Analysis of the cycle "poems about a beautiful lady" of the block, the image of a beautiful lady. The image of a Beautiful Lady in the lyrics (Alexander Blok) A Beautiful Lady in Blok’s poetry
The evolution of the image of a beautiful lady in the lyrics of A. Blok
The whole horizon is on fire, and the appearance is near,
But I’m afraid you’ll change your appearance,
And you will arouse impudent suspicion,
Changing the usual features at the end.
In our minds, the name of Blok is associated, first of all, with the image of a romantic poet who glorifies in his poems the ideal beloved, the embodiment of perfect femininity and beauty. The appearance of this motif (rather, even the leitmotif of the author’s early work) is associated with the aesthetics of symbolism and with the philosophy and poetry of Vl. Solovyova. The latter’s teaching about the World Soul or Eternal Femininity, called upon to renew and revive the world, passed through the prism of Blok’s poetic talent. At the same time, “Poems about a Beautiful Lady” is largely autobiographical, as far as this word can be applied to a poetic work. Blok embodied in them the intimate and lyrical experiences of his youth. The beloved girl becomes in his poems the Holy, Most Pure Virgin, a symbol of femininity and beauty.
The entire cycle of poems about the Beautiful Lady is permeated with the pathos of chaste love for a woman, knightly service to her and admiration for him as the personification of the ideal of spiritual beauty, a symbol of everything sublimely beautiful. The heroine of Blok's poetry is seen by the hero not as an earthly woman, but as a deity. She has several names: Beautiful Lady, Forever Young, Holy Virgin, Lady of the Universe. She is heavenly, mysterious, inaccessible, detached from earthly troubles: Transparent, unknown shadows float towards you, and with them you float, into the arms of azure dreams, incomprehensible to us, you give yourself.
It is inaccessible to the hero, because he is only a man, earthly, sinful, mortal: And here, below, in the dust, in humiliation, Seeing for a moment the immortal features, The unknown slave, filled with inspiration, Sings to You. You don't know him...
The lyrical hero of the cycle, the poet's double. Sometimes a servant, sometimes dear, And always a slave.
A knight, a kneeling monk, a slave, he performs his service to the beautiful queen, the Most Pure Virgin: I enter the dark sanctuaries, I perform a poor rite, There I wait for the Beautiful Lady In the flickering of red lamps.
In everything, the hero senses her presence in the bottomless azure of the sky, in the spring wind, in the song of the violin: From that time on, no matter the night, no matter the day, Your white shadow is above me, The smell of white flowers in the middle of the gardens, The rustle of light steps by the ponds. ..
At the same time, the heroine is almost incorporeal, incorporeal, her image does not imply anything concrete, “tangible”, because everything earthly is alien to her: Here is a face emerging from lace, A face emerging from lace...
Here her blizzard trills float, trailing the bright stars in a train...
“I can’t hear either sighs or speech,” says the hero.
To describe the object of his worship, the author uses epithets such as “radiant”, “mysterious”, “ineffable”, “illuminated”, “gratifying”. But in some poems about the Beautiful Lady, her image takes on more specific, earthly features, devoid of a touch of mysticism: I will get up on a foggy morning, the Sun will hit my face.
Are you, my beloved friend, coming up to my porch? Before us is no longer an abstract image, but an earthly woman; It should be noted that when talking about her, the poet refuses capital letters.
In the poems that followed the cycle about the Beautiful Lady, one can trace the further development of her image. The heroine of the cycle remained a celestial being who did not condescend to the hero and his love. In later poems, the figure of a new heroine appears, who also in her own way embodied the ideal of beauty and light. Heavenly angel, Star Maiden suddenly falls to the ground: You flowed like a bloody star, I measured your path in sadness, When you began to fall.
The metaphysical fall of the Virgin worries and saddens the hero, but then he understands, having found his beloved on the unconsecrated ground, in the “unlit gate”, that this gaze is no less bright than it was in the foggy heights.
Having descended from “heaven,” the heroine did not lose her beauty, charm, charm. This is how the Stranger is born, an angel who descended to earth, “a genius of pure beauty,” in the words of A.S. Pushkin. In the poem “Trail Spattered with Stars,” the heroine is compared to a comet falling down, connecting heaven and earth with its fall: Trail splashed with stars, Blue, blue, blue gaze.
Between earth and heaven, a fire raised by a whirlwind.
Thus, the image of the mystical “Eternal Femininity” is replaced in Blok’s poetic world by the romantic image of the Stranger living on earth. And then another conflict arises: In the midst of this mysterious vulgarity, Tell me what should I do with you, Unattainable and unique, Like a smoky blue evening? The heroine is doomed to stay in a world of vulgarity and dirt. How is it possible for the beautiful and the ugly, the sublime and the ordinary to coexist? Blok tries to answer this question in his poem “Stranger.” It is built on the opposition of two worlds. In the first part, the poet gives a picture of the ugly everyday reality (stuffiness of the streets, boredom, dust, crying, screeching). The routine, familiarity of what is happening is emphasized by the repeated use of the combination “and every evening.” And at the same time...at the appointed hour (Or am I just dreaming?) The girl’s figure, captured in silks, moves through the foggy window.
The image of the Stranger cannot be interpreted unambiguously. Is this just a vision dreamed by the hero sitting over a glass of wine? Is this a real woman, endowed with the attributes of a romantic lover, again, not without the influence of alcohol? A heir to romanticism, Blok does not avoid ambiguity and irony. One thing is certain: dreams and reality are incompatible; there is no place for ideals in the everyday world. The last lines look like a sarcastic conclusion: You're right, drunken monster! I know: the truth is in the wine.
But who knows? Maybe this is the wine of poetry? Romantic in nature: the image of the Beautiful Lady gives a tragic sound to Blok’s works. The ideal beloved is distant, inaccessible, lifeless, she is just a symbol. Over time, her image is filled with life content: the poet is looking for his heroine in this world. But the meeting cannot bring him either joy or peace, since the impossibility of its existence on earth is obvious. This is how the image of the Beautiful Lady of Eternal Femininity, the desired friend of the fallen angel Stranger, develops and finds its end in Blok’s poetry.
References
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Few Russian poets nurtured their life and artistic ideal as carefully as Alexander Blok. He formed an ideal early, filled it with deep content and was faithful to it for a very long time. And although the aesthetic appearance of this ideal has changed over the years, its core has remained unchanged.
This is how the cycle “Poems about a Beautiful Lady” arose. It opens with an “Introduction”, in which a traveler is depicted, unstoppably marching to where the heroine is. It is interesting that here the poet also places her in a Russian wooden tower, decorated with carvings, a ridge, and a high domed top. It seems to me that Blok is relying on a folklore source, on the song “My joy lives in a high tower...” Only the poet makes this song “joy” into a fairy-tale Princess, he begins to write this word with a capital letter, and he himself penetrates the gates of an inaccessible tower through the flames of a glowing fire.
This is followed by the poems of the cycle, in which the heroine is increasingly called a “soul” and endowed with unearthly features:
The fire of unearthly lusts
Heaves up her virgin breast.
The poet craves at this time (it coincides with the “mystical summer” of Blok and L. D. Mendeleeva in 1901) “divine” love. At this time he was strongly influenced by the philosophy of Vladimir Solovyov, who argued that the divine world mind that rules the world manifests itself in the “soul of the world,” “Sophia,” which takes on the female image of Eternal Femininity. This “supreme being” (feminine) is between God and reality and contains the fullness of goodness, truth and the “imperishable radiance of beauty.” She, this Eternal Femininity, is called upon to sweeten the world with her beauty, renewing humanity.
The teachings of the outstanding Russian philosopher formed the basis of A. Blok’s poetic cycle. The mystical image of the Eternal Feminine, having become a source of love and light, receives various names and titles: “Eternally Young”, “Virgin”, “Saint”, “Mistress of the Universe”, “Soul” and “Beautiful Lady”. This allowed Blok to unusually elevate the image of his beloved, to combine the beautiful and the sublime, and to express the idea of the future transformation of the world into harmony.
The high ideal of beauty in its own way, very uniquely (and distantly) reflected the candy face in life - Lyuba Mendeleev. She recalls, speaking about Blok’s poetry of 1901 - 1903: “Little by little I entered this world, where it’s either me or not me, but everything is melodious, everything is unsaid, where these beautiful poems, one way or another, but still come from me". Now we are beginning to understand these mysterious verses of Blok much better. On the one hand, a lot comes from real life: a joint visit with the bride to the city cathedrals - Kazan and St. Isaac's - was reflected in the poems “I love high cathedrals...” and “I enter dark temples...”, walks along the quiet May streets Petersburg are captured in the poem “On a White Night the Red Moon...”; other poems convey changes in the relationship between lovers. Here there is hope, and doubts, and worries of young people. On the other hand, a lot comes from philosophy, dreams and literature. Now the meaning of these lines is clear:
In someone's feminine breath,
I can see eternal joy!
And in the image of the Soul, and in the Russian Venus, and in the Mother, and the Eternal Wife, and in the Star, “Thy sanctuary,” and in Thy Mountain, and in the Quiet, and in the Clear, and in the Beautiful Lady, whom the hero is waiting for, so or in other words, the features of the Eternal Femininity are embodied.
The central of these images - the Beautiful Lady - is more reminiscent of a vision than a real woman. It is more like a vision, a dream, perhaps even a dream. Much in it is fleeting, instantaneous, elusive because it is from another world:
And we won’t have long to admire
To these local feasts:
Secrets will be revealed to us,
Distant worlds will shine.
This Lady is very vague, ethereal, it is difficult to see her face, figure, clothes, gait. But she's beautiful. It is not for nothing that the word Lady is preceded by the corresponding epithet. The light coming from her is beautiful, the rustling of her steps is mysterious, the sounds of her appearance are wonderful, the signals of her approach are promising, the voices accompanying her are musical. In general, everything connected with it is filled with the spirit of music. Like angels singing, praising the Madonna.
This image is not accidental. After all, Blok was creating at this time as a symbolist. He does not use realistic images, but symbols. Each symbol contains something of an object image. If this is well understood, then the originality of that image of Eternal Femininity will be revealed, which so often appears in its variety - the image of a Beautiful Lady. This symbol is devoid of flesh, but there is nothing in it from naturalism, from vulgarity, from earthiness. There is a lot of mysterious and sublime in it. That is why there is so much allegory, conventions, and omissions here. How exciting it is to try to “read, catch, understand!”
It was no coincidence that I mentioned Madonna. When I read these verses, for some reason I imagine a display case of the Madonna in the so-called “beautiful window” of Chartres Cathedral (12th century). The contours of a royal woman are there, light radiates from her, the halo shines, the colored glass around her “sings” loudly, and the Madonna herself is transparent. Slipping away, she leaves a beautiful mark on the soul. So is the Lady of the Block.
And she also reminds me of the Lady of the Heart, who in the same Middle Ages was elected as a knight who served her, fought for her in a tournament, and gave his life for her. For example, in the novel “Ivanhoe” by Walter Scott, we read how the knight de Bracy in the arena announces: “Leave the throne vacant, and let the one who comes in victorious choose a beautiful queen himself. This will increase the charm of victory and teach beautiful ladies to even more appreciate the love of valiant knights who can so exalt them.” Was it not from this world of chivalry that his Beautiful Lady came to Blok?
If we now turn to the lyrical hero of Blok’s poems, we will see that our guess is correct. Although this lyrical hero is also devoid of flesh, vague and elusive, he often acts precisely in the role of a knight who serves the Lady of the Heart. It’s not for nothing that he has a blue cloak and travels like the Knight of the Sad Countenance. True, sometimes he changes his appearance and sometimes turns out to be a page of his mistress, a kneeling slave of his queen, an angel bowing with a lily flower before Quiet. And then in my mind he begins to resemble the angel depicted in S. Botticelli’s painting “The Annunciation.” Here is the same impulse, the same reverence in the one who appeared to Mary, the same features of beauty in the Divine Virgin, the same allegories and allusions as in Blok. The angel here is more of a novice, a page, a slave of a mistress, than a holy celestial being. Sometimes the poet’s humiliation of the “knight” or “slave” who serves the Beautiful Lady goes to the extreme. Its servant feels his insignificance before its “depths” and even declares himself a trembling creature. He needs this in order to exalt the Lady beyond measure.
The sublimity of the heroine in these poems is also intended to emphasize the lowness of the surrounding everyday, gray, insignificant world. The beauty in her appearance contrasts with the ugly in reality. Her “great” light opposes the “evil darkness.”
Years pass, and Blok’s Lady, changing her appearance, being subjected to the strange influence of terrible reality, will pass through the “City” cycles. "Snow Mask" “Faina”, “Carmen”, “Iambics”. But every time she will be Beautiful in her own way, for she will always carry within herself the high light of Blok’s ideal.
The whole horizon is on fire, and the appearance is near,
But I'm scared - you'll change your appearance
You, and arouse impudent suspicion,
Changing the usual features at the end.
In our minds, the name of Blok is associated, first of all, with the image of a romantic poet who glorifies in his poems the ideal beloved, the embodiment of perfect femininity and beauty. The appearance of this motif (rather, even the leitmotif of the author’s early work) is associated with the aesthetics of symbolism and with the philosophy and poetry of Vl. Solovyova. The latter’s teaching about the World Soul or Eternal Femininity, called upon to renew and revive the world, passed through the prism of Blok’s poetic talent. At the same time, “Poems about a Beautiful Lady” is largely autobiographical, as far as this word can be applied to a poetic work. Blok embodied in them the intimate and lyrical experiences of his youth. The beloved girl becomes in his poems the Holy, Most Pure Virgin, a symbol of femininity and beauty.
The entire cycle of poems about the Beautiful Lady is permeated with the pathos of chaste love for a woman, knightly service to her and admiration for him as the personification of the ideal of spiritual beauty, a symbol of everything sublimely beautiful. The heroine of Blok's poetry is seen by the hero not as an earthly woman, but as a deity. She has several names: Beautiful Lady, Forever Young, Holy Virgin, Lady of the Universe. She is heavenly, mysterious, inaccessible, detached from earthly troubles:
Transparent, unknown shadows
They swim to you, and with them
You're floating
Into the arms of azure dreams,
Incomprehensible to us, -
You give yourself.
She is inaccessible to the hero, because he is only a man, earthly, sinful, mortal:
And here, below, in the dust, in humiliation,
Seeing immortal features for a moment,
An unknown slave, full of inspiration,
Sings you. You don't know him...
The lyrical hero of the cycle, the poet's double -
Sometimes a servant, sometimes a sweetheart, And forever a slave.
A knight, a kneeling monk, a slave, he performs his service to the beautiful queen, the Most Pure Virgin:
I enter dark temples,
I perform a poor ritual,
There I am waiting for the Beautiful Lady
In the flickering red lamps.
The hero senses her presence in everything - in the bottomless azure of the sky, in the spring wind, in the song of the violin:
From that time on, no matter the night, no matter the day,
Your white shadow is above me,
The smell of white flowers among the gardens,
Rustle, light steps near the ponds...
At the same time, the heroine is almost ethereal, incorporeal, her image does not imply anything concrete, “tangible,” because everything earthly is alien to her:
Here is a face emerging from lace,
A face emerges from the lace...
Here her blizzard trills float,
The bright stars trail in a train...
“I can’t hear either sighs or speech,” says the hero.
To describe the object of his worship, the author uses epithets such as “radiant”, “mysterious”, “ineffable”, “illuminated”, “gratifying”. But in some poems about the Beautiful Lady, her image takes on more specific, earthly features, devoid of a touch of mysticism:
I'll get up on a foggy morning,
The sun will hit your face.
Are you, dear friend,
Are you coming up to my porch?
Before us is no longer an abstract image, but an earthly woman; It should be noted that when talking about her, the poet refuses capital letters.
In the poems that followed the cycle about the Beautiful Lady, one can trace the further development of her image. The heroine of the cycle remained a celestial being who did not condescend to the hero and his love. In later poems, the figure of a new heroine appears, who also in her own way embodied the ideal of beauty and light. Heavenly angel, Star Maiden suddenly falls to the ground:
You flowed like a bloody star,
I measured your path in sorrow,
When you started to fall.
The metaphysical fall of Virgo is disturbing and saddening
Hero, but then he realizes when he finds his lover
On unconsecrated ground, in the “unlit gate” that
And this gaze is no less bright,
What was in the foggy heights.
Having descended from “heaven,” the heroine did not lose her beauty, charm, charm. This is how the Stranger is born - an angel descended to earth, “a genius of pure beauty,” in the words of A.S. Pushkin. In the poem “A Trail Spattered with Stars,” the heroine is compared to a comet falling down, connecting heaven and earth with its fall:
A train spattered with stars
Blue, blue, blue gaze.
Between earth and heaven
A fire raised by a whirlwind.
Thus, the image of the mystical “Eternal Femininity” is replaced in Blok’s poetic world by the romantic image of the Stranger living on earth. And then another conflict arises:
In the midst of this mysterious vulgarity,
Tell me what to do with you -
Unattainable and the only one
How's the evening smoky blue?
The heroine is doomed to stay in a world of vulgarity and dirt. How is it possible for the beautiful and the ugly, the sublime and the ordinary to coexist? Blok tries to answer this question in his poem “Stranger.” It is built on the opposition of two worlds. In the first part, the poet gives a picture of the ugly everyday reality (stuffiness of the streets, boredom, dust, crying, screeching). The routine, familiarity of what is happening is emphasized by the repeated use of the combination “and every evening.” And at the same time -
At the appointed hour
(Or am I just dreaming?)
The girl's figure, captured by silks,
A window moves through a foggy window.
The image of the Stranger cannot be interpreted unambiguously. Is this just a vision dreamed by the hero sitting over a glass of wine? Is this a real woman, endowed with the attributes of a romantic lover - again, not without the influence of alcohol? A heir to romanticism, Blok does not avoid ambiguity and irony. One thing is certain: dreams and reality are incompatible; there is no place for ideals in the everyday world. The last lines look like a sarcastic conclusion:
You're right, drunken monster!
I know: the truth is in the wine.
But - who knows? Maybe this is the wine of poetry? Romantic in nature: the image of the Beautiful Lady gives a tragic sound to Blok’s works. The ideal beloved is distant, inaccessible, lifeless, she is just a symbol. Over time, her image is filled with life content: the poet is looking for his heroine in this world. But the meeting cannot bring him either joy or peace, since the impossibility of its existence on earth is obvious. This is how the image of the Beautiful Lady - the Eternal Femininity of the desired friend - the fallen angel - the Stranger - develops and finds its end in Blok’s poetry.
The work of Alexander Blok dates back to the beginning of the 20th century. This period was marked for all of Russia as a turning point in its history and was reflected in many of the works of the great poet. Many of Blok's poems, dedicated to the political situation in the country, evoke opposing opinions among readers. Some admire them, others do not recognize them. But we can say for sure that everyone reads works related to Blok’s early lyrics with great pleasure. Undoubtedly, these are masterpieces of love lyrics. Blok created them, inspired by his young wife, the daughter of the great Russian scientist Mendeleev. Her beauty served as the source of Blok’s thoughts, which, formed into beautiful poems, made the hearts of many of his admirers worry. In Blok's works there is no image of a specific woman. His Muse appears in the image of eternal femininity, tenderness, and purity. The Beautiful Lady of Blok personifies an ordinary earthly woman with something sublime, combining the best feminine traits:
Oh, Holy One, how tender the candles are,
How pleasing are Your features!
I can't hear neither sighs nor speeches,
But I believe: Darling - You.
Blok introduces himself as a servant of the Beautiful Lady, as her knight:
I enter dark temples,
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering red lamps.
In his poems, Blok is based on his experiences, feelings, he opens his soul, appears before us as an ardent “dreamy young man. For him, it is as if reality does not exist, he is completely devoted to his dreams of a Beautiful Lady:
Discordantly excited by the noisy life.
Whispering, screaming, embarrassed.
Immovably chained by a white dream
To the shore of late times.
White You, in the depths of trouble.
In life she is strict and angry.
Secretly anxious and secretly loved.
Virgo, Dawn, Kupina.
But gradually a crisis occurs in his youthful daydreaming; it gives way to an awareness of reality. His Beautiful Lady takes on certain features and becomes more earthly. In “The Stranger” Blok describes his new Muse. Blok transfers her from an elevated environment to an ordinary one, characteristic of every simple woman:
In the evenings above the restaurants
The hot air is wild and deaf,
And rules with drunken shouts
Spring and pernicious spirit.
She is still beautiful, proud, rising above monotony and vulgarity. But still there have been changes:
And slowly, walking between the drunks.
Always without companions, alone,
Breathing spirits and mists.
She sits by the window.
And they breathe ancient beliefs
Her elastic silks
And a hat with mourning feathers.
And in the rings there is a narrow hand.
This description leads us to think about her aristocratic, noble origin. Her face is covered with a veil, which symbolizes some kind of secret. We still don’t know everything about the new Beautiful Lady; it seems that behind her wonderful appearance there is something unknown:
And chained by a strange intimacy,
I look behind the dark veil.
And I see the enchanted shore
And the enchanted distance.
Silent secrets have been entrusted to me.
Someone's sun was handed to me,
And all the souls of my bend
Tart wine pierced.
Perhaps it was this secret that formed the basis for the title of the poem “Stranger.” Time passed, and Blok’s opinion about his Muse changed more and more and moved further away from the image of the Beautiful Lady and the Stranger. During this period, Blok dedicated most of his creations to the Motherland. Many poets represented the Motherland in their works as a mother. Blok spoke of her as a wife, as a beloved:
Oh, my Rus'! My wife! To the point of pain
We have a long way to go!
This is what Blok writes about Russia in the cycle “On the Kulikovo Field.” In the poem “Autumn Day,” Blok again represents his Motherland as his wife:
Oh, my poor country,
What do you mean to your heart?
Oh my poor wife
Why are you crying bitterly?
Thus, Blok was constantly changing, and with him the image of his Muse was constantly changing. These poems, filled with great love for femininity and the Motherland, can be liked by people of any age, men and women, people who are keen on politics and far from it, because they are about love, an eternal feeling close to any person. Blok's early poems are always relevant, just as love is always relevant.
The cycle “Poems about a Beautiful Lady” (1901–1902) became central in the first volume of A. Blok’s lyrical trilogy. In it, the poet focused on “new poetry”, which reflected the philosophical teachings of Vl. Solovyov about Eternal Femininity, or about the Soul of the World. “Poems about a Beautiful Lady” were connected for Blok with his youthful love for his future wife L. D. Mendeleeva and therefore were dear to him all his life. Vl. Soloviev, in his teaching, argued that only through love can one comprehend the truth, unite with the world in harmony, and defeat selfishness and evil within oneself. He believed that everything feminine contains a life-giving principle. Mother, wife, lover - they are the ones who save the cruel world from destruction. “High” love for a woman can reveal the hidden secrets of the world and connect a person with heaven. In this cycle, Blok’s lyrical hero no longer experiences melancholy and loneliness, as in the early poems, the perception of the world and the emotional tone of the poems change. They acquire an elegiac tone and mystical content. At that time, the poet was tensely waiting for a revelation, calling on the Beautiful Lady. He wanted the time of truth and happiness, the transformation of the world, to come sooner. Blok expressed his feelings through symbolism. He animated Femininity itself, calling his dream Eternally Young, Eternal Wife, Princess, Saint, Virgin, Dawn, Bush. The images of the Beautiful Lady and the lyrical hero, her knight, are dual. Poems that talk about “earthly” love for a real woman are classified as intimate lyrics. The hero is waiting for his Lady, gives her description: She is slim and tall, Always arrogant and stern. For the hero, she is a deity whom he worships, although he sees her only from afar or in the evening “at sunset.” Every meeting with her is a joyful and long-awaited event. Either she is dressed in “silver fur”, then in a “white dress”, she goes “into the dark gates”. These features of a real woman suddenly disappear, and the poet already sees the mystical image of the “Virgin of the Rainbow Gate”, calls her “Clear”, “Incomprehensible”. The same thing happens to the hero himself. Either he is “young, and fresh, and in love,” then he imagines himself as a monk lighting candles in front of the altar in the Temple of the Virgin, then as her knight. Before us are living heroes and the hard work of their souls, capable of feeling deeply and strongly. The dramatic anticipation of the arrival of the Beautiful Lady is caused by the hero's doubts. He feels unworthy of Her. Blok contrasts the earthly and the heavenly, the physical and the spiritual. The lyrical hero passionately longs for the arrival of the Beautiful Lady, but he is an earthly man, with weaknesses and shortcomings, lives according to earthly laws. Will he be able to begin to live according to the laws of love, truth and beauty? The hero calls for light and deity, but will he survive? The hero strives for the light with all his soul, but is still in darkness. Hence, one of the central themes of the cycle is the theme of the path to light. The hero repeats “Come!”, addressing the Beautiful Lady. Her image is an embodied secret that she can reveal to people. Soberly assessing the state of human aspirations, the poet did not hope for quick changes in the souls of people, so he writes: “You are far, both before and now...” Blok, using symbols, tried to tell readers that if people do not follow the path of good, love and justice, then a universal catastrophe awaits them. But still, his hero believes that someday life will change for the better: “But I believe you will rise”; “You will open the Radiant Face.” Blok used and transformed his personal experiences in his creativity. The cycle “Poems about a Beautiful Lady” should be considered as love and landscape lyrics, as a mystical-philosophical story about the poet’s path to Sophia, that is, to wisdom, and about the path of the world to spiritual Transfiguration.
