| Alexander Alexandrovich Blok | |||||
| 亞歷山大·亞歷山德羅維奇·布洛剋 | |||||
| 勃洛剋 | |||||
| 出生地： | 聖彼得堡 | ||||
閱讀亞歷山大·勃洛剋 Alexander Blok在诗海的作品!!! | |||||
勃洛克1904年出版的《美婦人詩集》是他的成名作和早期代表作，充滿神秘主義和唯美主義色彩。勃洛剋因此一躍成為當時俄國象徵主義詩歌流派的代表人物。1905年的俄國革命促使勃洛剋的創作發生了轉折，他逐漸開始面嚮現實社會，發展成為十月社會主義革命的熱忱歌手。長詩《十二今》就是詩人獻給偉大十月的藝術傑作，他運用象徵主義方法歌頌革命時代的精神，揭示舊世界滅亡的必然性，預示新生活的廣阔前景。勃洛剋的創作開拓了蘇维埃文學的道路，對現代詩歌也産生了巨大的影響。
1904年出版的詩集《美婦人詩集》顯示了詩人的藝術獨創性。1905年革命促使他接近社會生活，他的詩集《意外的喜悅》和《夜晚時分》、組詩《法伊娜》、長詩《報應》和《夜鶯花園》、劇本《命運之歌》等，表達了詩人對現實生活的關註和對祖國的熱愛。
1905年革命促使他接近社會生活，此時寫下的《飽漢》（1905）、《俄羅斯》（1908）、《夜晚的時辰》（1911）等，表達了詩人對生活和祖國的熱愛之情。
十月革命後，勃洛剋從事文化宣傳工作。在1918年寫的文章《知識分子與革命》中呼籲知識分子"以整個身體、整個心靈、整個意識諦聽革命"，預言俄羅斯將成為一個偉大的新型國傢。同年創作的長詩《十二個》是他的代表作，也是描寫十月革命的第一首長詩，在蘇聯詩歌史上占有重要地位。《十二個》顯示了十月革命勝利初期彼得堡的獨特的生活氛圍，象徵性地表現了革命所嚮披靡的氣勢。詩作寫作技藝精湛，格調高昂，帶有象徵主義詩歌的特色。此外，勃洛剋還寫有政治抒情長待《野蠻人》等許多優秀作品。
晚年盡全力參加高爾基創辦的“世界文學叢書”的出版工作和其他文學活動，為蘇维埃文化工作做出了傑出的貢獻。他是蘇聯詩歌史上占有重要地位的大詩人。
listen); 28 November [O.S. 16 November] 1880 – 7 August 1921) was a Russian lyrical poet, writer, publicist, playwright, translator, literary critic.Life and career
Blok was born in Saint Petersburg, into an intellectual family of Alexander Lvovich Blok and Alexandra Andreevna Beketova. His father was a law professor in Warsaw, and his maternal grandfather, Andrey Beketov, was a famous botanist and the rector of Saint Petersburg State University. After his parents' separation, Blok lived with aristocratic relatives at the manor Shakhmatovo 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 affect his early publications, later collected in the book Ante Lucem.
In 1903 he married the actress Lyubov (Lyuba) Dmitrievna Mendeleeva, daughter of the renowned chemist Dmitri Mendeleev. Later, she would involve him in a complicated love-hate relationship with his fellow Symbolist Andrei Bely. To Lyuba he dedicated a cycle of poetry that made him famous, Stikhi o prekrasnoi Dame (Verses About the Beautiful Lady, 1904).
Night, street and streetlight, drug store,
The purposeless, half-dim, drab light.
For all the use live on a quarter century –
Nothing will change. There's no way out.
You'll die – and start all over, live twice,
Everything repeats itself, just as it was:
Night, the canal's rippled icy surface,
The drug store, the street, and streetlight.
"Night, street and streetlight, drugstore..." (1912) Trans. by Alex Cigale
Blok enthusiastically greeted the 1905 Russian Revolution. During the last period of his life, Blok emphasised political themes, pondering the messianic destiny of his country (Vozmezdie, 1910–21; Rodina, 1907–16; Skify, 1918). In 1906 he wrote an encomium to Mikhail Bakunin. Influenced by Solovyov's doctrines, he had 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.
In May 1917 Blok was appointed as a stenographer for the Extraordinary Commission to investigate illegal actions ex officio Ministers or to transcribe the (Thirteenth Section's) interrogations of those who knew Grigori Rasputin. According to Orlando Figes he was only present at the interrogation.
By 1921 Blok had become disillusioned with the Russian Revolution. He did not write any poetry for three years. He complained to Maksim Gorky that his "faith in the wisdom of humanity" had ended, and 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?" Within a few days Blok became sick. His doctors requested that he be sent abroad for medical treatment, 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". A resolution on departure for Blok was signed by members of the Political Bureau of the Central Committee on 23 July 1921. But on 29 July Gorky asked permission for Blok's wife to accompany him, since Blok's health had deteriorated sharply. Permission for Liubov' Dmitrievna Blok to leave Russia was signed by Molotov on 1 August 1921, but Gorky was notified only on 6 August. The permission was delivered on 10 August, after Blok had already died.
Several months earlier, Blok had delivered a celebrated lecture on Alexander Pushkin, the memory of whom he believed to be capable of uniting White and Soviet Russian factions.
Work
The idealized mystical images presented in his first book helped establish Blok as a major poet of the Russian Symbolism style. Blok's early verse is musical, but he later sought to introduce daring rhythmic patterns and uneven beats into his poetry. Poetical inspiration was natural for him, often producing unforgettable, otherworldly images out of the most banal surroundings and trivial events (Fabrika, 1903). Consequently, his mature poems are often based on the conflict between the Platonic theory of ideal beauty and the disappointing reality of foul industrialism (Little Mess, 1906).
The description of St Petersburg he crafted for his next collection of poems, The City (1904–08), was both impressionistic and eerie. Subsequent collections, Faina and the Mask of Snow, helped augment Blok's reputation. He was often compared with Alexander Pushkin, and is considered perhaps the most important poet of the Silver Age of Russian Poetry. During the 1910s, Blok was admired greatly by literary colleagues, and his influence on younger poets was virtually unsurpassed. Anna Akhmatova, Marina Tsvetaeva, Boris Pasternak, and Vladimir Nabokov wrote important verse tributes to Blok.
Blok expressed his opinions about the revolution by the enigmatic poem "The Twelve” (1918). The long poem exhibits "mood-creating sounds, polyphonic rhythms, and harsh, slangy language" (as the Encyclopædia Britannica termed it). It describes the march of twelve Bolshevik soldiers (likened to the Twelve Apostles of Christ) through the streets of revolutionary Petrograd, with a fierce winter blizzard raging around them. "The Twelve" alienated Blok from many of his intellectual readers (who accused him of lack of artistry), while the Bolsheviks scorned his former mysticism and asceticism. Searching for modern language and new images, Blok used unusual sources for the poetry of Symbolism: urban folklore, ballads (songs of a sentimental nature) and ditties ("chastushka"). He was inspired by the popular chansonnier Mikhail Savoyarov, whose concerts during the years 1915–1920 were visited often by Blok. Academician Viktor Shklovsky noted that the poem is written in criminal language and in ironic style, similar to Savoyarov's couplets, by which Blok imitated the slang of 1918 Petrograd.
Musical settings
- Dmitri Shostakovich wrote a late song cycle for soprano and piano trio, Seven Romances on Poems by Alexander Blok, Op. 127.
- Mieczysław Weinberg wrote a song cycle for soprano and piano, Beyond the Border of Past Days, Op. 50.
- Arthur Lourié wrote a choral cantata, In the Sanctuary of Golden Dreams.
- Alexander Blok was a favourite poet of Georgy Sviridov; such works as "Petersburg" (a vocal poem), "Nightly Clouds" (cantata) and "Songs From Hard Times" (concerto) were written to Blok's poetry.
References
- ^ White, Duffield (1991). "Blok's Nechaiannaia Radosť". Slavic Review. 50 (4): 779–791. doi:10.2307/2500461. JSTOR 2500461.
- ^ Toscano, Alberto (2017). "The Broken Music of the Revolution: Trotsky and Blok". Crisis and Critique. 4 (2): 404–426.
- ^ The Rasputin File by Edvard Radzinsky
- ^ "Archived item". Archived from the original on 2014-12-09. Retrieved 2014-04-22.
- ^ "Interpreting the Russian Revolution: The Language and Symbols of 1917". www.worldcat.org.
- ^ a b c Orlando Figes. A People's Tragedy: The Russian Revolution 1891-1924, 1996, ISBN 0-7126-7327-X, pp 784-785
- ^ Pavel Fokin, Sv.Poliakova (2008). Blok without gloss. Saint Petersburg: Amphora. p. 360.
- ^ ed. Ouvarova (2000). Encyclopedia of Russian Variety Art, XX century. Moscow: «Rospen».
- ^ Viktor Shklovsky The Writing Table // The Hamburg Account: articles, memoirs, essays (1914-1933), Moscow, Sovetsky Pisatel, 1990. ISBN 5-265-00951-5, ISBN 978-5-265-00951-7.
External links
- Works by or about Alexander Blok at Internet Archive
- Works by Alexander Blok at LibriVox (public domain audiobooks)
- Translations into English
- The Poems by Alexander Blok (with Russian originals, also some in German, French, Spanish, Italian, Dutch, Bulgarian, etc.)
- Collection of Alexander Blok's poems in English (with Russian originals)
- 4 short poems, translated by Alex Cigale. University of Albany. Retrieved 2010-10-28
- A night, a street (Ноць, улицаб, фонарь, аптека)
- Dark Maiden (Чёрная Дева)
- The Lady Unknown (Незнакомка), translation by Dina Belyayeva
- Alexander Blok poetry (Russian texts)
- Reviews, crtiticism and analysis
- "Died and survived" review of new works published on Blok By Simon Karlinsky. 9 May 1982 The New York Times. Retrieved 2010-10-28
- Essay on Blok's poem "the Twelve", Maria Carlson, University of Kansas. Retrieved 2010-10-28
- Essay on Blok by Leon Trotsky (Chapter 3 of Literature and Revolution). Retrieved 2010-10-28
- Rykov A. Politics of Modernism. Nikolay Punin and Alexander Blok
- Struve, Gleb (November 1946). "Blok and Gumilyov: A double anniversary". The Slavonic and East European Review. 25 (64).