beginning is familiar, and then the revelry went:
Do not hear the noise of the city,
Silence over the Neva tower
And there is no more city
Walk, guys, without wine!
Often there is a ditty motif:
Lock up the floors!
Today there will be robberies!
Open cellars -
Walking now nakedness!
The revolutionary song is directly quoted:
Go-go,
Working people!
In addition, slogans are striking in the poem: “All power to the Constituent Assembly!”, Fragments of conversations are heard:
…And we had a meeting…
... Here in this building ...
(Slide 14). Wind, blizzard, snow - constant block motifs; symbolism of the color “Black evening. / White snow”, bloody flag; the number "twelve", "a dog without a root", Christ.
(Slide 15) “Blok introduced Christ not as an image of church tradition, but of a popular idea, uncomplicated by the church and the state, of God's ingenuous truth. Blok did not at all "bless" the revolution with this borrowed attribute of the people's faith, but only asserted historical continuity. The revolution inherited the ethical faith of the people!” (A. Gorelov).
“When I finished, I myself was surprised: why Christ? But the more I looked, the more clearly I saw Christ. And then I wrote down at myself: "Unfortunately, Christ". That Christ goes before them is certain. The point is not whether they are worthy of him, but the scary thing is that he is with them again and there is no other yet, but another is needed? Block wrote.
V. Knowledge control.(Slide 16).
Related questions(3-4 minutes):
1. Why do you think the poet rated his own work so highly (referring to the epigraph)?
2. Select in the text of the poem evidence of the thesis of the researcher of creativity A. A. Blok L. Dologopolov: “Blok created a new form of the epic poem, and the novelty of the form was in direct proportion to the novelty of the content. The philosophy of the revolutionary era, as Blok understood it, was embodied in The Twelve in a completely new poetic system, which was reflected in new rhythms, in a new style, in vocabulary..
Test(3 minutes).
On the desktop of computers, find the shortcut to the virtual school of Cyril and Methodius, open the folder, find the table of contents, select “Literature” in it. "Lessons. Grade 11". "BUT. L. Blok. The poem “Twelve”, open slide number 8 and complete the test (the forms are pre-printed individually) (Slide 17) , ( Attachment 1) .
Checking answers (Slide 18).
VII. Homework: memorize the beginning of the poem “The Twelve” (1 ch. to the words “... And the bourgeois at the crossroads hid his nose in his collar”) (Slide 19).
Sources(Slide 20).
- N. Egorova. Lesson developments in Russian literature. Grade 11. – M.: “WAKO”, 2005, pp.: 232-237.
- S. V. Lomtev, A. V. Ternovsky. A. A. Blok. Poems. Poem. – M.: Drofa Publishing House, 2001, pp.: 56-61.
- “Russian literature of the twentieth century. Grade 11” edited by V. V. Agenosov. - M .: Publishing house "Drofa", 1998, pp.: 90-94.
- Encyclopedia for children. (Volume 27). Great people of the world. / ed. M. Aksyonova and others - M .: The world of Avanta encyclopedias +. Astrel, 2006, pp.: 261, 263
- www.shahatovo.ru
- http://solsand.by.ru/blok? 12.html.
The poem was composed by a single spirit, in post-revolutionary Petrograd, frozen from the cold, in a state of some kind of semi-conscious feverish upsurge, in just a few days, and it took only one month to finalize it. Having finished the text of the poem in rough form, immediately after the legendary final phrase “... in a white halo of roses, Jesus Christ is ahead ...”, Blok leaves a somewhat chaotic, but very revealing remark in his notebook 1918, completely devoted to the period of the poem "The Twelve": the final Terrible noise growing in me and around. This noise was heard by Gogol (to drown out his calls for family order and Orthodoxy) ... Gogol Orthodoxy Today I am a genius. (January 29, 1918, A.A. Blok, notebooks). A.A. Blok
March 3 On March 3, according to the new style, the poem "The Twelve" was published, which is significant, in the newspaper of the Socialist-Revolutionaries "Banner of Labor", and in May it was first published as a separate book. Here is what the artist Yuri Annenkov, the first illustrator of the poem "The Twelve", wrote about Blok's subtle inner mood, who communicated very closely with the poet in that very year. The global conflagration seemed to him a goal, not a stage. For Blok, the world fire was not even a symbol of destruction: it was the world orchestra of the people's soul. Street lynching seemed to him more justified than a trial. Hurricane, constant companion of coups. And again, and always Music. Music with capital letter. Those who are filled with music will hear the sigh of the universal soul, if not today, then tomorrow, Blok said back in 1909. In 1917, it seemed to Blok that he heard her. In it, repeating that the spirit is music, Blok said that the revolution is music that those who have ears must hear, and assured the intelligentsia: With all your body, with all your heart, with all your consciousness, listen to the revolution. This phrase was the same age as the poem Twelve.1917 spontaneous revolution lynching coups Music of 1909 by the intelligentsia (Yu.P. Annenkov, "Memoirs of Blok").
“The poem Twelve made a hole in the broad crowd, the crowd that had never read Blok before. The poem Twelve was identified by this crowd by ear, as related to it in its verbal construction, verbal phonetics, which could hardly be called a book at that time and which rather approached a ditty form. Despite the poet's creative silence, his popularity, thanks to the street phonetics of the Twelve, grew from day to day.
slide 1
Lesson topic: “A.A. Block "Twelve". The complexity of her artistic world."
Teacher of the Russian language and literature, MBOU "Lyceum" Dubna "Shmidt Elena Ivanovna
slide 2
"With all your body, with all your heart, with all your mind, listen to the Revolution." A.A. Block.
slide 3
The purpose of the lesson:
Cultivate students' reading habits. To introduce students to the innovative poetic method of A. Blok. Show the implementation of this method through the analysis of the artistic fabric of the work. To develop students' interest in A. Blok's poem "The Twelve" and help to creatively comprehend it. Engage in in-depth work with text. Consolidate the knowledge gained in the lesson with the help of creative homework.
slide 4
Polymetry - (Greek "poly" - a lot; "metreō" - measure, measure) - a combination of different poetic meters or several systems of versification in one work.
slide 5
Rhythmic organization of the work.
Conclusion: A. Blok combines in his poem not only the dimensions of one system (syllabic-tonic), but also combines different systems of versification within the stanza. Therefore, in general, the work is a polymetric verse.
slide 6
Artwork style
March Slogan Appeal Poster Song Romance Chastushka Prayer Unrhymed lines + conversations, shots
One whole. Music of those days.
Slide 7
Artwork style
Conclusion: The author uses polyphony, polyphony, as well as polymetry in the work to convey "the music of those days." The seeming aesthetic multidimensional chaos in the work conveys the real chaos of the revolutionary time.
Slide 8
Character system.
Past Dog Bourgeois Old Woman Writer Pop Lady Vanka Katka
The Real Twelve Petruha Andryukha
Slide 9
Character system.
Conclusion: Twelve is a symbol of the national element. A. Blok does not idealize the heroes and does not try to judge them. Twelve leads forward "black malice", but also "holy malice". Their deeds are an act of retribution for centuries of oppression. The ambivalent attitude towards the heroes also shows the author's ambivalent attitude towards the revolution. The dream is lofty, but it is realized by people who are "ready for anything" and who "sorry for nothing."
Slide 10
Color symbolism
Black Low Old False Evil Red White High New True Good
Past present Future
slide 11
Color symbolism
Conclusion: A. Blok portrayed revolutionary Russia as a world split in two, as a confrontation between black and white. Old Russia is associated in Blok's mind with black. He hopes for the transformation of Russia from black to white. The bloody (red) present is only a transitional stage.
The time of the creation of the poem In January 1918, in hot pursuit of the events that shook the world. Started on January 8, break, completed on January 17 and 28. 2 The poem "The Twelve" is inspired by revolutionary events: the last months of 1917 and January 1918 were apocalyptic weeks - the Treaty of Brest-Litovsk, the Red Terror, the beginning of the Civil War, the shelling of the Kremlin, Chess. The poem, written in less than a month, at the highest rise of creative forces, remains a monument to the shortest era of the first weeks of the 1917 revolution. Having finished it, Blok said: "Today I am a genius."
Genre, style and composition of the poem "The Twelve" "The Twelve" is an epic poem, as if composed of separate sketches, pictures from life, quickly replacing one another. Dynamism and randomness of the plot. The expressiveness of the pictures that make up the poem conveys the confusion that reigned both on the streets and in the minds. - Are there any lyrical motifs in the poem? How does the author express himself? The author is not the hero of the poem, his position is manifested indirectly in what and how he portrays; in the initial landscape painting, at the end of the poem.
The composition, reflecting the elements of the revolution, determines the stylistic diversity of the poem. “Listen to the music of the revolution,” Blok urged. This is the music in the poem. The music of the revolution is a metaphor, an expression, a sound of life. This music is reflected in the rhythmic, lexical, and genre diversity of the poem. Traditional iambic and trochee are combined with different meters, sometimes with non-rhyming verse. The intonations of the march sound in the poem: The Red Flag beats in the eyes. A measured step is heard. Here - wake up ... A fierce enemy (ch. 11).
Black evening. White snow. Wind, wind! A person does not stand on his feet. Wind, wind - In all God's world! The wind curls White snow. Ice under the snow. Slippery, heavy, Every walker Slips - oh, poor thing! Contrast of black and white. Black evening, White snow… (“White snow” is a symbol of purity and hope) But Under the snow is ice. Slippery, heavy, Every walker Slips - oh, poor thing! What does "ice" symbolize? 1 chapter
The image of the wind - the entire action of the poem unfolds against the backdrop of wild natural elements: Wind, Wind In all God's world! “The wind is biting”, it “walks”, “whistles”, “both angry and happy”, “something blizzard broke out”, “oh, what a blizzard, save me!” “The blizzard is filled with long laughter in the snow” 8 The image of the wind would comment on what is happening: it knocks down some, it seems “fun” to others, it “tears, crumples the poster about the Constituent Assembly”, when the Red Guards appear, it joyfully “walks”. The wind grows together with the Petrograd landscape and the Revolution.
Characters of the 1st chapter. An old woman: figurative comparison: "an old woman, like a chicken, / somehow jumped over a snowdrift." Bourgeois: "... at the crossroads he hid his nose in his collar" A biting epithet and an oxymaron: "And there is a long-haired one - / Side by side behind a snowdrift ... / What is not cheerful now, / Comrade pop?" Vitya: "And who is this? - Long hair And says in an undertone: - Traitors! - Russia is dead! -orator, a person skilled in eloquence (obsolete or irony.). Ornate, intricate (about the syllable, style of speech, handwriting) Pop: "belly" Mistress: “in karakul” Tramp: “stooping” 9
Is it possible to agree that Blok satirically depicts the old world? What artistic features does the author use in depicting the old world? Epithets: long hair, long-haired irony: what is a gloomy comrade priest now? Do you remember how it used to be, With his belly he went forward, And his belly shone like a cross on the people; Colloquial vocabulary: Slipped and - bam - stretched out Is the old world only depicted satirically? How do you understand the following lines? And we had a meeting ... Here in this building ... ... Discussed - Decided: For a while - ten, for the night twenty-five ... And less - do not take from anyone ... (These are representatives ancient profession solve the problems that have arisen, following the example of the builders of a new life.)
Chapter 2 - the image of freedom without a cross In chapter 2, 12 come to the fore. The significance of this number is emphasized by the title of the poem. How do they appear in the poem? - against the background of polyphony (an abundance of dialogues) - a clear marching rhythm - anarchist remarks 11 ... twelve people are walking. Rifles with black belts, All around - lights, lights, lights ... In the teeth - a cigarette, a cap is crushed, An ace of diamonds should be on the back! These are the urban poor, former convicts. Their appearance embodies the spiritual image: Freedom, freedom, Eh, eh without a cross! They are atheists, they bear all too clearly the traces of the life they lived, a life in which, in order to survive, it was necessary to become such.
Remarks of Chapter 2: Freedom, freedom, Eh, eh, without a cross! Tra-ta-ta! Cold, comrades, cold! Comrade, hold the rifle, don't be afraid! Let's fire a bullet at Holy Russia... Eh, eh, without a cross! Slogans: Forward, forward, forward, Working people! (6) Comrade! Look both! (10) Revolutionary keep striding! The restless enemy does not sleep! (2)
12 speaks of them as potential convicts. Their appearance and habits are unusual and even scare away. The “Words” abound in coarse vernacular and swearing, thoughts and motives are base: not without envy, they talk about their former comrade, Vanka, who was successful in worldly and love affairs. New world, like the old one, does not idealize. He does not straighten, does not idealize his heroes.
This is an internal, psychological portrait of "comrades", their collective consciousness ("ours", "we"). But this is also Blok's reflection on the need to overcome the contradiction between the external and the internal. For the revolution to be justified, it is not enough to burn the bourgeoisie with a world fire. It is necessary that this fire was in the blood. But according to an old habit, they turn to the Lord for a blessing on this step.
Chapters 4-7 - Katya's story Why was Katya killed? What is her fault? In fact, Katka is an innocent victim: even if we consider that her fault before the revolution was that she used to spend nights with the Red Army soldier Petrukha, and now with the bourgeois Vanka, is the punishment too severe for such guilt? - murder without trial and investigation, and then mockery of the corpse? Where is Katya? - Dead, dead! - Shot in the head! What is Katya, glad? - no gu-gu ... Lie down, carrion, in the snow!
Pay attention to the moral assessment of the perfect act. Petruha is worried because he loved this girl ... He spent black, drunken nights with this girl. Chapter 7 But Petrukha's experiences are devoid of a moral basis. His comrades do not worry at all: in their value system, what they have done is an ordinary act that does not deserve to be experienced. Their sympathy for Petrukha is very peculiar: in providing moral support, they are trying to turn Petka to the great idea of the revolution: What are you, Petka, a woman or something ... Maintain your posture! Keep control over yourself! Now is not the time to babysit you! Time will be harder for us, dear comrade!
Chapter 8 In chapter 8, the emptiness of the hero's soul pushes him to an orgy. “Bored” is absolute inner emptiness. When there is no spiritual and spiritual "content" of one's life, then someone else's life is worthless. The egoism of revolutionary willfulness is socially directed towards the "floors", towards the bourgeoisie. However, blood retribution did not bring satisfaction to Petrukha. It is impossible to fill an empty soul with someone else's blood, and therefore the hero remains in the same state. Compositionally, the cupola is looped with the word "Boring!" 8 lines create a terrible picture of lack of spirituality: the phenomena of the same order appear and peel the seeds, and scratch the crown, and slash with a knife.
Chapter 9 - the bourgeois at the crossroads is compared to a hungry dog. The beginning of the chapter is a romance about the Decembrists. - Is it by chance that the image of a bourgeois is given at a crossroads? What is an intersection? Are there only 4 roads, is it also a cross? Can any of the roads lead to a life where he will become himself? - How do you understand the image of the "question man"? To whom is this question addressed? Can you answer it? Who could answer it? Why did the man-question froze where the heart of the crucified Christ is? In chapter 9, Blok paints a picture, terrible in its hopelessness, of the suffering of a person who is doomed to death not because of some personal qualities, but because the world in which he could be a person is destroyed by the very “twelve” who continue their victorious march "Walk, guys, without wine!".
Chapter 10, the blizzard intensifies ... A blizzard sweeps the crossroads, and in this impasse, Petrukha, embarrassed by the proposal of the bourgeois, tries to rely on the old, familiar values: “Oh, what a blizzard, save me!” Savior - Savior is another name for Jesus Christ. "Comrades" Petrukha object: - Petka! Hey, don't lie! What saved you from the Golden Iconostasis? You are unconscious, right, Judge, think sensibly - Ali's hands are not covered in blood Because of Katya's love?
Chapter 11 The first stanza affirms what happened: And they go without the name of the saint All twelve into the distance ... Let's pay attention to the word "all". They found unity, which is symbolized by the marching musical rhythm. At this moment, the external elements lose their power - "And the blizzard dusts their eyes," - but the forward movement continues. By the end of the poem, the motive of movement changes and almost rings it. Let's compare three phrases: "Twelve people are coming"; "They go without the name of a saint"; "They go far with a sovereign step." Has the internal content of the movement changed? Undoubtedly. Powerfulness is the fulfillment of the state mission. In this performance, they realize their purpose. Has the revolution accomplished its task of “remaking everything”? Yes. Such Blok "heard" her in January 1918. But in reality? In reality, it was more terrible, bloody and complex. Blok will soon realize this: the music will stop playing. - Why is this stanza separated from the previous and subsequent ones by ellipsis? Does this mean that Blok attaches special importance to it?
Chapter 12 In the final chapter command words and intonations. "Comrades" come into their own and pass from words to "deeds". The plot of the poem ends with a bloody stanza: Fuck-tah-tah! Fuck-tah-tah ... And ellipsis, talking about the continuation of bloodshed. Having killed Katya, they realized their right to kill others with impunity... From this moment the real revolution begins. The picture drawn in the last chapter is twelve Red Army soldiers and behind them is a hungry dog, the personification of the old world. Blok understood that the past and the future at such sharp turns in history as the revolution are inextricably linked.
The last stanza, which concludes the poem, is ambiguous. Firstly, starting with an echo of a march intonation, it almost instantly loses it, and a melodious, prayerful melody arises, Blok's personal melody, returning us to his cycles "Snow Mask", "Faina". Second, the poet images-symbols expressed his understanding of the historical movement of mankind: from "behind" to "ahead". Schematically, it should be presented as follows: P 12 I.Kh. "P" denotes a dog, the past in all its manifestations; diabolical beginning; twelve symbolizes humanity moving towards Truth, Beauty, Virtue, which are personified in Christianity by Jesus Christ. Dog and Christ - rhyme. If there is good, then there is evil. But if “The Dog” in the composition of the stanza is placed next to those walking, then they are distant from Christ by a huge distance - twenty meaningful words! Will they reach Him?
Is the appearance of Christ in the last chapter accidental? The appearance of Christ cannot be considered unexpected: starting from the first stanza, the image of the Creator is constantly present in the poem. Let us remember that initially Christianity is the religion of the disadvantaged, striving for a better fate. Perhaps Christ at the end of the poem picks up a bloody flag and finds himself with those who do not need it, because He is not free in himself, for he does not have the right to leave a weak and imperfect creation - man - alone with that world of malice, which is the same He was created by man… For if He is with them, that is, even if insignificant, but still the hope that confusion and darkness in human souls will give way to the world of light, goodness… There can be no such hope without Him. This is probably why the poem ends with white: “In a white halo…”
What is the significance of the image of Christ in the poem? 1. Some perceive the image of Christ as an attempt to sanctify the cause of the revolution. The appearance of Christ can be a pledge of light, a symbol of the best, justice, Love, a sign of faith. He is both “unharmed from a bullet”, and he is dead - “in a white halo of roses”. “Twelve shoot at him, albeit “invisible”. 2. Others perceive this image as blasphemy
Christ is mentioned several times in the poem. "God bless!" - exclaim the revolutionaries, who do not believe in God, but call on him to bless the "global fire" they are fanning. Petruha also turns to the Savior: “Oh, what a blizzard, Savior.” And already in the final episode - the appearance of Christ with a bloody flag in his hand. This ending haunted Blok himself: “The more I peered, the more clearly I saw Christ. And then I wrote down at my place: unfortunately, it is Christ. But Blok also wrote that it was not Christ, but the Other, who should go with the Red Guards. Who does appear at the end of the poem?
Who's waving the red flag there? This image is interpreted differently. M. Voloshin, for example, believed that Christ was persecuted by the Red Guards. And this pursuit ends with shooting at him. Another thing can be assumed: Christ is here the Savior of the sinful souls of people lost in political darkness. They don't know what they are doing. Bringing them back to God is the purpose of Christ. How then to explain the red flag in the hand of Christ? Blok spoke vaguely about this: “Christ with a flag is, after all, “and so and not so.” The poet said all he could. In those January days, it seemed to him that the elements of the revolution were creative, but it turned out to be destructive.
Whatever Blok wanted to see the revolution, he depicted it objectively, following his call "with all your body, with all your heart, with all your consciousness - listen to the revolution." He heard it in January 1917, and in January he understood it and ... fell silent. Only once more, on February 11, 1921, his new poems were recited to “Pushkin House” - poems to the one who for Blok was the embodiment of Russia's spirit of its people. "Not. Pushkin was not killed by a d'Anthes bullet, Blok will say, "it was the lack of air that killed him, he was deprived of his secret freedom." "Lack of air" killed Blok as well.
Thus, in the revolution, A. Blok saw the elements, agreed with its natural character, but at the same time saw her cruel face, in many respects foresaw her disastrous consequences. Welcoming the revolution as a radical way to change life for the better, the poet romantically presented its forces as more reasonable and humane than they actually turned out to be.
Description of the presentation on individual slides:
1 slide
Description of the slide:
AA Blok "The Twelve" Having written the poem "The Twelve", Blok exclaimed: "Today I am a genius!" "Twelve" - whatever they are - is the best thing I've written. Because then I lived in modernity, ”the poet claimed.
2 slide
Description of the slide:
The poem "The Twelve" Contains 12 chapters. The heroes of the poem are 12 Red Army soldiers. The image of Christ walking ahead of these Red Army soldiers (at the end of the poem) evokes associations with 12 apostles.
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About the poem Time of creation of the poem. “In January 1918, hot on the heels of events that shook the world. (2 months after the October Revolution) Started on January 8, a break, added on January 27 and 28. He made an exciting entry (usually mercilessly strict with himself): “A terrible noise is growing in me and around ... Today I am a genius.” It is very difficult for a contemporary to realize the meaning - "great things are seen at a distance."
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Blok and Revolution What is a revolution for Blok? Music. Musicality becomes for Blok the highest criterion of value in life, in creativity: “We must listen and love the sounds now that they fly out of the world orchestra; and, listening, understand that it is about the same thing, everything about the same thing. Chukovsky: “The bloc was waiting for the revolution, as no one expected. In his view, she had to cleanse life, clean out this filth, dirt, lack of spirituality. She was to make the human herd into a people." He openly and uncompromisingly expressed his unconditional acceptance of the revolution in the article "Intelligentsia and Revolution".
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The plot of the poem The plot is simple: twelve Red Army soldiers, a military patrol, maintain order in the city during the curfew. But in fact, the paintings-chapters, changing, as in a children's kaleidoscope, add up to a large-scale panorama of post-revolutionary days.
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The symbolism of the poem The entire action of the poem unfolds against the backdrop of wild natural elements: Spinning: Wind, Wind In all God's world! “The wind is biting”, it “walks”, “whistles”, “both angry and happy”, “something blizzard broke out”, “oh, what a blizzard, save me!” "A blizzard with a long laugh // Fills in the snow"
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The symbolism of the poem The contrast of black and white. Classical color symbolism creates a sharp contrast, expressing the opposition of two worlds: Black Evening, White Snow… (“White Snow” is a symbol of purity and hope) But: There is ice under the snow. Slippery, heavy, Every walker Slips - oh, poor thing! "Ice" symbolizes the fragility, instability, uncertainty of the first steps in new life, path uncertainty.
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The main characters of the Twelve are the enemies of the old world, but they themselves came out of its depths. The poet symbolically conveys this with the image of the old world - the “rootless dog”, which does not lag behind, but hobbles behind. Dark passions also rage in them. They are seized by a heady feeling of permissiveness: “Freedom, freedom, eh, eh, without a cross!”.
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12 Red Army soldiers From the first appearance, 12 are on the move, on the way. What is this path? 1) This is the real path of the Red Guard patrols through the snowy streets of Petrograd. 2) This and a much larger place: movement outside of real space and time, this is a path through the past, present and future. Along the way, they face challenges.
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The images of the poem The image of the wind develops, is updated, it seems to comment on what is happening: it knocks down some, it seems “fun” to others, it “tears, crumples the poster about the Constituent Assembly”, when the Red Guards appear, it joyfully “walks”. The wind grows together with the Petrograd landscape and the Revolution. Petrograd turns out to be included in the elements, becomes a part of it, a manifestation. Obviously, the images of the wind, snowstorms have a symbolic meaning.
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The image of Christ The image of Christ organically grows out of the structure of the poem, the interaction of epic and lyrical motifs and becomes a symbol of the tragic transformation of the “Russian order of the soul” in the revolutionary era and his way of the cross after October. The twelve apostles of the new world do not see Christ (he is “invisible behind the blizzard”), they call out to him, ask him to appear, but he does not appear, and in irritation they shoot where his shadow appears. The Red Guards - with rifles, Christ - "in a white halo of roses." The snow over which this “ghost” of Blok moves is dazzlingly clean. There are no traces of blood on it, although a "bloody flag" flutters over the hero himself.
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"Twelve" in the assessment of Blok's contemporaries 1. Blok stands out clearly against the ideological and literary background. The list of writers who ended up in the ranks of his enemies is long: Bunin, Kuprin, Balmont, L. Andreev, Severyanin. They portrayed the October Revolution as an uprising of satanic forces, dooming the country to shame and death. 2. Yesterday's friends, admirers did not shake hands with him, refused to perform with him at evening parties, publicly shouted: "traitor", wrote all kinds of vile things about him in the newspapers, the meaning of which boiled down to one thing: "The block sold out to the Bolsheviks." 3. But if the poem is about the revolution, why are the revolutionary actions, the leaders of the revolution, not depicted in the poem? Why is the pursuit of the “traitor” Katka and her murder at the center of the epic narrative? 4. Others interpreted The Twelve as a satire on the revolution. 5. The newspaper "Pravda" is the "greatest achievement" of Blok's poetry - and at the same time of all Russian poetry "after Pushkin, Nekrasov, Tyutchev."
