Essay text:

A. Blok began his creative path as a poet-symbolist. This, probably, can explain the many images and symbols that fill his poem “The Twelve,” a kind of chronicle of the revolution, a vivid copy of the time of the death of the old world, hated by the talented lyricist.
The main colors in the poem "The Twelve" are black and white. The poem begins with them, as if we immediately find ourselves in a completely special, non-colored world:
Black evening. White snow.
The abundance of black in this poem can be interpreted not only as a symbolic reflection of the dark, evil principle, but also as chaos, the victory of elemental forces not only in the world, but also in man. The spirit in this poem is so indomitable that it seems that it is the wind and blizzard that are tearing it apart. Perhaps it was the elemental forces that found their manifestation and embodiment in a detachment of twelve people. Former convicts, "bastards", today they are defenders of the revolution. But with what ease do they indulge in revelry and robbery, as if their goal is not the construction of a new world, but only merciless destruction! Black?;
It also symbolizes the lack of spirituality, the inner emptiness of these people, who renounced everything that was sacred to them:
...And I walk without the name of the saint All twelve into the distance.
Ready for anything
No regrets...
They are ready to shoot with a rifle at what is most precious to the poet:
Let's fire a bullet into Holy Rus'
To the condo,
In the hut, in the fat ass."
At the moment, these defenders of the revolution do not see anything in front of them: there is darkness ahead, above them there is a “black, red sky”, in their chests there is “black anger, holy anger.”
And then another color red appears. He sympathizes with revolution and change. But very often in the poem of mmelto red the color “bloody” appears, eloquently testifying to all those victims that the destruction of the old and the construction of a new world require. Apparently, to the lyricist, the ideal of revolutionaries is a world fire that is one spontaneous an incarnation that burns and cleanses everything that is outdated, sick, and dead. But is a person able to control this indomitable element?
We are on the woe of all the bourgeoisie, we will fan the world fire, the world fire is in the blood, God bless!
And yet, in spite of everything, A. Blok believed in the revolution, in the fact that its participants and defenders would eventually be able to transform not only the world around us, but also themselves, and will learn to build. This hope is embodied in the color white, which has always been a symbol of purity, spirituality, and light. White snow falling on the city, accompanying the soldiers, silently and unobtrusively renews everything around. The quintessence of the holy, bright, purifying principle underlying the revolution is the image of Jesus Christ, appearing in last lines poems:
Ahead with a bloody flag,
And invisible behind the blizzard,
And unharmed by the bullet, with a gentle tread above the storm, with a scattering of pearls in the snow,
In a white corolla of roses
Jesus Christ is ahead.
A. Blok is in fact the greatest poet, because in the poem “The Twelve” he managed to convey not only the “music of the revolution”, but also the music of color, which helped him realize his grandiose author’s plan.

Rights to the composition" Color symbolism A. Blok's poem "The Twelve" belongs to its author. When quoting material, it is necessary to indicate a hyperlink to

Goal: developing the ability to analyze a literary text based on associative thinking

educational:

• determine the correspondence of the sound color to the psychological state of the poet;
• show the peculiarity of the poet's perception of the revolution

development:

• development imaginative thinking, imagination

educational:

• fostering a love of words, the ability to empathize, and compassion

Place of the lesson in the knowledge system:

• after the initial independent reading of the poem by students, at the beginning of its textual study in class.

Basic concepts:

• ANESTHESIA
• SYNESTHESIA
• SOUND COLOR

PROGRESS OF THE LESSON

I. Facing a problem

Hello guys!

In many areas modern life: science, art, literature, psychology actively use words with meaning colors.

Psychologists note a connection colors with emotions, i.e. every color evokes a certain emotion.

Compare reproductions. Which of them is clear, allows you to see emotions, feelings?

(1 - filled with meaning, color, conveys mood, 2 - colorless).

A colorless picture is incomprehensible and leaves the viewer indifferent.

Lack of emotions, feelings- called insensitivity ANESTHESIA.

I pin it on the board:

ANESTHESIA

Mixed feelings, for example: We hear the sound - we see the color - we imagine the image is called SYNESTHESIA.

I pin it on the board:

SYNESTHESIA

(SYNESTHESIA- this is the psychological correlation of color, sound, word)

Fundamental question:

How do we see the world? (Bright, colorful, depending on your mood).

The use of black and white enhances the resemblance to documentary photography, reminiscent of silent film footage (A. Blok uses this palette in the poem “The Twelve”).

COLOR is one of the factors that determines the state of our psyche.

Research hypothesis:

Blok’s perception of the world through the prism of mental torment has not been sufficiently studied.
Analysis of the poem based on SYNAESTHESIA will allow us to determine psychological state A. Blok at the time of creation of the poem "The Twelve".

LESSON TOPIC: A. Block "TWELVE": color painting state of mind

A. Blok's poem "The Twelve" was created almost 100 years ago in January 1918.

Why? We will determine the answer at the end of the lesson.

Twelve. What is this word associated with?

There are 12 Red Guards in the poem, 12 chapters;

• 12 o'clock - midnight;
• 12 months - end of the year.
• 12 is a symbol of the end of the day, the year, as well as the beginning of a new one, a step into an unknown future:

II. Promotion of a working version:

Symbolist poets knew that the sounds of speech are colored and depend on the meaning of the word.

A sound letter is associated with a color - this is sound color(hand out cards)

see Slide 4

On the board:

SOUND COLOR - color corresponding to sound

Problematic question:

Are there sound-color correspondences in A. Blok’s poem?

Stage III. Study of a literary text through the prism of the working version.

• Determine the sound color of chapter 1 of the poem “The Twelve”.
• Let's listen to chapter 1 performed by I. Kvasha: (4:10)

(the predominant sounds O, A, E, U are painted in dark and light colors, reminiscent of the image of the WIND).

Let's work in groups. Determine what SYNAESTHESIA of others chapters:

• Group 1 - chapters No. 2,3,4
• Group 2 - chapters No. 5,6
• Group 3 - chapters No. 7,8
• Group 4 - chapters No. 9,10,11

We consider chapter 12 together, the teacher reads:

Text layout: on the board

What is SYNESTHESIA text:

• Sounds
• Images?

Answer: (The poem is based on the opposition of two colors - white and black, two worlds - old and new).

Black evening. White snow.
Wind, wind!
The man is not standing on his feet.
Wind, wind -
All over God's world.

Teacher:

The abundance of black in this poem can be interpreted not only as a symbolic reflection of the dark, evil principle, but also as chaos, the victory of elemental forces not only in the world, but also in man. Perhaps it was the elemental forces that found their manifestation and embodiment in a detachment of twelve people. Former convicts, "bastards", today they are defenders of the revolution. The black color also symbolizes the lack of spirituality, the inner emptiness of these people who renounced everything that was sacred to them:

And they go without the name of a saint
All twelve - into the distance.
Ready for anything
No regrets...

They are ready to shoot with a rifle at what is most precious to the poet:

Let's fire a bullet into Holy Rus'
To the condo,
In the hut,
In the fat ass!

On at the moment these defenders of the revolution see nothing in front of them: there is darkness ahead, above them - “black, black sky", in the chest - "black anger, holy anger."

Another color appears quite often in the poem, which one?

Answer: (Red. This is a symbol of bloodshed ).

It hits my eyes
Red flag.
This is the wind from red flag
Played out ahead...

Red is color military banners of the revolution fluttering victoriously over those marching in a “powerful step” twelve Red Guards.

Black, white And red color the poem does not so much convey a picture of all-Russian events as a picture of a “world fire”).

And yet, in spite of everything, A. Blok believes in the revolution, in the fact that its participants and defenders will eventually be able to transform not only the world around them, but also themselves, and will learn to build. This hope is embodied in white a color that has always been a symbol of purity, spirituality, light. White the snow falling on the city, accompanying the soldiers, silently and unobtrusively renews everything around. The quintessence of the holy, bright, cleansing principle underlying the revolution is the image of Jesus Christ, appearing in the last lines of the poem:

Ahead - with a bloody flag,
And invisible behind the blizzard,
And unharmed by a bullet,
With a gentle tread above the storm,
Snow scattering of pearls,
IN white a corolla of roses -
Ahead is Jesus Christ.

White corolla of roses in chapter 12, white snow at the beginning of the poem - a circle consisting of 12 chapters of the poem has closed. Image of Jesus Christ for Blok was the herald of a new world order, where people will live in the categories of equality, fraternity, and freedom.

This is how Blok the poet saw the revolution; pay attention to the vision of Blok’s revolution by the artist Yu. Annensky, Blok liked his illustrations.

(see slides No. 8,9,10) ( sketchy, lack of bright colors, black and white, similar to documentary films).

Preference BLACK, WHITE, RED flowers in the poem, according to the theory of the French psychologist Max Luscher, means:

Were Blok's hopes for a revolution justified?

Why did he want the poem to be read sometime outside of his time?

(Following the poem “The Twelve,” Blok creates the poem “Scythians,” then there will be no poetic takeoff. Blok is disappointed, poetic silence, silence:)

A. Blok - in fact greatest poet, because in the poem “The Twelve” he managed to convey the music of color, which helped him realize his grandiose author’s plan.

Reflection: what color do you prefer now, pick up the sound color cards. This is your psychological state, perception of the lesson, your feelings, emotions. Thanks for your cooperation!

Analysis of A. A. Blok’s poem “The Twelve”

Symbolism of color and symbolism of images in the poem (the twelve and Jesus Christ)

Alexander Alexandrovich Blok is one of the most talented and greatest poets Russia, who tried in his work to reflect the complex, harsh and turning point time of the turn of the 19th - 20th centuries. Being a symbolist poet, Blok was able to convey grandiose events and predict the future in vivid and polysemantic images. Blok heard the mysterious music of time, poured it into his poems, thanks to which this melody sounds for us, his descendants.

Reading the poem “The Twelve,” we hear the excited speech of the author - an eyewitness and participant in that great event. The poem “The Twelve” is a unique and truthful chronicle of the Bolshevik revolution. Blok tried to capture his time for posterity in an original and imaginative way, to “stop the moment” at least in his work.

The wind curls

White snow.

There is ice under the snow.

Slippery, hard

Every walker

Slipping - oh, poor thing!

Vivid, multi-valued images and symbols play important role in A. Blok's poem, their semantic load is great; this allows us to more vividly imagine revolutionary St. Petersburg, revolutionary Russia, understand the author’s perception of the revolution, his thoughts and hopes.

The symbolism of color plays an important role in the poem “The Twelve”: on the one hand, black wind, black sky, black anger, black rifle belts, and on the other, white snow, Christ in a white crown of roses. The black, evil present is contrasted with the white, bright, harmonious future.

The symbolism of red color expresses the motive of the bloody crime. The red flag, on the one hand, is a symbol of a victorious end, on the other hand, a symbol of the bloody present. The colors are associated with the image of time: a black past, a bloody present and a white future.

But the colors predominate in the poem: black and white. All events take place in the evening or at night. Why does Blok choose this time of day?

Late evening.

The street is empty.

One tramp

Slouching,

Let the wind whistle...

Not very plausible things are happening in revolutionary Petrograd, which is probably why evening and night are the most suitable time of day for them.

Moreover, the wind is raging, knocking you off your feet. This natural phenomenon and a symbol of cleansing power, demolishing everything unnecessary, artificial, alien. The wind is cheerful “Both angry and glad. Twists hems, mows down passers-by, tears, crumples and carries a large poster: “All power Constituent Assembly“... In a spontaneous revolt, the poet shows not only destructive, but also creative power. It is not for nothing that Jesus Christ is ahead of the revolutionary patrol. Blok only outlined the future; it will appear brightly and visibly in his other works. Here, “holding on” tightly, trying to keep up with the present, the ghost of the old world is a hungry dog. It is impossible to drive it away, just as it is impossible to shake off the burden of the past in a single moment; it relentlessly follows on the heels of everyone.

Get off, you scoundrel.

I'll tickle you with a bayonet!

The old world is like a mangy dog,

If you fail, I'll beat you up! ...

Bares his teeth - a hungry wolf -

Tail tucked - not far behind -

A hungry dog ​​is a rootless dog...

How mercilessly and truthfully Blok shows the dying familiar world! He belongs to it too. But this is reality, and the author cannot lie. At times, joyful excitement can be clearly heard in the poem lyrical hero, he welcomes the wind of change. And the poet, what does Blok himself expect from the future? Most likely, he foresees his death along with the old, familiar and hated world, but it is impossible to resist this, just as it is unthinkable to stop the elements. The poem contains another vivid symbol - “world fire”. In the article “Intellectuals and Revolution” Blok wrote that revolution is like a spontaneous phenomenon, “a thunderstorm”, “a snowstorm”; for him, “the scope of the Russian revolution, which wants to embrace the whole world, is this: it cherishes the hope of raising a world cyclone...”. This idea is reflected in the poem “The Twelve,” where the author speaks of a “world fire” - a symbol of the universal revolution. And twelve Red Army soldiers promise to fan this “fire”:

We are woe to all the bourgeoisie

Let's fan the world fire,

World fire in blood -

God bless!

These twelve Red Army soldiers personify the twelve apostles of the revolutionary idea. They are entrusted with a great task - to defend the revolution, although their path lies through blood, violence, cruelty. With the help of the image of twelve Red Army soldiers, Blok reveals the theme of shed blood, violence during the period of great historical changes, and the theme of permissiveness. The “apostles of the revolution” turn out to be capable of killing, robbing, and violating Christ’s commandments.

It is the poet’s great merit that he not only managed to hear time, but captured it in his poem.

Fuck-fuck-fuck! --

And only echo

Responsible in homes...

Only a blizzard of long laughter

Covered in snow...

And they go without the name of a saint

All twelve - into the distance.

Ready for anything

I don't regret anything.

Here they are, the defenders of the revolution! Cruel, rude, soulless convicts and criminals. But at the end of the poem the most mysterious image appears, which “ennobles” the whole gang:

With a gentle tread above the storm,

Snow scattering of pearls,

In a white corolla of roses -

Ahead is Jesus Christ.

He, judging by the context, leads a detachment of Red Guards. It can be assumed that by this the author gave the former criminals an aura of holiness, and now they are no longer “golotba”, but a new, revolutionary people. Some researchers of the poet’s work have proposed interpreting this idea more broadly. The twelve are the apostles, led by Peter. But on what basis is this idea based? Only by their number, similar to the number of apostles? Or because among them only one is singled out - Peter? Or maybe because in the finale they are led by Jesus Christ? Yes, that's why. But they are the apostles of the new time, new era who prefer struggle instead of humility.

But Blok himself warned against hasty conclusions: one should not underestimate the political motives in the poem “12”; it is more symbolic than it might seem at first glance. Let us deal with the main, most mysterious image of the poem - the image of Christ.

The image of Christ that concludes the poem seemed random and inappropriate to many critics and literary scholars. And the author himself was skeptical about this image. The image of Christ in the poem “The Twelve” is multifaceted: Christ as a symbol of a revolutionary, Christ as a symbol of the future, pagan Christ, Old Believer burning Christ, Christ the superman, Christ as the embodiment of the Eternal Femininity, Christ the artist and even Christ the Antichrist. It seems that all these ingenious assumptions lead away from the main thing. The main thing is that the image of Christ allows the poet to justify the revolution from the point of view of the highest justice. But this cannot be understood one-sidedly: those same twelve walking down the street and creating lawlessness, killing ordinary people are also associated with Christ, and then the image of Christ cannot become holy and one cannot talk about the justification of the revolution. But the image of Jesus Christ appears in Blok not on empty space: already in the poet’s lyrics he occupied a very important place. For example, in the poem “Here He is - Christ - in chains and roses...” and in rhythm

Here He is - Christ - in chains and roses

Behind the bars of my prison.

Here is the Meek Lamb in white robes

He came and looked out the prison window.

and in mood (“One, bright...”), the image of Jesus Christ is multifaceted (as in the poem).

Literary scholars have offered many interpretations of this image, and debate on this issue continues to this day. V. Orlov viewed Christ as the leader of the oppressed and offended, the defender of the poor and disadvantaged. L. Dolgopolov assumed that the image of Jesus symbolizes the beginning of a new era, the future of Russia is bright and spiritual. No less interesting are other points of view, opposite to those indicated above. Let's look at the most interesting ones.

V. B. Shklovsky wrote: “So, Alexander Blok could not solve his “Twelve”. My formula of Blok: “canonization of the forms of gypsy romance” was recognized or not challenged by him.

In "12" Blok came from coupletists and street talk. And, having finished the thing, he attributed Christ to it.

Christ is unacceptable for many of us, but for Blok it was a word with content.

He himself was somewhat surprised at the end of this poem, but always insisted that this was exactly how it happened. The thing has, as it were, an epigraph at the back; it is unraveled at the end unexpectedly. Blok said: “I also don’t like the end of “12.” I would like this ending to be different. When I finished, I myself was surprised: why Christ? Is it really Christ? But the more I looked, the more I saw Christ. And then I wrote down in my mind: unfortunately, Christ. Unfortunately, it is Christ.”

Is this an ideological Christ?

Here is an excerpt from A. Blok’s letter to Yuri Annenkov:

“About Christ: He is not like that at all: small, bent over like a dog from behind, carefully carrying the flag and leaving “Christ with the flag” - this is, after all, “and so and not so.” Do you know (for me all my life) that when the flag beats in the wind (in rain or snow, and most importantly - in darkness of the night), then under him one imagines someone huge, somehow related to him (not holding, not carrying, but I can’t say how).”

This means that such an understanding of the theme of Christ is possible: the wind. The wind tears the banners. The wind calls up a flag, and the flag calls up someone huge related to it, and Christ appears.

Of course, he is “precisely Christ” according to the poet’s stock of images, but he is caused by the composition of images - the wind and the flag.”

M. Voloshin proposed a very original idea. In his opinion, Christ does not lead the detachment, but runs away from it, saving his life. Maybe he is even being led to be shot, executed, or to Golgotha. And the “bloody” flag in his hands is not a sign of the revolution and its victory, it is the blood of Christ on a white flag - a symbol of reconciliation and surrender. The second point of view - the point of view of P. Florensky, in my opinion, is the most successful. His idea is based on a typo made by Blok in the name of Christ - Jesus (one letter “and” is missing). It’s difficult to call it accidental or necessary. What did the author mean by this? It may be that the detachment was led not by the son of God, but by the real Antichrist. It is he who is ahead of the Red Guards and the entire revolution as a whole. He, like God, can be “...and invisible behind the blizzard” and “unharmed by a bullet.” A very reasonable theory.

Boris Solovyov understood the image of Christ this way: “Christ in Blok’s poem is the intercessor of all the oppressed and disadvantaged, all who were once “driven and beaten”, carrying with him “not peace, but a sword” and who came to punish their oppressors and oppressors. This is Christ - the embodiment of justice itself, which finds its highest expression in the revolutionary aspirations and deeds of the people - no matter how harsh and even cruel they may look in the eyes of another sentimental person. This is the Christ with whom, without knowing it, the Red Guards, the heroes of Blok’s poem, walk. Of course, such an interpretation of moral issues is caused by the poet’s idealistic prejudices, but they should also be taken into account if we want to understand the image that completes his poem.”

Those who accept violence and terror, who are motivated only by cruelty and malice, cannot be led by the pure and bright. Such people cannot be called either apostles or saints. Of course, points of view are put forward by people. Each person, according to his own life positions, beliefs and priorities, sees what he wants to see. Thus, ardent supporters of the revolution - A. Gorelov, V. Orlov, L. Dolgopolov - preferred to see in this image a symbol of the bright future of Russia. Florensky, for example, was forced to leave Russia, or rather, he was “thrown out” of it on a “philosophical ship.” That's why the point of view is the opposite.

The evolutionary path of development is always more effective than the revolutionary one. You shouldn’t, like twelve, destroy everything old without creating anything in its place. It is much better to adopt the achievements of the past and, on their basis, improve what caused dissatisfaction.

Color symbolism of A. Blok’s poem “The Twelve”
A. Blok began his creative career as a symbolist poet. This, probably, can explain the many images-symbols that fill his poem “The Twelve” - a kind of chronicle of the revolution, a vivid copy of the time of death of the old world, hated by the poet.

The main colors in the poem “The Twelve” are black and white. The poem begins with them, as if we immediately find ourselves in a completely special, non-colored world:
Black evening.
White snow.
The abundance of black in this poem can be interpreted not only as a symbolic reflection of the dark, evil principle, but also as chaos, the victory of elemental forces not only in the world, but also in man. The element in this poem is so indomitable that it seems that it is the wind and blizzard that are tearing it apart. Perhaps it was the elemental forces that found their manifestation and embodiment in a detachment of twelve people. Former convicts, “bastards,” today they are defenders of the revolution. But with what ease do they indulge in robbery, revelry, and robbery, as if their goal is not the construction of a new world, but only merciless destruction! The black color also symbolizes the lack of spirituality, the inner emptiness of these people who renounced everything that was sacred to them:
...And they go without the name of the saint
All twelve - into the distance.
Ready for anything
No regrets...
They are ready to shoot with a rifle at what is most precious to the poet:
Let's fire a bullet into Holy Rus' -
To the condo,
In the hut,
In the fat ass!
At the moment, these defenders of the revolution see nothing in front of them: there is darkness ahead, above them; “black, black sky”, in the chest - “black anger, holy anger.”
And then another color appears - red. It symbolizes revolution, change. But very often in the poem, instead of red, the color “bloody” appears, eloquently testifying to all the sacrifices that the destruction of the old and the construction of a new world require. Apparently, this is why the ideal of revolutionaries is a world fire - another spontaneous embodiment, burning and purifying everything that is outdated, sick, and dead. But is it possible for a person to control this indomitable element?
We are going to woe to all the bourgeoisie. We will fan the world fire.
World fire in blood -
God bless!
And yet, in spite of everything, A. Blok believes in the revolution, in the fact that its participants and defenders will eventually be able to transform not only the world around them, but also themselves, and will learn to build. This hope is embodied in the color white, which has always been a symbol of purity, spirituality, and light. White snow falling on the city, accompanying the soldiers, silently and unobtrusively renews everything around. The quintessence of the holy, bright, cleansing principle underlying the revolution is the image of Jesus Christ, appearing in the last lines of the poem:
Ahead - with a bloody flag,
And invisible behind the blizzard,
And unharmed by a bullet,
With a gentle tread above the storm,
Snow scattering of pearls,
In a white corolla of roses -
Ahead is Jesus Christ.
A. Blok is in fact the greatest poet, because in the poem “The Twelve” he was able to convey not only the “music of the revolution”, but also the music of color, which helped him realize his grandiose author’s plan.