Life as a metaphor

Oh, spring endlessly and without edge – Endlessly and without edge dream! I recognize you, life! I accept! And I welcome you with a jingle of a shield!

I accept you, bad luck, And good luck, my greetings to you! In the enchanted area of ​​crying, In the secret of laughter – no shame!

I accept sleepless disputes, Morning in the curtains of dark windows, So that my sore eyes Irritated, spring was drunk!

Life as a metaphor

Accept desert scales! And the wells of earthly cities! The lightened expanse of heaven And the languor of slave labor!

And I meet you at the door – With a violent wind in serpentine curls, With the unsolved name of God On cold and compressed lips.

Before this hostile meeting I will never throw a shield. You’ll never open your shoulders. But above us is a drunken dream!

And I look, and I measure enmity, Hating, cursing and loving: For torment, for death – I know – All the same: accept you!

The poem by Alexander Blok Oh, spring without end and without edge. Written on October 24, 1907, enters the Conjuration with Fire and Gloom. The poem is imbued with optimism, fullness of life-perception, has a symbolic meaning, which marked the beginning of a new period in the history of Russia.

Blok was close to Lermontov’s poetry and the tragic charm of his personality. This deep connection is found not only in the epigraphs, reminiscences, paraphrases from Lermontov, but also in the general ideological orientation of the poets’ creativity, in the similarity of the very manner of depicting reality and poetic techniques.

Life as a metaphor

The poem O spring without end and without edge. written under the influence of Lermontov Gratitude, which summarizes the poet’s relationship with the world that did not accept it. As you know, in Lermontov gratitude is ironically rethought in the last verses, which Blok does not enter in his epigraph:

Arrange only so that you will no longer thank you anymore.

The similarity of the poems is only in the key of the contradictory image, the difference is in their sense: in Lermontov it is gratitude not for the joys of life, but for the suffering, for Blok – an optimistic perception of life, of the world, despite its contradictory and even fatal

For torment, for death – I know – All the same: I accept you!

The compositional structure of the poem mediates the connection of his idea and the speech means of its implementation. The perception of life is perceived constructively as the interaction of the lyrical self and life (world):

I recognize you, life! I accept!

And I welcome you with a jingle of a shield!

The lyrical hero finds armor in an allegorically portrayed warring encounter with life, quenching his thirst for struggle (the latter is emphasized by optimistically sounding words, and I welcome him with the sound of a shield!) Leading to a cherished and enchanting dream. This is an uncompromising struggle, a struggle to the end.

Life itself appears embodied in a female image with a wild wind in serpentine curls (you can love your mother, sister and wife in the same face of the Motherland – Russia). Block –

poet of fine metaphor:

Before this hostile meeting I will never throw a shield.

You’ll never open your shoulders.

But above us is a drunken dream!

The complexity and inconsistency of life and the world is portrayed by the whole system of its opposing and mutually exclusive sides, the opposite emotions of their perception: failure – luck, crying – laughter, hate – love, etc.

Other oppositions that emphasize the immensity of time play an important constructive role: sleepless disputes (night) – morning and spaces: villages – cities. The same idea is enhanced by the attributes of spring and dreams (without end and without edge).

The complexity and inconsistency of life and the world is depicted by the whole system of their parties. In the poem, you can select the so-called keywords, anchor points of the composition and its ideological content. Here such a constructive element is the verbal form I accept, which is repeated five times, organizing the general underlined rhythm of the verses. Its analogs – contextual synonyms are other language means: I welcome you my greetings, that look. I was drunk with spring, I meet, I will not throw a shield, cursing and loving others.

The integrity of the poem, its semantic and structural unity are organized by the perception of the depicted world as a lyrical hero, a man of his time, his feelings, emotions and volitional impulses, as well as the nature and type of speech.

The thoughts and feelings of the lyrical hero, his moral position are refracted and appreciated in the image of the author as the highest poetic instance, where mosaic details are synthesized into a single contradictory whole: the joy of struggle, the willingness to go to battle (I welcome with the sound of a shield), the willingness to give oneself to exhausting work ( languor of slave labors) and powerlessness to unravel life, to know its secrets to the end (with the unsolved name of God on cold and compressed lips, you never open your shoulders), contradictory perception of the world (hating, cursing and loving).

In the ideological, compositional and linguistic structure of the poem O, spring is without end and without an edge. the lyrical self is thus the subject of evaluation and reflection on the essence of human existence, the meaning of life – everything that has worried people living on Earth for centuries.

The language structure of the poem Oh, spring without end and without edge. motivated by its content and composition.

The dominant pictorial tool in the poem is replay. The poem begins with expressive repetitions of a phraseological unit – definition in postposition and preposition: defined words that expressively reinforce the impression of the infinity of the world as a blossoming spring and the same immense human dream:

(spring) without end and without edge without end and without edge (dream)

The repetition of synonyms in each of these expressions sharpens the attention and forms the emotional beginning of the verses, underlined by interjection about, the intonation of the exclamation and the pause of comparison of the content of the first two verses (Oh, spring without end and without edge – Endless and without edge dream!)

I repeat the passage through the verb form (along with its analogs) semantically and structurally organizes the text of the poem as its keynote:

I recognize you, life! I accept!

I accept you, bad luck.

I accept sleepless disputes.

Accept desert scales!

All the same: I accept you!

Life is accepted enthusiastically in all its fullness, in all its most extreme manifestations. This thought is artistically embodied with the help of antonyms:

I accept you, bad luck, And good luck, my greetings to you!

In the enchanted area of ​​crying, In the secret of laughter – no shame!

The function of contextual antonyms is the same:

Accept sleepless disputes, Morning in the curtains of dark windows.

Accept desert rivers And the wells of earthly cities!

The lightened expanse of heaven And the languor of slave labor!

There are nightly disputes and morning filled with creative search, deserted villages and high-rise cities, joyful expanse of a bright sky and forced, forced and, perhaps, hopeless work without creative soaring.

A complex and contradictory attitude towards various phenomena and aspects of life, perhaps even some spiritual division, is transmitted through antithesis: hating, cursing, and loving.

In the works of the poet creates a kind of special metaphoric speech, a kind of second level of language over the usual, the first, that is, the language of symbols. Such is the picture of life in a poem – first, in the first four stanzas, the usual, and then symbolic:

And I meet you at the doorstep – With a violent wind in serpentine curls, With the unsolved name of God On the cold and compressed lips.

Life as a metaphor

Depicted appears as if in a double illumination, in two planes, which are then connected, then separated. Ordinary life suddenly appears in the guise of a mysterious, unknowable woman to the end – the nature – the sphinx.

The general figurative and symbolic bi-plan of the poem is based on the development and deployment of a metaphorical series. Life is presented in spring without end and without edge:

spring makes the poet’s eyes inflamed from sleepless nights; the mystery of life unsolved by him is overshadowed by a drunken dream, in which there is both excited despair, and recklessness, and hope (spring – spring intoxicates – drunken dream). The figurative structure of the poem is supported by other metaphors – symbols (in the enchanted area of ​​crying, in the secret of laughter – there is no shameful!), As well as metonymy (sleepless disputes – that is, disputes of not sleeping people) and hyperbole (without end and without an edge – about the spring and dream).

It is necessary to say a few words about the intonation of the poem. The emotional structure of the poems is enhanced by the intonation of the exclamation, giving them an enthusiastic look and solemnity and creating a declamatory style. It is important in this regard to pay attention to the exclamation marks; in a relatively small poem of them 12. It must be said that the number 12 in Blok has always been something symbolic. The emotion and pathetics of the lyric confession of the poet are transmitted syntactically by the joining of homogeneous members, emotionally separated into independent exclamation sentences:

I recognize you, life! I accept!

And I welcome you with a jingle of a shield!

Accept desert rivers And the wells of earthly cities!

Ordinary phrases seem to be torn apart, intonationally underlined (I recognize, accept). The poem is compositionally holistic, in it the internal thematic completeness and metric unity are clearly visible. The verse is expressive, the four-verse stanza vividly reveals the inner content of the work.

And I look, and I measure enmity, Hating, cursing and loving:

For torment, for death – I know – All the same: I accept you!

The poem sounds rhythmically wide, measured and free. It is written by a trilateral stop with alternating female and male rhymes: a to a c.

Individual author’s style, a set of tools and techniques make this poem by Blok a work of bright artistic expressiveness.

The work of Alexander Blok can not be learned from the move, without straining his mind and his soul. The poems of Blok are not read easily either because they embody many difficult, even, if you like, painful experiences.

Alexander Blok: about spring without end and without edge. Love poems and love poems – Love lyrics of Russian poets Anthology Russian poetry. © Copyright Peter Solovyov

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