Analysis of the poem “The Wind Brought from Afar” by Blok. “The wind brought from afar...”, analysis of poem A
The story of writing a poem begins with love. Created at the end of January 1901, it is permeated with anticipation, a premonition of an imminent spring, a meeting with his beloved. That gray St. Petersburg winter, the poet was in love with L. D. Mendeleeva, the daughter of his friend, but they rarely saw each other. Decency did not allow frequent meetings. And only in the spring, when the Mendeleev family went to the dacha, Blok could join them.
The wind is the herald of the coming spring in the poem. A piece of clear sky, which Blok does not see, but feels that it is somewhere, is full of anticipation of change, the desire to finally see a clear sky full of sun. In the azure of the new sky, “winter storms were crying,” as if sensing their imminent departure.
The poet's early poems are imbued with the spirit of symbolism, an extremely widespread art direction in the 20th century. The main symptom of this trend is pessimism reaching the point of despair. This can be clearly heard in the following lines: “the winter storms wept,” “my strings wept.” By the end of the work, the poet’s melancholy dissipates, a ray of hope breaks through (“The wind brought from afar/Your sonorous songs”).
There is a lot of understatement in Blok's poem. The author wants to tell the reader a lot, conflicting feelings torment him and do not provide clarity. Take the following images: “somewhere light and deep,” “starry dreams were flying,” and “timidly, dark and deep.” Such deep melancholy symbolizes the inability to open up to one’s love. And only timid gestures and “starry dreams” can the poet allow himself, so as not to compromise his beloved.
The syllabic-tonic system of versification in the poem compensates for the approximate rhymes in the first quatrain. The rhymes of the last two quatrains are precise. The author suddenly inhales “lightly and deeply” the first lines, forgetting about the rules of versification, and then, having come to his senses, writes the last two stanzas. The poem consists of 3 stanzas (12 lines in total). There is no rhyme in the first quatrain (blank verse). In the last two, the rhyme is cross. Poetic meter: dactyl trimeter.
In the first and third lines of each quatrain, the rhyme is feminine, the foot is truncated by one syllable. In the second and fourth - masculine, the foot is truncated into two syllables. The alternation of female and male rhymes for an author so experienced in versification again brings to mind a certain woman in love, whose name is Lyubov Dmitrievna Mendeleeva. In such an intricate way, by accident or intentionally, the dream of the unity of two hearts makes its way into the world.
The wedding of Blok and Mendeleeva took place in 1903, but almost until the ceremony the author did not know whether he was really loved. After all, their meetings were rare and fleeting. In their family life there were many tragic moments, but the symbol of love-spring remained with Blok forever.
“The distant wind inspired...” (1901)
The poem reflected A. Blok’s passion for Plato’s idealistic philosophy about the existence, in addition to the real, “above the real”, of a higher “world of ideas” - the beautiful and unknown, as well as the Russian philosopher V. Solovyov, who deepened Plato’s teaching with considerations about the mystical force, the World Soul (or the Eternal Feminine), who will save humanity.
The poem is built symbolically, on the opposition of two worlds - what is around and the distant, unknown.
The world around us is dark and joyless. Soul lyrical hero cannot find refuge in it, striving for high, unearthly ideals. He perceives as “good news” the hint about the existence of a second world, where only She (Eternal Femininity) and Beauty reign.
The distant wind blew
Songs of spring tons,
Somewhere in the sun of hope
The sky lit up between the canopies.
(Translation by P. Perebeinos)
The symbols of the high world are clear sky, spring, blue heights, song. The soul of the lyrical hero opens up to the beautiful; it seems to wake up from a heavy sleep full of terrible visions, and strives to realize extraordinary values through touching the “world of ideas.”
Floated in the invisible blue
The ghost of the coming spring.
The snowy lowlands were crying,
Starry dreams were flying.
There are two people in the poem - He and She, but this is a work about love. “She” does not have a specific person; it is rather a symbol of that unearthly reality that attracts a person who wants to find! high ideal in life. “She” is unattainable, like a star, but the desire for it gives meaning to the existence of the lyrical hero.
The poem is full of bright hope for overcoming the contradiction between two seemingly incompatible worlds, which must unite in the soul of the individual. The first phrase - “A distant wind blew” - is repeated at the end of the work, giving it ring-like integrity. Wind is not just a natural phenomenon, it is | a symbol of changes in the heart of the lyrical hero, these are changes in his soul: who sees “starry dreams”, striving to transform reality.
At the beginning of the poem, spring melodies are still barely perceptible; only a small piece of blue opens in the sky! sublime, but at the end the light becomes stronger and the songs are heard in full voice.
As painful as tears on eyelashes,
The strings in me cried.
The distant wind blew
Singing your vowels.
The poem is particularly melodic. This is a kind of “music in words”, which is created through assonance, alliteration, and leitmotif repetitions. The harmony of form reflects the author’s search for world and spiritual harmony.
The wind brought from afar
Songs of spring hint,
Somewhere light and deep
A piece of sky opened up.
In this bottomless azure,
In the twilight of near spring
The winter storms cried
Dreamed of starry dreams.
Shy, dark and deep
My strings were crying.
The wind brought from afar
Your sonorous songs.
The wind brought from afar
Songs of spring flow.
Where the stork flies
We see a wedge of sky.
In this bottomless sky
With the arrival of spring
The darkening storms were ringing,
I had starry dreams.
Cried tenderly and deeply
My plaintive strings.
The wind brought from afar
This verse appeared in the second month of winter. It begins with feelings, predictions of the approaching spring, a date with a loved one. At that time, A. Blok was madly in love with L. D. Mendeleev, the daughter of a friend, but their meetings were very rare. Etiquette rules do not allow doing this more often. And only with the onset of spring, when the Mendeleevs left for their dacha, could the poet be near them.
The news that spring will soon come in this prose is the wind. A piece of clear sky that the poet does not contemplate or feel, but is filled with a feeling of change, a desire to see the sky filled with the light of the sun.
Blok's early work is imbued with symbolism. Pessimism is very well felt throughout the entire work, and only towards the end of it is some kind of enlightenment felt, the sadness slowly dissipates.
The poet wants to tell a lot in his work, but conflicting emotions do not allow him to do so. Sadness shows the inability to open up about your feelings. And he can only allow timid movements so as not to frighten his chosen one.
In the first and third lines of the quatrain the rhyme is female, in the second and fourth - masculine. Such a change for such a skilled writer again leads to the idea that he is constantly thinking about his beloved woman.
Likewise, intentionally or not, the unity of two loving hearts comes into the world.
The marriage of Alexander Blok and Lyubov Mendeeleva took place two years after the poem was written, but the poor writer doubted the feelings of the girl herself until the last moment. After all, they met so little, and their dates passed so quickly. There was also a lot of sorrow in their family, but the symbol of love - spring - remained with the writer for the rest of his life.
This work was done using different expressive techniques. artistic word, we see this throughout the poem.
Analysis of the poem The wind brought from afar according to plan
You might be interested
- Analysis of the poem We walked side by side, but Bunin looked at me
Ivan Bunin's first marriage ended in failure. He promised himself not to tie the knot again, but in 1906, without looking back, he fell in love with Vera Muromtseva, with whom he communicated for about 16 years and after that she became his legal wife.
- Analysis of the poem I go out alone onto Lermontov's road
Lermontov is a person who is very principled. This man always believed that you need to die with dignity and beauty. For him it was to die on the battlefield. Exactly recent years his life is connected with that
- Analysis of the poem I was killed near Rzhev by Tvardovsky
This work is usually classified as a poem with patriotic lyrics, one of those written by Tvardovsky.
- Analysis of the poem On Fet's ship
In fact, all the works that Afanasy Fet combined into a collection dedicated to marine themes are landscape sketches. The author clearly and multifacetedly conveys the image of the elements
- Analysis of the poem Gumilyov's Dream
Gumilev finished the work in 1907, and it was published in 1908 in the collection Romantic Flowers. In 1906, Gumilyov studied in France and traveled extensively throughout Europe
The story of writing a poem begins with love. Created at the end of January 1901, it is permeated with anticipation, a premonition of an imminent spring, a meeting with his beloved. That gray St. Petersburg winter, the poet was in love with L. D. Mendeleeva, the daughter of his friend, but they rarely saw each other. Decency did not allow frequent meetings. And only in the spring, when the Mendeleev family went to the dacha, Blok could join them.
The wind is the herald of the coming spring in the poem. A piece of clear sky, which Blok does not see, but feels that it is somewhere, is full of anticipation of change, the desire to finally see a clear sky full of sun. In the azure of the new sky, “winter storms were crying,” as if sensing their imminent departure.
The poet's early poems are imbued with the spirit of symbolism, an extremely widespread art direction in the 20th century. The main symptom of this trend is pessimism reaching the point of despair. This can be clearly heard in the following lines: “the winter storms wept,” “my strings wept.” By the end of the work, the poet’s melancholy dissipates, a ray of hope breaks through (“The wind brought from afar/Your sonorous songs”).
There is a lot of understatement in Blok's poem. The author wants to tell the reader a lot, conflicting feelings torment him and do not provide clarity. Take the following images: “somewhere light and deep,” “starry dreams were flying,” and “timidly, dark and deep.” Such deep melancholy symbolizes the inability to open up to one’s love. And only timid gestures and “starry dreams” can the poet allow himself, so as not to compromise his beloved.
The syllabic-tonic system of versification in the poem compensates for the approximate rhymes in the first quatrain. The rhymes of the last two quatrains are precise. The author suddenly inhales “lightly and deeply” the first lines, forgetting about the rules of versification, and then, having come to his senses, writes the last two stanzas. The poem consists of 3 stanzas (12 lines in total). There is no rhyme in the first quatrain (blank verse). In the last two, the rhyme is cross. Poetic meter: dactyl trimeter.
In the first and third lines of each quatrain, the rhyme is feminine, the foot is truncated by one syllable. In the second and fourth - masculine, the foot is truncated into two syllables. The alternation of female and male rhymes for an author so experienced in versification again brings to mind a certain woman in love, whose name is Lyubov Dmitrievna Mendeleeva. In such an intricate way, by accident or intentionally, the dream of the unity of two hearts makes its way into the world.
The wedding of Blok and Mendeleeva took place in 1903, but almost until the ceremony the author did not know whether he was really loved. After all, their meetings were rare and fleeting. There were many tragic moments in their family life, but the symbol of love-spring remained with Blok forever.
The story "Taras Bulba" is one of the best and interesting works N.V. Gogol. The story tells about the heroic struggle of the Ukrainian people for their national liberation. We meet Taras Bulba in a peaceful home environment, during a short respite for the protagonist between military exploits. Bulba is proud of his sons Ostap and Andriy, who came home from school. Taras believes that spiritual education is only part of the education a young person needs. The main thing is combat training in the conditions of the Zaporozhye Sich. Taras was not created for a family hearth. See you
Vasily Vladimirovich Pukirev is a famous Russian painter, famous for his genre painting “Unequal Marriage,” painted in 1862. In those days, the problem of women's lack of rights was very acute. IN Russian society voices were increasingly heard in defense of women's equality. The artist Pukirev also developed this theme in his work. The plot of the film is a life drama that was not uncommon at that time: an unequal marriage. A young girl is married off to a rich old man. The bride's appearance is charming: she has still unformed, childishly soft features and beautiful eyes. The bride is pale, she is probably close to fainting
The reader, even a not very attentive one, will probably notice that in Chekhov’s play there is practically no happy person. Ranevskaya comes from Paris to repent of her sins and find final peace in her native estate. She made her final plans based on the parable of the Prodigal Son. But, alas, she failed to do this: the estate is being sold under the hammer. Ranevskaya has to return to Paris to old sins and new problems. The faithful servant Firs is buried alive in a boarded-up house. Charlotte awaits the new day with fear, because she doesn’t know what to do next.
"Requiem" - one of Akhmatova's largest works - was written in 1935-1940. The epilogue, the last part of the poem, is dated precisely to the 40th year. But “Requiem” came to the reader only in the second half of the 50s, since in 1946 Akhmatova was subjected to severe criticism from officials and was excommunicated from literature for a long time. Perhaps Requiem and the events on which it was based were to blame for this excommunication. Akhmatova's husband was accused of participating in an anti-government conspiracy and was executed by execution near Petrograd in 1921. "Requiem" reflects those feelings
The story of writing a poem begins with love. Created at the end of January 1901, it is permeated with anticipation, a premonition of an imminent spring, a meeting with his beloved. That gray St. Petersburg winter, the poet was in love with L. D. Mendeleeva, the daughter of his friend, but they rarely saw each other. Decency did not allow frequent meetings. And only in the spring, when the Mendeleev family went to the dacha, Blok could join them.
The wind is the herald of the coming spring in the poem. A piece of clear sky, which Blok does not see, but feels that it is somewhere, is full of anticipation of change, the desire to finally see a clear sky full of sun. In the azure of the new sky, “winter storms were crying,” as if sensing their imminent departure.
The poet's early poems are imbued with the spirit of symbolism, an extremely widespread art direction in the 20th century. The main symptom of this trend is pessimism reaching the point of despair. This can be clearly heard in the following lines: “the winter storms wept,” “my strings wept.” By the end of the work, the poet’s melancholy dissipates, a ray of hope breaks through (“The wind brought from afar/Your sonorous songs”).
There is a lot of understatement in Blok's poem. The author wants to tell the reader a lot, conflicting feelings torment him and do not provide clarity. Take the following images: “somewhere light and deep,” “starry dreams were flying,” and “timidly, dark and deep.” Such deep melancholy symbolizes the inability to open up to one’s love. And only timid gestures and “starry dreams” can the poet allow himself, so as not to compromise his beloved.
The syllabic-tonic system of versification in the poem compensates for the approximate rhymes in the first quatrain. The rhymes of the last two quatrains are precise. The author suddenly inhales “lightly and deeply” the first lines, forgetting about the rules of versification, and then, having come to his senses, writes the last two stanzas. The poem consists of 3 stanzas (12 lines in total). There is no rhyme in the first quatrain (blank verse). In the last two, the rhyme is cross. Poetic meter: dactyl trimeter.
In the first and third lines of each quatrain, the rhyme is feminine, the foot is truncated by one syllable. In the second and fourth - masculine, the foot is truncated into two syllables. The alternation of female and male rhymes for an author so experienced in versification again brings to mind a certain woman in love, whose name is Lyubov Dmitrievna Mendeleeva. In such an intricate way, by accident or intentionally, the dream of the unity of two hearts makes its way into the world.
The wedding of Blok and Mendeleeva took place in 1903, but almost until the ceremony the author did not know whether he was really loved. After all, their meetings were rare and fleeting. There were many tragic moments in their family life, but the symbol of love-spring remained with Blok forever.
