Analysis of the poem of the block lonely I come to you. Analysis of the poem by A. Blok “Poems about a beautiful lady

Alexander Alexandrovich Blok

Lonely, I come to you
Bewitched by the fires of love.
You're guessing. - Don't call me. -
I myself have been cheating for a long time.

From the heavy burden of years
I was saved by one divination
And again I tell fortunes over you,
But the answer is not clear and confused.

Divination-filled days
I cherish the years - do not call ...
Soon the lights will go out
Enchanted dark love?

The work, created in the early summer of 1901, was included in the collection "Poems about the Beautiful Lady". The originality of the poetic text lies in the peculiarities of the interpretation of the female image, which is not endowed with super-real features, befitting a mysterious and radiant goddess. For this reason, "Lonely ..." is referred to a group of poems, where an earthly girl, a "princess", who lives in a high tower, acts as a lyrical heroine. The poet depicts real meetings of lovers, using sublime romantic paraphernalia in their description.

The theme of magical love organizes the composition of the poem: the metaphorical construction “bewitched by the fires of love”, given in the beginning, is accurately reflected in the final line, acquiring an additional epithet “dark”.

The lexemes “telling” / “divinning” are found in each of the three quatrains of a short text. With their help, the main occupation of the main characters is determined. The lyrical subject admits that he has been guessing “for a long time” and enthusiastically: “days filled with divination” add up to years. Witchcraft has become a way of salvation from the "heavy burden of years", a way out of conflict with the outside world. However, the affection generated by magic is not able to save the lover from the feeling of loneliness, the message about which the poetic text begins. This detail becomes the first signal indicating the dissatisfaction of the lyrical "I" with their position.

Heroes are both subjects and objects of a mystical rite. If the attempts of the lyrical "I" to guess at the beloved end in failure, then the fortune-telling of the bride-sorceress develops successfully. The context determines the advantage of the girl over the charmed groom: he has to appear at the call of the bride, even against his will. In the text, there is an appeal-request of the lyrical "I" twice: "Do not call."

The rhetorical question that sounds at the end of the poem serves as a confirmation of the ripening desire to free oneself from the love fetters that bind the hero.

Among the stylistic features of the work, an abundance of vocabulary with full vowels stands out: the already mentioned “divination” is supplemented by the lexeme “captive”. Examples with a double sound “o” adjoin them: “bewitched”, “one”. With the help of the mentioned phonetic means, the effect of slow, smooth movement is created.

The motive of the witchcraft rite brings the analyzed poem closer to the work “Guess and wait. Midnight..." Here the theme of a mysterious rendezvous with a "daring" character arises, complicated by the motives of duplicity and a complex interpretation of the "fiery game" of the characters.

The work, created in the early summer of 1901, was included in the collection “Poems about the Beautiful Lady”. The originality of the poetic text lies in the peculiarities of the interpretation of the female image, which is not endowed with super-real features, befitting a mysterious and radiant goddess. For this reason, “Lonely ...” is referred to a group of poems, where an earthly girl, a “princess”, who lives in a high tower, acts as a lyrical heroine. The poet depicts real meetings of lovers, using sublime romantic paraphernalia in their description.

The lexemes “divorce” / “divination” are found in each of the three quatrains of a short text. With their help, the main occupation of the main characters is determined. The lyrical subject admits that he has been guessing “for a long time” and enthusiastically: “days filled with divination” add up to years. Witchcraft became the way

salvation from the “heavy burden of years”, a way out of conflict with the outside world. However, the affection generated by magic is not able to save the lover from the feeling of loneliness, the message about which the poetic text begins. This detail becomes the first signal indicating the dissatisfaction of the lyrical "I" with its position.

Heroes are both subjects and objects of a mystical rite. If the attempts of the lyrical “I” to guess at the beloved end in failure, then the fortune-telling of the bride-sorceress develops successfully. The context determines the advantage of the girl over the charmed groom: he has to appear at the call of the bride, even against his will. In the text twice there is an appeal-request of the lyrical “I”: “Do not call”.

The rhetorical question that sounds at the end of the poem serves as a confirmation of the ripening desire to free oneself from the love fetters that bind the hero.

The motive of the witchcraft rite brings the analyzed poem closer to the work “Guess and wait. In the middle of the night…” Here the theme of a mysterious date with a “daring” character arises, complicated by the motives of duality and a complex interpretation of the “fiery game” of the characters.

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Topic: Analysis of A. Blok's poem "Poems about a beautiful lady"

Lonely, I come to you
Bewitched by the fires of love.
Are you guessing -
Don't call me -
I myself have been cheating for a long time.
A.A. Block

Alexander Alexandrovich Blok is one of the most refined poets of Russian classical literature. Carried away in his youth by the philosophy of Vladimir Solovyov about “two worlds”, the poet temporarily becomes a mystic, feels in the world around him the harbingers of the end of the world. And Blok feels the coming revolution as unfolding chaos. He sees salvation in the divine principle of the “World Soul” or “Eternal Femininity”.
During this period, the mysterious and magical cycle of “Poems about the Beautiful Lady” appears. The lyrical heroine of the cycle merged the features of a mysterious stranger and a specific woman, Lyubov Dmitrievna Mendeleeva, with whom Blok was passionately in love, who later became his wife.

I anticipate you.
Years pass by
All in one form - I foresee You.
The whole horizon is on fire - and unbearably clear,
And silently I wait, yearning and loving.

But Blok would not have been a great poet if he had reflected only his personal experiences in the lyrics. He was able to hear the coming great changes, to feel with all his heart the trials that befell him and the fate of the country, and pour them into beautiful poems.
It was an unusual, fateful time. And poetry turned out to match the time.

Secret signs flare up
On a deaf, impenetrable wall.
Golden and red poppies
They weigh on me in my sleep.
Hiding in the night caves
And I do not remember the harsh miracles.
At dawn - blue chimeras
Look in the mirror of bright skies.

The “unearthly” features of the “Beautiful Lady” organically and easily merge into a memorable and recognizable image of Blok’s muse. He bows before the "eternal femininity" and the beauty of his chosen one. She takes the form of either her beloved mother, or her beloved, or the Motherland.

I was looking for the blue road
And shouted, stunned by people.
Approaching the golden threshold
Silenced before Your doors.
You passed into distant halls,
Majestic, quiet and strict.
I wore a veil for you
And looked at Your pearls.

The poet strives to merge these three images together to make an ideal, worthy of worship, and at the same time is afraid to downgrade, to simplify the features of his idol. Blok simultaneously expects and fears love, goes into mysticism and symbolism.

I enter dark temples
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering of red lamps.
In the shadow of a tall column
I tremble at the creak of doors.
And he looks into my face, illumined.
Only an image, only a dream about Her.

This is the time of the formation of the poet, Blok is in search of the form, rhythm, melody of the verse. The real world often appears to him as if through the prism of a magic mirror. Quite real events and places of action are clouded over by the magic haze of the poet's fantasy. He artificially moves away from reality, into the prettiness of fantasy.

We met at sunset
You cut the bay with an oar.
I loved your white dress
Having fallen out of love with the refinement of dreams.
Silent meetings were strange.
Ahead - on a sandy spit
The evening candles were lit.
Someone thought of a pale beauty.

Thus, a completely earthly image is transformed into a romantic-symbolic myth. The poet strives for a certain harmony, which is not on earth, but exists in his dreams and fantasies. Over time, the mood of the poet noticeably changes from enthusiastic worship to doubts and the collapse of hopes. Intense drama is inherent in a number of Blok's poems. At times it is replaced by soul-filling lyricism. The poet is in search of his own style. But what was inherent in Blok from the very beginning was the sophistication of the style, the beauty of speech and the flight of fantasy.

I will not meet people
I'm afraid of blasphemy and praise.
Before You alone I will answer,
For being silent all my life.
The silent ones are clear to me
And I love those who hear:
Behind the words - through the indistinct rumble
Light Spirit wakes up.
I will go to the feast of silence,
My face will not be seen.
But in me - hidden knowledge
About love to You without end.

“Lonely, I come to you ...” Alexander Blok

Lonely, I come to you
Bewitched by the fires of love.
You're guessing. - Don't call me. -
I myself have been cheating for a long time.

From the heavy burden of years
I was saved by one divination
And again I tell fortunes over you,
But the answer is not clear and confused.

Divination-filled days
I cherish the years - do not call ...
Soon the lights will go out
Enchanted dark love?

Analysis of Blok's poem "Lonely, I come to you ..."

The rhetorical question that sounds at the end of the poem serves as a confirmation of the ripening desire to free oneself from the love fetters that bind the hero.