What do you think?
Rate this book
Роза и крест
Драма. Создана в 1912 году. Действие происходит во Франции в XIII веке.
77 pages, Kindle Edition
Published May 22, 2014
10 people want to read
About the author
Alexander Blok
238 books146 followersAlexander Blok (Russian: Александр Александрович Блок) was born in Saint Petersburg, into a sophisticated and intellectual family. Some of his relatives were men of letters, his father being a law professor in Warsaw, and his maternal grandfather the rector of Saint Petersburg State University. After his parents' separation, Blok lived with aristocratic relatives at the Shakhmatovo manor near Moscow, where he discovered the philosophy of Vladimir Solovyov, and the verse of then-obscure 19th-century poets, Fyodor Tyutchev and Afanasy Fet. These influences would be fused and transformed into the harmonies of his early pieces, later collected in the book Ante Lucem.
He fell in love with Lyubov (Lyuba) Dmitrievna Mendeleeva (daughter of the renowned chemist Dmitri Mendeleev) and married her in 1903. Later, she would involve him in a complicated love-hate relationship with his fellow Symbolist Andrey Bely. To Lyuba he dedicated a cycle of poetry that brought him fame, Stikhi o prekrasnoi Dame (Verses About the Beautiful Lady, 1904). In it, he transformed his humble wife into a vision of the feminine soul and eternal womanhood (The Greek Sophia of Solovyov's teaching). Blok's few relatives currently live in Moscow, Riga, Rome and England.
During the last period of his life, Blok concentrated primarily on political themes, pondering the messianic destiny of his country (Vozmezdie, 1910-21; Rodina, 1907-16; Skify, 1918). Influenced by Solovyov's doctrines, he was full of vague apocalyptic apprehensions and often vacillated between hope and despair. "I feel that a great event was coming, but what it was exactly was not revealed to me," he wrote in his diary during the summer of 1917. Quite unexpectedly for most of his admirers, he accepted the October Revolution as the final resolution of these apocalyptic yearnings.
By 1921 Blok had become disillusioned with the Russian Revolution. He did not write any poetry for three years. Blok complained to Maksim Gorky that he had given up his "faith in the wisdom of humanity". He explained to his friend Korney Chukovsky why he could not write poetry any more: "All sounds have stopped. Can't you hear that there are no longer any sounds?".[2]. Within a few days Blok became sick. His doctors requested him to be sent for medical treatment abroad, but he was not allowed to leave the country. Gorky pleaded for a visa. On 29 May 1921, he wrote to Anatoly Lunacharsky: "Blok is Russia's finest poet. If you forbid him to go abroad, and he dies, you and your comrades will be guilty of his death". Blok received permission only on 10 August, after his death.[2]
Several months earlier, Blok had delivered a celebrated lecture on Pushkin, whom he believed to be an iconic figure capable of uniting White and Red Russia. His death and the execution of his fellow poet Nikolai Gumilev by Cheka in 1921 were seen by many as the end of the entire generation of Russians [2]. Nina Berberova, then a young girl, recalled about the mood at his funeral: "I was suddenly and sharply orphaned... The end is coming. We are lost."
http://russiapedia.rt.com/prominent-r...
He fell in love with Lyubov (Lyuba) Dmitrievna Mendeleeva (daughter of the renowned chemist Dmitri Mendeleev) and married her in 1903. Later, she would involve him in a complicated love-hate relationship with his fellow Symbolist Andrey Bely. To Lyuba he dedicated a cycle of poetry that brought him fame, Stikhi o prekrasnoi Dame (Verses About the Beautiful Lady, 1904). In it, he transformed his humble wife into a vision of the feminine soul and eternal womanhood (The Greek Sophia of Solovyov's teaching). Blok's few relatives currently live in Moscow, Riga, Rome and England.
During the last period of his life, Blok concentrated primarily on political themes, pondering the messianic destiny of his country (Vozmezdie, 1910-21; Rodina, 1907-16; Skify, 1918). Influenced by Solovyov's doctrines, he was full of vague apocalyptic apprehensions and often vacillated between hope and despair. "I feel that a great event was coming, but what it was exactly was not revealed to me," he wrote in his diary during the summer of 1917. Quite unexpectedly for most of his admirers, he accepted the October Revolution as the final resolution of these apocalyptic yearnings.
By 1921 Blok had become disillusioned with the Russian Revolution. He did not write any poetry for three years. Blok complained to Maksim Gorky that he had given up his "faith in the wisdom of humanity". He explained to his friend Korney Chukovsky why he could not write poetry any more: "All sounds have stopped. Can't you hear that there are no longer any sounds?".[2]. Within a few days Blok became sick. His doctors requested him to be sent for medical treatment abroad, but he was not allowed to leave the country. Gorky pleaded for a visa. On 29 May 1921, he wrote to Anatoly Lunacharsky: "Blok is Russia's finest poet. If you forbid him to go abroad, and he dies, you and your comrades will be guilty of his death". Blok received permission only on 10 August, after his death.[2]
Several months earlier, Blok had delivered a celebrated lecture on Pushkin, whom he believed to be an iconic figure capable of uniting White and Red Russia. His death and the execution of his fellow poet Nikolai Gumilev by Cheka in 1921 were seen by many as the end of the entire generation of Russians [2]. Nina Berberova, then a young girl, recalled about the mood at his funeral: "I was suddenly and sharply orphaned... The end is coming. We are lost."
http://russiapedia.rt.com/prominent-r...
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 2 of 2 reviews
January 24, 2020
Эзотеризм
розы с крестом
и без,
как и одной из Блока Александра редких пьес
- напоминает о закрытой книге,
что выполняет роль шкатулки
в романе о шпионах, детективах
и главах угасающих семейств.
Что - в розе нам,
читающим и задом наперёд,
и что - в кресте,
этих духовных варьете!
Какой небесный майонез!
(и льётся прямо в рот)
Эзотеризм,
будучи притянутым за уши,
всю оставшуюся жизнь
хлопает ушами
на полях школьных учебников.
розы с крестом
и без,
как и одной из Блока Александра редких пьес
- напоминает о закрытой книге,
что выполняет роль шкатулки
в романе о шпионах, детективах
и главах угасающих семейств.
Что - в розе нам,
читающим и задом наперёд,
и что - в кресте,
этих духовных варьете!
Какой небесный майонез!
(и льётся прямо в рот)
Эзотеризм,
будучи притянутым за уши,
всю оставшуюся жизнь
хлопает ушами
на полях школьных учебников.
November 1, 2015
Эту пьесу упоминает переводчик "Обладать" Байетт, говорит русскому читателю затонувший город Ис уже может быть знаком. Решила ознакомиться с русской классикой. Честно говоря, Ис тут постольку поскольку. Основная драма (естественно, как мне видится, официальные критики говорят совершенно иное) тут в выборе молодой прекрасной дамы. Изора, выданная замуж за некоего (наверняка некрасивого и недостойного любви) графа, начитавшись романтических рыцарских романов совсем как Дон Кихот, предаётся чернейшей меланхолии. Говорит: подавайте мне прелестного доблестного рыцаря, который мне будет песни красивые сочинять. То есть, конечно же, всё и сразу. По ходу действия в наличии объявляются: 1) красивый рыцарь, 2) доблестный рыцарь, 3) сочинитель песен. В отличие от героини гоголевской "Женитьбы", девица не мучается с выбором и отдаёт свою любовь красивому. Доблестный видите ли некрасив, а сочинитель - безумный старик. Выбор абсолютно несправедливый, как это водится среди дев. Когда поздно, она конечно роняет слезу, дескать а некрасивый-то доблестный рыцарь был ничо так. Так что на мой взгляд, сказка о том, что женщинам надо более разумно выбирать себе милого.
Ну там ещё история о долге и чести, но мне кажется это уже мелочи, необходимые для раскрытия образа Бертрана - некрасивого рыцаря. Ну и весьма откровенно автор говорит о радости-страдании. Дескать, куртуазной радости без ложечки страдания не бывает. И у каждого из героев так и выходит. Но опять же, мне кажется это несущественная деталька.
Ну там ещё история о долге и чести, но мне кажется это уже мелочи, необходимые для раскрытия образа Бертрана - некрасивого рыцаря. Ну и весьма откровенно автор говорит о радости-страдании. Дескать, куртуазной радости без ложечки страдания не бывает. И у каждого из героев так и выходит. Но опять же, мне кажется это несущественная деталька.
Displaying 1 - 2 of 2 reviews