Poem 12 why jesus christ. Versions of the appearance of Jesus Christ in the poem "twelve"

The interpretation of A. A. Blok's poem "The Twelve", especially its finale, is one of the most interesting and mysterious questions in the poet's work. Published shortly after the article "Intelligentsia and Revolution", written as if in one breath during January 1918, the poem caused an ambivalent attitude towards itself. According to the memoirs of V. Mayakovsky, both whites and reds read the poem. But, as critics noted at the same time, the appearance of Christ in the final chapter of the poem puzzled everyone: for whites it was blasphemy, for reds - annoying religious mysticism. Hence the different points of view - is Christ with the twelve apostles walking through the snow-covered streets? Or is it the Antichrist? What carries his image to people? What did the revolution bring them?

In Blok's worldview, the idea of revolution as retribution for the sins of the fathers occupies a considerable place. Therefore, the "grimaces of the revolution" are inevitable - accidental victims, rampant violence, the elements of terror. Such an accidental victim in the poem is Katya, who died accidentally, in the turmoil of the persecution of the “bourgeois” Vanka. But is her death so accidental? The revolution destroys traditional foundations, old moral values, Christian morality:

Freedom, freedom

Eh, eh, no cross!

The old faith is destroyed, Russia is destroyed - "Holy Russia", "kondovaya", "hut". The next goal is a world revolution:

We are on the mountain to all bourgeois

Let's fan the world fire...

And the vulgar image of the “fat-faced” Katya, approaching the image of the “fat-assed” Russia, is the same image of Eternal Femininity, the Feminine principle, but desecrated, defiled. Love must cleanse the world, create it anew, save it - but does it save? Having renounced love, the revolution, the memory of Petrukh, like the Apostle Peter, thrice, before dawn, renounced Christ - what does this image carry? The revolutionary patrol is likened to the twelve apostles, but these people who “need an ace of diamonds on their backs” go forward “without the name of a saint”, “are ready for anything, nothing is a pity”, they are more like bandits, but they go “with a sovereign step”, and It means they serve the authorities. Behind them is the old world, a rootless dog. “Destroying, we are still the same slaves of the old world,” wrote A. A. Blok to V. Mayakovsky.

Having destroyed the filth, the revolution did not bring purification, and if the twelve apostles are not apostles in their activities, then who is at their head? Block draws a contrast of color in the image of Christ: the whiteness of purity and happiness and the scarlet color of the bloody flag. What reveals such a contradictory image?

Ahead - with a bloody flag,

And invisible behind the blizzard

And unharmed from a bullet

With a gentle step over the wind

Snow scattering pearl

In a white corolla of roses -

In front is Jesus Christ.

The Lord must bless the shedding of blood, but whose? Jesus shed his own, the revolutionary "apostles" - someone else's. And if you count the dog following them, it turns out that thirteen are walking behind Christ - false apostles and a false prophet. Such a version also existed, and it cannot be unconditionally dismissed, because Christ could not lead people walking "without the name of a saint." One thing is certain - the hopes placed on the revolution to remake the whole world, all life, did not materialize, and moral purification through suffering is the lot of only those people who have not lost God in their souls, for whom the moral values of Christian morality are just as important and significant.

"Twelve"

There is nothing unexpected in this appearance of Christ at the end of the blizzard Petersburg poem.

The poem "The Twelve" is Blok's most enigmatic work. There are many options for interpreting the poem and the image of Christ, but it is not possible to determine which one is closest to the author's intention. Blok's reviews of The Twelve are stingy and contradictory, they testify to the fact that what he wrote was a mystery to him. One thing is obvious: the image of Christ in the poem is key, his appearance at the end is the culmination of the work. Is it possible to agree with Voloshin and argue that the appearance of Christ is inevitable after what is happening in the poem? To answer this question, you should refer to the text.

"God's Light" God's means not abandoned by God, it means that God sees everything that happens in this world. And things are hardly pleasing to God, and this is emphasized by words related to faith. This is most clearly expressed in the leitmotif "Freedom, freedom, eh, eh, without a cross." Freedom without judgment, punishment, repentance. "Without a cross" can also mean that everything that happens is not redeemed by either people or Jesus, but someone must atone for sins, otherwise the light will cease to be God's. And it seems that this is not far away, if the call “let's fire a bullet at Holy Russia” sounds, in which it seems to be specially emphasized that now it is possible to “shoot” at the sacred, and, of course, “without a cross.”

But most of all this is expressed in the words: "Eh, eh, sin, it will be easier for the soul." Sin is the path to freedom, freeing the soul from conscience, from the "cross". But still, one of the Twelve awakens a conscience: "Only the poor murderer can not see his face at all." He suffers from what he did because he killed the man he loved. Love awakens remorse in him: "... I ruined, stupid, I ruined in a rush ..." Love in itself is a holy, purifying feeling, and if he still repents of his sins, he will be able to return to God. He is the very lost sheep, which is dearest to the shepherd. The Lord always comes when the soul embarks on the path of purification. Maybe that's why Blok wrote about the illustration to the poem: "If from the upper left corner of the "Murder of Katya" breathed thick snow and through it - Christ - this would be an exhaustive cover." The murder of Katya leads to the repentance of the soul and the appearance of God in it.

There is another way to explain Blok's use of God's name. Several times in the poem fragments of prayers are heard. At first, the old woman laments: "Oh, Mother Intercessor! Oh, the Bolsheviks will drive him into a coffin!" She asks the Mother of God for protection from the Bolsheviks. We can say that the old woman is part of the old world, which seeks protection from God. It is interesting that both the old world and God are given in a female form, and the feminine principle is the most sacred for Blok.

"blessing":

Let's fan the world fire

World fire in the blood -

Can't hear the noise of the city

Something blizzard broke out

And in such an environment, the voice of this soul is heard: "Oh, what a blizzard, Savior!" The soul cries out to God - won't he come to her? But in order to truly repent, strength is needed that this soul does not have: we no longer hear its voice, one of the Twelve does not contradict the comrades who condemn these words. But the words of Blok are heard: “And all twelve go without the name of the saint - into the distance ...” So, again, “without a cross,” everyone goes. So what's next? Is there salvation in the future, or is it just a "global conflagration in the blood"? It is known that Blok not only sympathized with the revolution, at that moment he "lived in modernity ... in harmony with the elements."

"Jesus Christ is ahead," that is, salvation and light, so far barely distinguishable in a blizzard, but this light "is unharmed from a bullet," and it will definitely be seen when they stop shooting and when "the wind in all God's world" subsides. Blok wrote: "I do not have a clear view of what is happening, while by the will of fate I have been made a witness of a great era." And although it is impossible to explain exactly why Christ appears (the explanation given here is only one of the possible options), it is obvious that he cannot but appear at such a great moment for Blok.

After its release, "The Twelve" drew numerous and controversial criticism. Probably, not a single work of Blok could compare with this poem in terms of popularity in Russia and, especially, abroad. Even during the life of the author, it was translated into several European languages.

The figure of Christ in The Twelve, as you know, caused the most controversial opinions and judgments. Those of Blok's contemporaries who were supporters of Russian Orthodox thought were most radical to the poem: P. Florensky, I. Ilyin. Florensky, in particular, considered the poem as the last stage in Blok's development. Speaking highly of the poet's artistic talent, the philosopher believed that Blok had turned onto the path of replacing the "ideal of the Madonna" with the "ideal of Sodom." Therefore, according to Florensky, at the end of the work, it is not the image of Christ that appears, but the image of the Antichrist. The proof of this is the blizzard, the rampant elements in the poem. It is difficult to agree with the opinion of this philosopher. In my opinion, a true artist should not always be limited to seeing the world through the prism of religion.

The point of view of Maximilian Voloshin is also controversial. He, being convinced of the religiosity and cult nature of Blok's poetry, believed that the revolutionaries were persecuting Christ for the sake of his murder.

It is impossible not to agree that the image of Christ is a symbolic image and therefore polysemantic. Of interest is the opinion of I.S. Prikhodko, who claims that Christ embodies the element of revolution. Here it is necessary to remember the call of Blok himself to "listen to the revolution." Symbolic meaning gives the image of Christ a white color (“a white halo of roses”). White is the color of heavenly forces. It means purity, innocence, hope for the renewal of Heaven and Earth. The rose in the Catholic tradition is a sign of the Virgin Mary. Consequently, according to Prikhodko, the poet tried to unite the Holy Spirit in Christ with the Mother of God.

It is important that the gospel motifs in the poem are not limited to the final image of Christ. The very number of those walking “in the distance”, “without a cross”, “without the name of a saint”, shooting at a vision “in a white halo of roses”, corresponds to the twelve disciples of Christ. It seems to me that the comparison of the revolutionary patrol with the apostles of Christian teaching was ambiguous for the author himself, like any other symbol. So, in August 1918, in a letter to the artist Yu.P. Annenkov, who illustrated the poem, Blok wrote: "Christ with a flag - this is, after all, not so."

The image of Christ appears in the final chapter of the poem. The appearance of such an image in the work is unusual, since the theme of the revolution sounds in it, the murder of a woman is committed. But, at the same time, one cannot deny the logic and organicity of the appearance of this image.

It cannot be denied that the figure of Jesus Christ is the harmonious conclusion of the entire poem. In this image, Blok captured the ideal of everything that exists in the Universe, regardless of whether they strive for it or not, and it cannot be destroyed.

Hence, it seems to me, the “over-the-wind gait” of Christ. This epithet eloquently testifies to the immortal nature of the ideal. The "blizzard" in the poet's mind is a revolution, but even this force, sweeping away everything in its path, is not capable of destroying it.

Christ walks ahead of his "apostles", and behind him trudges the "hungry dog" - a symbol of the "old" world. Such an arrangement of heroes is not accidental. The author emphasizes that the ideal will always go ahead, regardless of whether it is needed or not. Very important for understanding the image of Christ and the symbol of the "bloody flag". It does not mean at all that Christ blesses all the "bloody" lawlessness of the revolution. This symbol, on the contrary, is a reminder of Katya's death as an unacceptable phenomenon in the struggle for the Ideal.

The "bloody flag" is opposed to the "white halo of roses" on Christ's head. This makes it more “feminine”, according to the author, and, accordingly, a more vivid symbol of holiness and purity, enclosed in the concepts of Absolute Truth and Supreme Justice.

It is important to note that Blok used precisely the popular version of the name of Christ - "Jesus". I think this is how Blok brings this image closer to the people. Jesus in the poem becomes human, descends from heaven and becomes more pagan. It is this “Jesus” that is close to the “twelve”, those who come from the people.

In conclusion, it remains to draw a conclusion about what Blok put into the image-symbol of Jesus Christ himself. For the poet, Christ is the moral standard of human existence, whose name is Love. It is a symbol of the future that justifies the present. For Blok, this image contains the highest spirituality of mankind, its cultural values, which will go to those who will live in accordance with these ideals. In the poem, these values are not in demand, but they are “overwind”, enduring, which means that they can get to those who look for them.

As you know, Blok himself believed in the revolution and attached great importance and symbolic meaning to it. The poet believed in the cleansing power of revolution. In my opinion, there can be no single judgment about the meaning of the image of Christ for two reasons. Firstly, "The Twelve" is a work filled with symbols. We can say that it is open to infinity for the interpretation of symbolic images. Secondly, as in his other poems, here A. Blok recreates the history of the universe through the historical picture, which was initially ruled by elements and harmony. Even Blok himself treated his poem differently, and what can we say about us:

So they go with a sovereign step -

Behind is a hungry dog

Ahead - with a bloody flag,

And invisible behind the blizzard

And unharmed by a bullet

With a gentle step over the wind,

Snowy scattering of pearls,

In a white corolla of roses -

In front is Jesus Christ.

Mysticism. Hence the different points of view - Is Christ with the twelve apostles walking through the snow-covered streets? Or is it the Antichrist? What carries his image to people? What did the revolution bring them?

In Blok's worldview, the idea of revolution as retribution for the sins of the fathers occupies a considerable place. Therefore, the "grimaces of the revolution" are inevitable - accidental victims, rampant violence, the element of terror. Such an accidental victim in the poem is Katya, who died accidentally, in the turmoil of the persecution of the “bourgeois” Vanka. But is her death so accidental? The revolution destroys traditional foundations, old moral values, Christian morality:

No cross!

The old faith is destroyed, Russia is destroyed - "Holy Russia", "kondovoy", "hut". The next goal is a world revolution:

We are on the mountain to all bourgeois

Let's fan the world fire...

And the vulgar image of the “fat-faced” Katya, approaching the image of “fat-assed” Russia, is the same image of Eternal Femininity, the Feminine principle, but desecrated, desecrated. Love must purify the world, create it anew, save it - but does it save? He who renounced love, the revolution, the memory of Petrukh, like the apostle Peter, thrice, before dawn, renounced Christ - what does this image carry? The revolutionary patrol is likened to the twelve apostles, but these people who “need an ace of diamonds on their backs” go forward “without the name of a saint”, “are ready for anything, nothing is a pity”, they are more like bandits, but they go “with a sovereign step”, and It means they serve the authorities. Behind them is the old world, a rootless dog. “Destroying, we are still the same slaves of the old world,” wrote A. A. Blok to V. Mayakovsky.

Ahead - with a bloody flag,

And invisible behind the blizzard

And unharmed from a bullet

With a gentle step over the wind

Snow scattering pearl

In a white corolla of roses -

In front is Jesus Christ.

The Lord must bless the shedding of blood, but whose? Jesus shed his own, the revolutionary "apostles" - someone else's. And if you count the dog following them, it turns out that thirteen are walking behind Christ - false apostles and a false prophet. Such a version also existed, and it cannot be unconditionally dismissed, because Christ could not lead people walking "without the name of a saint." One thing is certain - the hopes placed on the revolution to remake the whole world, all life, did not come true, and moral purification through suffering is the lot of only those people who have not lost God in their souls, for whom the moral values of Christian morality are just as important and significant.

Essays on topics:

Unified State Examination Blok met the revolution enthusiastically and intoxicated. In the article "The Intelligentsia and the Revolution", published shortly after October, Blok exclaimed: "Well...
A. Blok is a poet who “consciously and irrevocably” devoted his whole life to the theme of the motherland. This is a cross-cutting theme in his work ....
Ivanov Alexander Andreevich made a great contribution to Russian culture with his canvas “The Appearance of Christ to the People”. The painting itself found its place in...
In the poem "Mtsyri", the great poet Mikhail Lermontov described the image of a rebellious, freedom-loving young man, with a pure soul and a heroic character. Mtsyri showed ...

Goals:

Try to understand why the subject of endless disputes is both the poem itself and, in particular, the image of Christ;
To identify features in the image of Jesus Christ by Blok and compare this image created by the poet with the images of Christ depicted by artists of the 19th-20th centuries and with the images of Christ the Savior on the icons of the 12th-15th centuries.
To form the ability to reason, to prove on the example of the text of the studied work, the assessments of critics, contemporaries of Blok, to express their point of view.

Equipment and visibility:

Portraits and photographs of Blok;
Illustrations for the poem "The Twelve" by artists Annenkov, Altman, Malesh;
Painting reproductions: I. Kramskoy "Christ in the Desert", A. Ivanov "The Appearance of Christ to the People", N. Ge "The Last Supper", B. Birger "Exit from the Last Supper", Leonardo da Vinci "The Last Supper";
The image of the Savior on the icons:"Spas" by A. Rublev; "The Savior Not Made by Hands", "The Savior the Almighty", "The Savior the Fiery Eye" - unknown authors.

Epigraph to the lesson:

"The end of the Russian state will be when the lamps over the tomb of Sergius of Radonezh go out and the gates of his Lavra close."
Klyuchevsky

During the classes

The student reads the beginning of chapter 1 by heart:

Black evening.
White snow.
Wind, wind!
A person does not stand on his feet.
Wind, wind
In all God's world!

Teacher: Fascinating lines of A. Blok's poem, exciting and alarming. Why? Why wind and blizzard? What is going on in God's world? What did the wind bring to Russia, destruction or creation? The poem "The Twelve" is one of the mysteries of the literature of the 20th century. Let us recall the assessment of Blok himself.

The students talk about the period when the poem was created, cite the words of the poet: “Today I am a genius,” said by him on January 29, 1918, after the completion of the work. Blok, in his words, "... in January 1918, for the last time, surrendered to the elements ..."

Teacher: What impression did the poem make on Blok's contemporaries? What did they see in "The Twelve"?

Students: Some saw satire, a curse, others saw the anthem, the glory of the revolution. Estimates were very ambiguous, contradictory.

Bunin took the work negatively. He called the poem "something vulgar, inept."
Mayakovsky: "Some saw the anthem of the revolution, others - a satire on it."
Ivanov-Razumnik: “Blok sees the global significance of what is happening ... This is a poem about revolutionary Petrograd, about dirt and crimes ... and at the same time this is good news ...”
Gorky called the poem a satire.
Lunacharsky saw immortality in the poem.
Voloshin: "The block lost its vote to the Bolsheviks"
Berdyaev called "The Twelve" "an amazing, almost brilliant thing", but at the same time noted that "Blok paid with a cruel death for a hallucination, a deceit."

Teacher: Many Petrograd writers turned away from Blok and did not shake hands with him. But there were also those who tried to figure out what the poet had created, whether he had changed himself by writing a poem, or remained true to his creative style. What do you think?

Students provide evidence for and against.

M. Voloshin saw in "The Twelve" a connection with "The Beautiful Lady" and "Snow Mask", which means that Blok did not change himself.
Ivanov-Razumnik called Blok "a poet of the rose and the cross."
Chukovsky also noted that Blok remained true to himself.

One group of students draws a comparison between the poem and the cycle of "Poems about the Beautiful Lady", where the depicted world is completely different: bright, beautiful; temples and towers, sublime and pure love. In "The Twelve" everything is different, here Blok is different.

The second group of students compares the poem with poems about Russia, with the third book, where the image of the wind appears, and Russia - “drunk”, “robbery”, “daring”, confirms the idea that Blok remains the same poet.

Teacher: As we can see, neither Blok's contemporaries nor ours have a unanimous opinion. What caused such conflicting assessments and disputes that have not subsided so far, more than 90 years after the appearance of the poem?

Students: Everything in the poem is debatable: the image of the revolution, the old world, the "apostles of the new world" - the twelve Red Guards and, of course, the image of Christ.

Teacher: Ninety years were not enough to unravel the riddle of the poem, especially its difficult to explain finale. We, of course, do not assume the role of a judge who must decide the dispute, and we will not put an end to more than 90 years of dispute. But let's try to understand the complex concept of Blok's poem.

So, the topic of our lesson is: “In a white halo of roses - in front of Jesus Christ” (The image of Jesus Christ in the poem “The Twelve”).

The student reads the final scene by heart:

... Ahead - with a bloody flag,
And invisible behind the blizzard
And unharmed by a bullet
With a gentle step over the wind,
Snowy scattering of pearls,
In a white corolla of roses -
In front is Jesus Christ.

Teacher: There are two points of view on the appearance of Jesus Christ at the end of the poem:

an artificial, far-fetched image that contradicts the objective content of the poem;
the image of Christ is not foreign, but follows from the content of the poem. We will try to prove or disprove these points of view.

The students prove that the image of Christ is invisible, but is already present in the poem, starting from the first chapter (read the lines):

Chapter 1: "In all God's world."
Chapter 2: "The cross shone ...", "Holy malice", "freedom without a cross", let's fire a bullet at Holy Russia.
Chapter 3: "God bless you"
Chapter 5: “Eh, eh, sin, it will be easier for the soul…”
Chapter 7: "... it's not a sin to have fun ..."
Chapter 8: “God rest the soul of your servant…”
Chapter 10: “Oh, what a blizzard, save!” “Why did the golden iconostasis save you?”
Chapter 11: "And they go without the name of the saint ..."

Conclusions about the regularity of the appearance of the image of Christ the Savior. He is present invisibly, watching the actions and deeds of the twelve. And in chapter 12, does Jesus appear only in the last, final stanza, visible to the poet and invisible to the patrol?

Reading chapter 12 by roles.

Teacher: To whom are the questions of the patrol addressed? Who is this invisible "Who"? "... walks at a quick pace, burying himself behind all the houses"? "...waving a red flag"? "Who is in the snowdrift ..."?

What do these questions sound like?

The disciples come to the conclusion that this “invisible enemy” is Jesus Christ. And in questions one can hear threats, uncertainty, fear, doubts. And to kill their doubts and fear, they shoot. First, "... let's fire a bullet at Holy Russia," and then at the Lord God himself.

Teacher: Therefore, it can be assumed that the "steel rifles" are aimed at the enemy. What is the name of this enemy in the poem?

Pupils find epithets: "restless", "fierce", "invisible". Restless - it means that it will not calm down, i.e. won't calm down. Christ, probably, cannot calm down, seeing outrages, crimes, atrocities. Revolutionaries - atheists, atheists, act "without the name of a saint", without a cross. “Ready for anything, sorry for nothing…”

Teacher: All this is so. Christ disturbs the Red Guards. With what? Reminder. That it is impossible to live in violation of the Christian commandments, the main of which is "Thou shalt not kill." Jesus cannot calm down, that faith, holiness is crumbling, without which murders, reprisals, denunciations are possible. Remember the scene of Petrukha's murder of Katya, Petrukha's behavior (ch. 6-7).

The students talk about the torments of the killer's conscience and how his comrades do not allow him to repent:

What are you, Petka, a woman, or what?
- That's right, the soul inside out
Thinking of turning it out? Please!
- Maintain your posture!
- Keep control over yourself! (7 chapter)

Petruha calls the name of the invisible enemy - the Savior.

Teacher: What is the meaning of this word in the poem?

Students:“Spas”, “Spas” in the poem is both save and savior. On the icons of the XII-XV centuries, Christ was depicted under the name Savior.

The message of the student about the icons "Savior Not Made by Hands", "Savior the Almighty", "Savior the Fiery Eye" - unknown authors and about the "Savior" by Andrei Rublev.

Teacher: There is nothing accidental in Blok's poem. It is no coincidence that the name of Peter, Petrukha. It is symbolic.

The student makes a report about the biblical legend, about the Apostle Peter, about the disciples of Jesus Christ and about the paintings by Leonardo da Vinci and N. Ge with the same name “The Last Supper”, which depicts Jesus among his apostle disciples.

Teacher: What is the difference between Blok's Peter and the biblical one?

Student: Blokovsky Peter tries to turn to the name of God, to repent, but the “apostles of the new world” drive repentance, try to fence themselves off from the name of the saint, from Christ, and Petruha turns away from God:

He tosses his head
He cheered up again... (Chapter 7)

Teacher: The poem is filled with fear of him, an invisible enemy. This means that atheist revolutionaries do not recognize Jesus as theirs. However, is it possible that Christ himself would agree to go at the head of such twelve? Who are they, the apostles of the new life, how did the poet portray them?

The student makes a report about the Red Guards.

The student reads the second chapter by heart:

The wind is blowing, the snow is falling.
Twelve people are coming.
…
A cigarette in the teeth, a cap is crushed,
On the back you need an ace of diamonds!
…
Let's fire a bullet at Holy Russia -
In the kondovoy, in the hut,
Into the fat ass!
Eh, eh, no cross!

Teacher: Many artists illustrated the poem "The Twelve". How was Annenkov, Altman of the Red Guards portrayed against the backdrop of the collapsing old world? What tones prevail? Did the illustrators manage to express the poet's intention? (Messages from two students)

Teacher: These are the people who came to power and became masters of the new life. Russian writers who did not accept the revolution, such as Bunin, Merezhkovsky, Gippius, saw in it the coming of the Antichrist and the end of the world. So is it possible for Jesus Christ at Blok to lead the “apostles of violence and robbery”? For believers, this is blasphemy. But after all, Christ said: “For I have come to call not the righteous, but sinners to repentance” – this is the deep meaning of the appearance of Christ to people.

Russian artists have repeatedly turned to the image of Christ. How is Christ depicted in the paintings of Kramskoy and Ivanov? Is their Christ different from Blok's?

The message of the students about the paintings of Kramskoy "Christ in the Desert" and Ivanov's "The Appearance of Christ to the People".

Teacher: Work on the image of Christ required enormous effort, to the point of physical exhaustion. Alexander Ivanov considered his painting, on which he worked for twenty years, the work of his whole life. Blok, as we already know, wrote almost nothing after The Twelve until his death.

In the poem, unlike the paintings, there is no appearance of Christ, he is invisible. Only the poet saw him, but where and how?

Students: Jesus does not lead the Red Guards. He walks ahead with a “gentle gait over the windstorm, a pearly scattering of snow”, i.e. in the midst of a blizzard, a blizzard that grew as if from snow, "in a white halo of roses." But not at the head. Soldiers don't see him.

Student's message about Birger's painting "Exit from the Last Supper".

Teacher: Let us recall how Blok himself perceived the image of Christ.

The students read Blok's statements about the image of Jesus and come to the conclusion that the poet himself did not quite understand this image. “I hate that feminine look…” “I don't like the end of The Twelve either. “I take a closer look and see that he…” “…unfortunately, he is,” etc. At the end of the poem, Blok put a period, not an exclamation point, therefore, he "did not praise", but, in his words, "only stated a fact." Blok did not fully comprehend what was written. According to the memoirs of K. Chukovsky, he listened to the conversations, "as if he wanted to find that person who would explain to him the meaning of the poem."

Teacher: The fate of Russia is inseparable from Christ. This image is eternal, poets turned to it both before Blok and after Blok. But the pioneer of the image of Christ in Russian poetry is G.R. Derzhavin.

The student reads by heart an excerpt from Derzhavin's ode "Christ":

Christ is all goodness, all love,
Shine properties even trisacred.
The whole circle would be worlds without him
Was incomplete, imperfect.
…
Having found Christ, we find everything!
We lead our Eden,
And his temple is holy of heart.

Teacher: Found their Christ twelve?

The students come to the conclusion that the twelve did not find their Christ in the poem, they raised their “steel rifles”, trampled all moral laws: “Freedom, freedom, eh, eh, without a cross!”

Teacher: But why is Christ still in the finale of the poem? Researchers offer several interpretations of the image: Christ is a revolutionary, Christ is a symbol of the future, Christ is a superman, Christ is a symbol of Eternal Justice, and others. Your opinion.

Students express different points of view.

Teacher: We, just like critics, researchers of the poet's work, his contemporaries, cannot answer this question unambiguously. K.I. was right. Chukovsky, arguing that "the poem has been and will be interpreted 1000 more times and everything in different ways, because it was written by a complex person." Alexander Blok himself hoped that the poem would be read “someday, in times other than ours” and that they would understand it and him, the poet.

Blok is a prophet, and his poem is a tragic prophecy about the salvation of Russia. Pay attention to the epigraph to the lesson, to the words of the Russian historian Klyuchevsky: “The end of the Russian state will be when the lamps over the tomb of Sergius of Radonezh go out and the gates of his Lavra close.” We live in a time when all bans have been lifted, there is complete freedom of religion, more and more churches are being opened, the Cathedral of Christ the Savior has been restored, but has there been less crime? No. Why? Yes, again "they go without the name of the Holy One." The poem "The Twelve" is a warning, an attempt by Christ the Savior to wake up those who gave and are giving away the Holy Faith, Holy Russia, their future for trampling. An endless blizzard is still sweeping over Russia. When will this blizzard end?