Analysis of Blok's poem "The girl sang in the church choir .... "The girl sang in the church choir": analysis of the poem The girl sang in the church choir lyrical hero

The girl sang in the church choir
About all the tired in a foreign land,
About all the ships that have gone to sea,
About all those who have forgotten their joy.

And it seemed to everyone that there would be joy,
That in a quiet backwater all the ships
That in a foreign land tired people
They got a bright life.

Analysis of the poem "The Girl Sang in the Church Choir" by Blok

In his youth, A. Blok adhered to the most advanced and revolutionary views. Youthful maximalism was fueled by numerous movements that declared the need for a violent coup. It seemed to the young poet that only by completely destroying the old world, it was possible to build a new happy society in which there would be no suffering and pain. The events of 1905 revealed to Blok the terrible picture that accompanies all revolutions. Instead of the triumph of freedom and justice, chaos reigned in the country. The phrase "The revolution is not made with white gloves" appeared before Blok in all its frank nudity. His ideal notions collided with torrents of blood and incredible cruelty. These events seriously shook the former beliefs of the poet. He realized that the price for imaginary happiness is too high.

In 1905, Blok wrote the poem "The girl sang in the church choir ...". It is believed that this happened as a result of the poet's actual visit to one of the temples.

The Orthodox Church sought to calm popular unrest and reconcile the warring factions. Church services with fervent prayers were held all over the country. The lyrical hero is present at such an event. He draws attention to one girl in the choir, who stands out for her innocence and purity. In the image of a girl, one can imagine the long-suffering soul of Russia, which prays for all its sons, regardless of their political beliefs. "Tired", "departed ships", "forgetting joy" - this is how the author described numerous participants in the revolution. For a girl, there is no difference between workers and gendarmes. Both are equally deceived and carried away by false ideas. The civil war, regardless of its outcome, will in any case end in massacres and destruction. The girl feels sorry for the whole people as a whole.

It seems to the author that a magical voice and a "white dress" are able to reason with people, direct them to the true path. In the souls of those gathered in the church, hope for the best is resurrected. But the image of a crying child that appears in the final returns to harsh reality. In church, you can temporarily forget about the surrounding horrors. They will eventually end anyway. But we must not forget about those who will never "come back." People who died for their ideas will not be resurrected and will not be able to appreciate how necessary their death was for Russia.

The poem "The girl sang in the church choir ..." is evidence of a serious fracture in Blok's soul. Since that time, he gets rid of revolutionary views and completely goes into symbolism.

The poem "The girl sang in the church choir ...". Perception, interpretation, evaluation

The poem "The girl sang in the church choir ..." was written by A. A. Blok in 1905, during the first Russian revolution, which was brewing a civil war. Researchers also associate this work with the events of the Russo-Japanese War, with the Battle of Tsushima.

The poem is built on the principle of antithesis. Beautiful singing, a girl in a white dress resembling an angel, the beauty, peace and tranquility of the temple - all this is opposed to the rough reality, horrors and cruelty of the time of wars and revolutions.

Compositionally, we can distinguish two parts in the poem. The first part includes the first three stanzas. This is a beautiful picture seen by the poet in the temple:

The girl sang in the church choir About all the tired in a foreign land,

About all the ships that have gone to sea,

About all those who have forgotten their joy.

The girl's singing here becomes her prayer for all those who are having a hard time right now. The motif of the ship that went to sea also suggests its return home. Blok's ship is a symbol of renewal, of hope. The researchers noted that the image of a singing girl in the poem turns into the image of a singing voice “flying into the dome”, and then into the image of a singing dress: “the white dress sang in the beam”. The poet speaks here of the great power of art, of its influence on people. This beautiful singing inspires hope, faith in the future, peace in the soul. The motif of light and darkness is also very significant here. The darkness of the Church here symbolizes the darkness of life. And this darkness is gradually dissipated under the influence of beautiful music. A thin beam shines on her white shoulder, giving birth to faith in a bright life in tired souls.

The second part of the work is the fourth stanza. Its first line is the boundary separating the dream, music, song and real life. The image of a crying child, "Involved in the Secrets", brings us back to a cruel reality. Here the poet deploys a biblical phraseological unit: "The truth speaks through the mouth of an infant." And he says that life is very cruel, there is a place for death and grief in it:

And only high at the Royal Doors,

Involved in Mysteries, the child cried That no one would come back.

The poem was written by a dolnik. The poet uses various means of artistic expression: an epithet (“in a quiet backwater”), an anaphora (in each stanza), a metaphor (“a voice flying into the dome”). The musicality and melodiousness of this work is created with the help of numerous anaphoras, assonances (“The girl sang in the church choir”), syntactic parallelism (“And the voice was sweet, and the beam was thin ...”).

Blok wrote this poem after the execution at the Winter Palace, after numerous barricades and demonstrations. I wrote it as a memorial to innocent victims, as a prayer, as a song. It was very dear to the poet himself. He ended each of his public speeches by reading this particular poem.

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"The girl sang in the church choir" - one of the saddest poems of Alexander Blok. In his work, the poet relied on the principles of symbolism. But his very first poems had a revolutionary connotation. The poet grew up in an intelligent environment, and his cherished dream was the equality of people. But when the first echoes of the revolution began, Blok asked himself the question: are such sacrifices necessary for its sake? You can read more about this in the analysis "The girl sang in the church choir".

History of writing

In the analysis of "The girl sang in the church choir" one should pay attention to the fact that the poem is connected with the fact that in 1905 a wave of rallies and uprisings of workers swept across the country. Russia was on the brink of civil war, people were in fear for their loved ones. Services were held in churches in the name of saving the Fatherland. Most likely, one of these was the poet.

Most of all, Blok was impressed by the singing girl that a bright future would come. But the poet already at that time realized that in order to change power, many lives had to be sacrificed. Therefore, he ceased to be confident in the ideals of the revolution. In the analysis of "The Girl Sang in the Church Choir" it is also worth noting: despite the fact that singing brought peace to those present, Blok realized that the revolution would not bring the truce that people hoped for.

Composition of the poem

An important point in the analysis of "The girl sang in the church choir" is the construction in the work. It is built on the antithesis of two parts, both in compositional and semantic terms. In the first part, Blok describes the girl and her singing about all the victims of the revolution, about all the ordinary people who had to defend their interests and rights with the help of the revolution.

But at the same time, her singing gives people hope for a better life, brings peace. And the purity of the temple creates the illusion of security. The beauty of the song captivates the parishioners, it seems to them that soon there will be a truce between the authorities and the people.

But already in the second part, the crying of a child is described, in which the poet hears the opposite of the singing of the girl. The baby feels what is not given to others. He foresees that the hopes of people will not come true. The revolution is impossible without victims, and, anticipating this truth, he cries, because he cannot tell people about this knowledge in another way.

The meter and rhyme of the poem

When analyzing the poem "The girl sang in the church choir", its design is important. It does not have any specific size, i.e. it is written in free form. Two-syllable parts should be read in a slightly singsong voice so as not to break the rhythm. And the fusion of sonorous and hissing sounds conveys the atmosphere of the temple, writing a verse in free form creates a feeling of purity, eternity, and reading in a singsong voice gives it melody.

means of expression

In the analysis of the verse "The girl sang in the church choir" it should be noted that a sharp transition from hope to the collapse of all illusions is achieved thanks to the antithesis. Each stanza uses anaphora and assonances, which makes the poem melodious. Epithets and metaphors give it even more expressiveness.

Poetic images

All those about whom the girl sang - the common people, the victims of the struggle for equality. The poet, who watches this service, goes from appeasement to a state of anxiety, anticipating the coming changes in the country. And he understands that it was this secret that was revealed to the child.

Alexander Blok wrote this poem as a memory of all those who sacrificed their lives for the sake of revolutionary ideas. He ended each of his public appearances with a reading. During that period, the poet rethought his attitude to the revolution and ceased to consider it an ideal opportunity for social change. Realizing all the consequences of the revolution, and that it was not worth such sacrifices, Blok abandoned the propaganda of these ideas and devoted his work to the symbolist direction.

k ANALYSIS OF 1 ARTISTIC EX3 TEXT

Linguistic and poetic analysis of A.V. Belov's poem by Alexander Blok Moscow "The girl sang in the church choir ..."

This poem, according to a number of researchers, was a kind of response to the tragic death of the Russian fleet near Tsushima (in May 1905). and in a broader sense it is a response to the first Russian revolution. R. Jacobson, in his work on this poem, calls it "prophecy"1. It seems interesting that Jacobson's position is related to the genre of this text, which he defines as stanzas. Note that in no edition of Blok's poems there is information about the genre of this work. However, the features of the stanza genre are directly related to the content of the poem. According to Kvyatkovsky, stanzas are characterized by “a calm flow of a verse full of thought”: “Each stanza is a closed stanza containing a clearly expressed, complete thought. After reading each stanza, a certain stop, a pause, as if to think over what was said, is supposed.

Analyzing Blok's poem "The girl sang in the church choir ...", it is necessary to keep in mind two important features: firstly, the genre features of the text; in-second-

1 See: Jacobson R. Works on Poetics. - M., 1987.

Mr. Kvyatkovsky A.P. School poetic dictionary. - M., 2000.

ryh, the fact that "in the history of Russian symbolism, Blok's poetry denotes the highest level - the most refined methods in using metaphor and symbol as ways of transforming reality and marking it with familiar images - other realities ..."3.

The poem has a generalized symbolic meaning. Its architectonics is an interweaving of the concrete, real world with the imagined, invisible world. The symbolic ambiguity of a particular poem and Blok's poetic language as a whole is least of all amenable to decomposition into meanings. Zhirmunsky writes that the poet “always has a mysterious double meaning, a mystical background that deepens any situation, gives it a different, endless perspective; and here the poet designates, with the help of metaphorical allegory, the contact of two worlds, the feeling of a different reality entering this world.

I. I. Kovtunova notes: “In Blok's poems, there are usually details of the outside world, taken from the visible, concrete, and therefore recognizable reality. But the words naming these details can at the same time be complex in the gut.

3 Zh i r m V n s k i y V. M. Poetics of Russian poetry. - SPb.. 2001.

them with symbols and have many other meanings, not obvious at first glance, but often inspired by verbal music and conveying the reality of the poet’s spiritual life”4.

The duality of this text lies in the fact that in addition to the real picture - the liturgical service in the temple - we have another picture: the image of a distance, a foreign shore, which is important in general in the symbolism of the Blok and acquiring in this context the image of the promised land (tired people found a bright life for themselves) . And this second plan in importance becomes no less important for understanding the content of the text. A deep connection arises between these worlds, giving rise to the image of the path, also symbolic, for it also embodies the long journey of the tired in a foreign land; the path of all the ships that have gone to sea; the path to a quiet backwater where you can find a bright life. This is both a path (prayer) to God for the salvation of those who have forgotten their joy, and a path that connects those who are there and those who are here. This, finally, is the way of cleansing the conscience through repentance and communion.

The first quatrain opens with a simple sentence with homogeneous additions, structured anaphorically with the combination About all:

The girl sang in the church choir

About all the tired in a foreign land,

About all the ships that have gone to sea,

About all those who have forgotten their joy.

The poet immediately shows these two worlds: visible (the image of a singing girl, choir, temple) and symbolic, invisible. We note here the three-fold repetition of the definitive pronoun all in the plural, as well as the synecdoche (the whole through its part): about all those who are tired, about all ships, about all those who have forgotten ...

* Kovtunova I. I. Poetics of Alexander Blok. - M.. 2004. - S. 10.

The hymn in the temple contains requests to God for intercession for all seafarers and wanderers. Anxiety, excitement are conveyed by psychological epithets tired, alien, gone, forgotten. This is how the image of the distance is born (ships that have gone to sea), a foreign coast, a foreign land - the space of the text is expanding. This breadth and opposition of the native to the alien is also emphasized antonymically: a foreign land is their own joy (for those who have forgotten their joy).

The second quatrain reveals the real world to us in detail and detail: a voice, a dome, a beam (twice), a shoulder, each of darkness, a dress:

The image of the girl is given through a singing voice (So her voice sang - a synecdoche) and a singing dress (As a white dress sang ... - metonymy). Trope dress sang is reinforced by lexical verbal repetition and inversion. A circular structure of repetitions is formed: This is how her voice sang... Like a white dress sang in the beam. The second stanza first of all reveals to us the real world, the world in the temple - in detail and detail. The whole stanza is built on the color contrast of light and darkness. The voice flying into the dome, and the choirs themselves - the place where the singers stand, who, as it were, are above those who are in the temple, and the light, dazzling white, is all above. A radiant ray on the white shoulder gives rise, perhaps, to the image of an angel on this shoulder, because the sunbeam, already bright, also shone on the white shoulder - a condensation of the color gamut. This concentration causes an increase in imagery. The line And each of the darkness looked and listened creates a contrast to the first stanza, to the anaphoric About all ... The attributive pronoun all has the lexical meaning of completeness, integrity, inseparability.

The pronoun of each of the same category, on the contrary, expresses the meaning of separateness, limitation, and therefore darkness in this case acquires an additional meaning of a really large number of people, it is, as it were, woven from all those parishioners who are in the temple. At the same time, each of the darkness looked and listened, i.e. everyone was directed towards this voice and this ray. In the last verse, the image of a singing white dress is built on alliterations of a smooth side [l]. Note that this sound is used 15 times in the stanza (for comparison: in the first stanza - 3 times, in the third - 6, in the fourth - 7). At the same time, it is supported by the consonant repetition pl - pl: the dress sang and intensifies in the next beam.

But this is only the first plan of the stanza. Behind him, serving as a background for him, a different, hidden symbolic meaning of the poem arises, which was already felt in the first stanza in allusions-hints - in prayers for travelers and sailors. This meaning is felt in the invisible image of an angel, in a singing voice, a radiant beam and in the invisible presence of those who participate in prayer. In this quatrain there is an image of hope, hope in God.

The first two verses are simple sentences with inversion (the voice sang ... the beam shone), and the last two verses are a complex sentence with an explanatory clause. In general, they name three levels of the real world. The very first, lower level is those who are in the darkness (each of the darkness watched and listened). The second level is the choir, the girl singing in the choir and the upper part of the temple itself. The third level is the level where the prayer of all those who pray goes up. The image of the ray, on the one hand, shows the presence of the heavenly world and attention, mercy to the earthly, and on the other hand, symbolizes prayer appeal, hope, striving upward. This uplift

The third stanza is the semantic opposition of the first. It opens with an impersonal sentence And it seemed to everyone, on which three homogeneous clauses with a polyunion were strung (in lisindeton - what). In this quatrain, an image of a bright life, a quiet backwater arises:

And it seemed to everyone that there would be joy, That in a quiet backwater all the ships. That in a foreign land tired people found a bright life for themselves.

The poet again includes in the structure of the poem the definitive pronoun all in the plural, but now its generalizing, integral meaning is associated not with those who are far away in a foreign land, but with those who pray in the temple. Chants and the image of a singing girl transform the darkness. Therefore, it seemed to everyone that it sounds affirmative in comparison with the previous stanza (and each of the darkness), which is reinforced by another word usage: in a quiet backwater all ships.

A special semantic role in this stanza is played by the last word found. It symbolizes the end of the search. It would seem that this is the long-awaited crown of a difficult path.

In the text of the poem, forms of an imperfect form have the meaning of an unlimited action, conveying the contemplative, meditative nature of the content: she sang, sang, flying, shone, looked and listened, sang, it seemed, (joy) would be, was (sweet), was (thin), cried . Despite the fact that past tense verbs predominate among these examples, the process they denote is perceived as taking place in the present. This is especially evident in the verse So sang her voice, flying into the dome, in which the present participial form is adjacent to the past tense verb. In general, the real, objective world is given through the constructions of imperfect

type. We note the two-dimensional meaning (both for real people and for those who are not in the temple) of such a word form as (joy) will be. There are only four perfective forms in the text: these are the past participles of the departed, those who forgot in the first stanza, in their semantics having the shade of rejection, leaving, irrevocable, as well as the verbs in the third and fourth stanzas - found and will not come, which act as contextual antonyms.

The last stanza - the final one - connects all the semantic threads of the poem and is a certain clue to its inner tragedy. It opens with an anaphoric s, reinforced by a polyunion:

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The girl sang in the church choir
About all the tired in a foreign land,
About all the ships that have gone to sea,
About all those who have forgotten their joy.

And it seemed to everyone that there would be joy,
That in a quiet backwater all the ships
That in a foreign land tired people
They got a bright life.

And the voice was sweet, and the beam was thin,
And only high, at the Royal Doors,
Involved in Mysteries, the child cried
That no one will come back.
1905
from the first collection of A. Blok "Poems about the Beautiful Lady"

Alexander Blok's poem "The Girl Sang in the Church Choir" was written in August 1905. The reason for the creation of the poem was: 1) the execution by government troops of a peaceful procession of St. Petersburg workers to the Winter Palace to submit a petition to Tsar Nicholas II in January 1905, which went down in history as "Bloody Sunday"; and 2) the memory of the Battle of Tsushima (May 1905) and the death of the Russian squadron during the war with Japan.

The poem contrasts the illusions associated with faith in a happy future; hope given by prayer and all the real horror, pain, hopeless truth of war. The poem is built on the antithesis of two compositional and semantic parts: in the first, Alexander Blok draws a temple, where in the twilight a girl, beautiful as an angel, sings about everyone who was forced by the war to go to foreign lands and forget the joy of a peaceful life: the ship symbolizes those who have gone to sea; and prayer - hope for a bright and joyful future; the sorrow of those who remained in desperate and anxious expectation. The sanctity of the temple, the songs and the beauty of the girl give the illusion that everything will be fine; the singer is so beautiful that it seems as if there can be nothing bad in the world. The second part: "And only high, at the Royal Doors, / Involved in the Secrets, - the child cried / That no one will come back," - reveals the whole hopeless truth. There is no place for illusions in this lamentation; a small child symbolizes divine truth, the sorrow of God himself. The cry of a baby leaves a feeling of uncomplicated illusions, naked pain and truth. Understanding the world around them in their own way, not being able to explain what they feel, children are able to predict events. And the child is given the knowledge that "no one will come back." In the first movement, combined with the literal 'l' and 'r', the soft hissing sounds and the silence that is part of the atmosphere of the temple, the accent verse evokes a sense of eternity, melodic melodiousness. In the last part, one can clearly feel allericium for voiced consonants, which creates a feeling of anguish. In the poem “the girl sang in the church choir…” A. Blok reveals the world in all its inconsistency. On the one hand, we see the holiness of prayer and great sorrow. On the other hand, people are capable of such a bloody and cruel action as war. And this is a contradiction cannot be resolved, it can only be grasped with a single glance.