Alexander Alexandrovich Blok

You're gone and I'm in the desert
I sank into the hot sand.
But the words of the proud from now on
Can't speak his tongue.

Without regretting what happened,
I understood your height:
Yes. You are the native Galilee
To me - the unresurrected Christ.

And let someone else caress you,
Let the wild rumors multiply:
The Son of Man does not know
Where to lay his head.

"Christ Led by the Spirit into the Wilderness" (William Hall, 1908)

In 1908, in a letter to director Konstantin Sergeevich Stanislavsky, Blok admitted that the theme of Russia was his main life theme, the pinnacle of his poetic path, the result of his creative quest. 1907 and 1908 - a turning point for Alexander Alexandrovich. During this period, the poet's lyrics began new stage. Blok began to look for unshakable values ​​in the surrounding reality and find them, first of all, in familiarizing himself with his native country, that is, with the people’s foundations of existence. It is quite natural that the origins of the “Motherland” cycle lie precisely in 1907-1908. The poet worked on it for almost ten years. In the final version, the cycle opens with the poem “You have gone away, and I am in the desert...”, written by one of the first and dating back to 1907.

In the analyzed text, religious motifs are closely intertwined with love themes. In the first stanza we're talking about about a man's separation from a lady dear to his heart. Separation from her brings incredible suffering to the lyrical hero. At the same time, associations arise with the New Testament story, which tells how the Devil in the desert tempted Christ, who had just completed a forty-day fast.

“The Temptation of Christ” (Juan de Flandes, 16th century)

After a long abstinence from food and water, the Savior’s flesh humbled itself. That is why his tongue is not capable of uttering the words of a proud man. According to Christian faith, humility is the strongest weapon against temptation coming from demons. In the second quatrain, Blok directly says that the desert sufferer is Jesus Christ. In the image of his beloved, Galilee appears - the region where the Savior spent a significant part of his life. Why is the Son of God called “unresurrected” in the poem? His beloved homeland - Galilee - left and betrayed him. He died far from her, being crucified outside the walls of Jerusalem. According to Blok’s thoughts, resurrection becomes impossible if death does not occur native land. In the final stanza, the hero's experiences reach their climax. His love for Galilee is strong, but not mutual. After a tragic separation from his beloved, he is left completely alone, he has nowhere to “lay his head.” Moreover, Christ is called not the Son of God, as is customary in Christianity, but the Son of Man.

“You have moved away, and I am in the desert...” is one of the most personal poems in the “Motherland” cycle. In the work lyrical hero turns out to be betrayed by his endlessly beloved homeland. Therefore, death away from her is both happiness for him and the greatest tragedy.

“You left, and I’m in the desert...” Alexander Blok

You're gone and I'm in the desert
I sank into the hot sand.
But the words of the proud from now on
Can't speak his tongue.

Without regretting what happened,
I understood your height:
Yes. You are the native Galilee
To me - the unresurrected Christ.

And let someone else caress you,
Let the wild rumors multiply:
The Son of Man does not know
Where to lay his head.

Analysis of Blok’s poem “You have gone away, and I am in the desert...”

In 1908, in a letter to director Konstantin Sergeevich Stanislavsky, Blok admitted that the theme of Russia was his main life theme, the pinnacle of his poetic path, the result of his creative quest. 1907 and 1908 – a turning point for Alexander Alexandrovich. During this period, a new stage began in the poet’s lyrics. Blok began to look for unshakable values ​​in the surrounding reality and find them, first of all, in familiarizing himself with his native country, that is, with the people’s foundations of existence. It is quite natural that the origins of the “Motherland” cycle lie precisely in 1907-1908. The poet worked on it for almost ten years. In the final version, the cycle opens with the poem “You have gone away, and I am in the desert...”, written by one of the first and dating back to 1907.

In the analyzed text, religious motifs are closely intertwined with love themes. The first stanza talks about the separation of a man from a lady dear to his heart. Separation from her brings incredible suffering to the lyrical hero. At the same time, associations arise with the New Testament story, which tells how the Devil in the desert tempted Christ, who had just completed a forty-day fast. After a long abstinence from food and water, the Savior’s flesh humbled itself. That is why his tongue is not capable of uttering the words of a proud man. According to the Christian faith, humility is the strongest weapon against temptation coming from demons. In the second quatrain, Blok directly says that the desert sufferer is Jesus Christ. In the image of his beloved, Galilee appears - the region where the Savior spent a significant part of his life. Why is the Son of God called “unresurrected” in the poem? His beloved homeland, Galilee, left and betrayed him. He died far from her, being crucified outside the walls of Jerusalem. According to Blok’s thoughts, resurrection becomes impossible if death does not occur on one’s native land. In the final stanza, the hero's experiences reach their climax. His love for Galilee is strong, but not mutual. After a tragic separation from his beloved, he is left completely alone, he has nowhere to “lay his head.” Moreover, Christ is called not the Son of God, as is customary in Christianity, but the Son of Man.

“You have moved away, and I am in the desert...” is one of the most personal poems in the “Motherland” cycle. In the work, the lyrical hero finds himself betrayed by his endlessly beloved homeland. Therefore, death away from her is both happiness for him and the greatest tragedy.

Blok returned to revolutionary St. Petersburg from Shakhmatovo! in the fall. He saw the growing revolutionary situation and, judging by his memoirs, on October 17 he even carried a red flag at a demonstration. It is no coincidence that in the second edition of “Unexpected Joy” the poet entitled one of the sections “1905”. The poem “Rally” was also included there.

Landscape in early work Bunin is not just sketches of an artist who deeply feels the beauty of his native fields and forests, striving to recreate the panorama of the places where his hero lives and works. The landscape not only shades and emphasizes the hero’s feelings. Nature in Bunin’s early stories explains man, shapes him aesthetic feelings. That is why the writer strives to capture all its shades.

First " short essay life and creativity" by Pribludny was published by A. Skripov in 1963. A close friend of the poet, who corresponded with him throughout 1929-1936, Skripov published big number previously unknown materials. His work, which has the undoubted merits of reliable evidence, obviously has not lost its value even today, but it is fully reflected in the views and assessments typical of Russian literary criticism of the 60s, such as the following...

Are you innocent? – and also remained silent expectantly. The silence was so deep and dense that you could hear, it seemed, two hearts beating - loudly and strongly for him, and at first measured and evenly, and then, as if his confusion was transmitted to her, more and more often and restlessly - for her. Jesus said: Your hair is like a flock of goats that come down from Mount Gilead. The woman smiled silently. Jesus said: Your eyes are like the pools of Heshbon, which are at the gates of Bathrabbim. She smiled again and remained silent again. Then Jesus turned to her: I have not yet known a woman. Maria squeezed his hands: Everyone has to go this way someday - a man, not knowledgeable woman, a woman who does not know a man; let the one who knows teach, and the one who does not know learn. You'll teach me? Then you'll have to thank me again. So I will forever be in your debt. And I will forever teach you. Maria got up, pushed the latch, but before doing this, she hung a certain banner on a pole above the gate, bringing to everyone’s attention that the hostess would not accept guests today, because the time had come for her to sing: Rise, wind, from the north and bring from the south, blow upon my garden, and its fragrance will flow. Let my beloved come to his garden and eat its sweet fruits. Then they together - Jesus, leaning, as before, on the shoulder of Mary, the harlot from Magdala, who healed his wound and now will receive him in her bed - entered the house, into the cool twilight of a clean room, where the bed was not that rough mat with a brown sheet thrown over it, like Jesus saw in parental home , but the real one, like the one described in these words: My bed is decorated with bedspreads, sheets are woven from Egyptian flax, they are perfumed with spikenard and saffron, calamus and cinnamon, myrrh and aloes with all sorts of the best aromas. Mary Magdalene led him to the hearth, the floor around which was paved with stone tiles, and, rejecting the help of Jesus, she undressed and washed him with her own hands, every now and then touching his body with her fingertips here, and here, and here, touching his lips here and there. chest, then to the thigh, then in front, then behind. And from these lightest touches Jesus trembled, and goosebumps ran across his skin as sharp nails slid across it. Don’t be afraid, said Mary of Magdala and led him to the bed by the hand. Get down, I'll be there in a minute. The curtain moved, the water began to gurgle, then everything became quiet, the air was filled with a fragrance - and Mary of Magdala appeared naked near the bed. Jesus lay naked, as she had left him, for he thought that if he covered the nakedness she had revealed, he would offend her. Maria stopped, looking at him with an expression that was both passionate and tender at the same time, and said: You are beautiful, but to become beautiful you must open your eyes. Jesus obeyed after a moment's hesitation, but immediately closed his eyes again, blinded, and opened his eyes again, and realized what King Solomon's words really meant: The roundness of your hips is like a necklace; your belly is a round cup in which the fragrant wine does not run dry; your belly is a heap of wheat, surrounded by lilies; your two breasts are like two kids, twins of a chamois, but the meaning of these words became even more clear to him when Maria lay down next to him, took his hands, pulled them towards her and began to slowly move them all over her body, from her hair to her forehead, from forehead along the cheeks to the neck, from the neck to the shoulders, from the shoulders to the breasts, embracing them, slightly squeezing and releasing and squeezing again, from the breasts to the stomach, to the navel and down to where her legs diverged, and there she also hesitated, confusing and releasing and again entangling his fingers in her rune, and from there along the steep, as if chiseled thigh, and at the same time she did not stop repeating, barely audible, almost in a whisper: Learn, learn, comprehend my body. Jesus looked at his hands, clasped by her hands, and he wanted to free them in order to explore this body inch by inch, every part of it, but Mary did not let go, continuing to move his hands over her from top to bottom, and again, and again. Study, study, she whispered. Jesus was breathing intermittently and heavily, and for a moment it seemed that his breathing was about to stop completely - this happened at that moment when her hands - the left one from the forehead, the right one from the ankles - slowly moving towards each other, met, came together, united in one point in the middle, but stayed there only for a moment and with the same leisurely returned to where they started on this journey, and set off again. “You haven’t learned anything, go away,” the Shepherd told him, and perhaps this meant that he had not learned to defend life. Now Mary of Magdala undertook to instruct him, who kept repeating “Conceive my body,” and then suddenly changed one word, so that it turned out: Comprehensive your body, and now his flesh tensed, hardened, rebelled, rushing towards the magical nakedness of Mary, and she said : Hush, forget about everything, don’t think about anything, I myself, and then he suddenly felt how a part of his flesh, that same one, this one, disappeared into her body, which enveloped her as if in a ring of fire, moving up and down, until He, shuddering, did not begin to scream, like a fish on the sand, which cannot be, because fish do not scream, but he screamed at that moment when Maria, groaning, fell on him, absorbing his cry with thirsty and impatient lips, and from this kiss a second and endless spasm broke through Jesus’ body. "José Saramago, The Gospel of Jesus.