The poem “Still fragrant bliss of spring” written by Afanasy Fet clearly demonstrates what a master of words he was. A brief analysis of “Another spring of fragrant bliss” according to the plan can be used in a literature lesson in the 6th grade to help students better understand its meaning.
Brief Analysis
History of creation- the work was written in 1854 and in the same year, only a few months later, it already appeared on the pages of Sovremennik.
Theme of the poem– nature is anticipating spring.
Composition- The poem consists of two parts. In the first, Fet describes nature, which has not yet awakened from winter sleep, and in the second he concludes that, despite this, spring is already close.
Genre- elegy.
Poetic size- iambic
Epithets – “fragrant spring”, “living news”, “flying cranes”, “blue blush”, “steppe beauty”.
Metaphors – “at dawn the cart rattles,” “the bliss did not have time to descend,” “the nightingale does not dare to sing”.
Personifications– “the sun is warming”, “the linden tree is turning red”, “the birch tree is turning yellow“.
History of creation
Nature has always been an absolute value for Afanasy Fet - this is one of the main themes of his lyrics. He considered it extremely important to record even fleeting changes in it - and one of such changes is described in the poem “More fragrant bliss of spring.”
At the time of writing this poem, the poet was close to the literary circle of Sovremennik. This magazine published it in 1854, just a few months after it was written.
Subject
The poem is dedicated to nature, which is in a borderline state between winter and spring. The cold has not yet left the earth, but some small signs tell observant people that warm days will soon come.
The lyrical hero, observing nature, finds spirituality in it, which is expressed in the poem.
Composition
The work consists of three five-stanza lines. The first two make up the first part of the work; they are united by one theme - a description of the winter landscape. At the same time, the author focuses on the word “yet,” showing that this is a temporary state of nature and at the same time hinting at the second, final part.
It is based on opposition: if the first two show winter, then in the third Fet gives the opportunity to reveal notes of spring nature, such as cranes flying from the south.
At the same time, the plot of the poem is a succession of pictures, full of natural beauty, and it seems that the author has combined two into one: the first is winter, in which not a hint of the metamorphoses that manifest themselves in spring is felt. There is only anticipation of the lyrical hero. Fet shows that winter is not eternal, moreover, spring will replace it very soon.
In the second part, the plot develops in such a way that a person appears in it - a woman observing natural phenomena. She sees cranes flying and realizes that spring is coming.
Thus, the composition is structured in such a way as to show the synthesis of nature and man, their kinship and intimacy, based on many years of observation.
Genre
The poem is written in the genre of elegy, which Afanasy Fet loved very much. This is a wonderful example of landscape lyricism, written with a light, bright sadness. Observing natural changes, the lyrical hero is somewhat melancholic; he reflects on the world around him, as if immersing himself in it.
Means of expression
The poet uses familiar tropes to describe natural phenomena:
- Epithets- “fragrant spring”, “living news”, “flying cranes”, “blue blush”, “steppe beauty”.
- Metaphors- “the cart rattles at dawn,” “the bliss did not have time to descend,” “the nightingale does not dare to sing.”
- Personifications- “the sun is warming”, “the linden tree is turning red”, “the birch tree is turning yellow”.
To them is added the lexical repetition “still”, which creates syntactic parallelism and is used to emphasize the main idea of the work: anticipating changes in nature, a person knows that they are gradual, they cannot happen instantly.
The poem “Still fragrant bliss of spring...” was written in 1854 by an already famous poet, a recognized master of landscape lyricism. The author paints a picture of just emerging spring, or rather, a foretaste of it:
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
The poem is small in volume - it has only three five-line stanzas. Two of them compositionally continue each other, emphasizing the winter signs of the surrounding landscape. The sun warms “barely at noon”, the trees are still transparent and bare, “and the nightingale does not yet dare to occupy the currant bush” - its time has not yet come. But the third stanza is the antithesis of the previous two, and it contains the main idea of the poet, who subtly senses the coming awakening of nature:
But the news of rebirth is alive
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on her cheeks.
The feeling of the revival of nature is in the air, it is transmitted to man and projected by the author directly onto man - a steppe beauty who feels the cold, but dreamily awaits spring, as all nature awaits it. This sketch of a living painting conveys one elusive moment, using the artistic means used by the author to create a vivid emotional impression. As always with the author, epithets serve this purpose (“fragrant spring”, “frozen path”, “passing cranes”). A major role in this case is played by syntactic parallelism, which is subordinated, as already mentioned, to the compositional design of the mood of the work.
In the first two stanzas these are repetitions, both of individual words (“still”) and of the syntactic model chosen by the author. The third stanza, as an antithesis, begins with the conjunction “but” and is an expressive means of conveying the author’s idea, subordinate to a common goal. Creating an intensely emotional picture of nature, conveying the subtle, almost elusive feeling of the lyrical hero, his joy, trembling novelty of sensation - these are the features that distinguish Fet’s landscape lyrics and give him the right to be called a subtle artist of nature, an inspired master of poetic creativity.
Afanasy
Fet
Analysis of the poem by Afanasy Fet “Still fragrant bliss of spring”
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More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
“More fragrant bliss of spring...” A. Fet
“More fragrant bliss of spring...” Afanasy Fet
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
The sun barely warms at noon,
The linden tree turns red in height,
Through, the birch tree turns a little yellow,
And the nightingale does not yet dare
Sing in a currant bush.
But the news of rebirth is alive
Already there are in the passing cranes,
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on her cheeks.
Analysis of Fet’s poem “Still fragrant bliss of spring...”
From his student days until his death, there were three unconditional values for Fet: love, nature and poetry. It was these themes that he considered possible to reveal in lyrics. An unspoken taboo was imposed on all other motives. Afanasy Afanasievich’s descriptions of nature are an image of the moment through the prism of personal perception. For Fet, it was extremely important to capture the fleeting change. In his poems the reader is offered not just autumn, summer, spring, winter landscapes. The poet sought to talk about shorter periods of seasons, transitional states of nature. This can be seen in the work “Still fragrant bliss of spring...”, first published in 1854 in the Sovremennik magazine. It captures the moment when spring has not yet fully come into its own, but the feeling of its imminent arrival has already permeated everything around. Moreover, there are no significant changes in nature yet: frozen roads, unmelted snow, bare trees. Nevertheless, on an intuitive level, a person feels the upcoming onset of spring, rejoices at it, and a bright mood reigns in his soul.
Essentially, Fet describes late winter. At the same time, he adds bright spring colors to the landscape: the birch tree turns yellow, the linden tree turns red. A nightingale singing in a currant bush, the sun still warming only at noon are the first signs of the approach of warm days, the coming renewal of nature. The image of spring appears from the denial of its arrival and is summarized in the final five-line, beginning with the words: “But there is already a living message of rebirth...”. In Fet's landscape lyrics, things that are not very poetic become the subject of art. For example, the bluish blush on the cheeks of the steppe beauty and the currant bush mentioned above. With the help of these precise details, Afanasy Afanasievich makes it clear to readers that before them is not some abstract spring, but spring in Russia.
For Fet's landscape lyrics, the image of dawn is important. It symbolizes the fire generated by the sun. At the start of the day, the colors of nature are distinguished by clarity and purity, the rays of the sun bestow tenderness on the earth. In the glow of dawn there is a mysterious world that helps inspiration emerge. Its connection with spring is inextricable. This time of year for the earth is like the dawn for the coming day. As for creative people, spring gives them the opportunity to touch beauty with their hearts and experience the delight of widespread renewal and rebirth.
comparative analysis of Fet’s poems “It’s still spring with fragrant bliss” and Tyutchev’s “The earth still looks sad”
Natalia Chudomeh Master (1878) 8 years ago
Fet, like no one else, knew how to be observant and see how changes were preparing and taking place in the nature around us and the human soul, be it the onset of spring or first love.
The poem “There is still fragrant bliss of spring...” captures a moment in nature when spring has not yet arrived, but the feeling of spring has already arisen. It would seem that nothing has changed in nature: the snow has not melted, the roads are frozen, the trees are without leaves, but for some small signs and simply intuitively, people are already waiting for spring and rejoicing at its arrival.
Let's look at the opening line “More fragrant bliss of spring...”. Fet resorts to one of his favorite figurative expressions - “bliss”. In the modern lexicon this word seems outdated, but in the poetic dictionary of the 19th century it was used often, and Fet willingly used it. This is a noun with the same root as the adjective “tender” and the verb “to bask”; their semantic meaning is pleasure with a touch of softness, subtlety, and grace.
The sound instrumentation also attracts attention. In the first two verses, sound combinations with the sound [n] stand out.
More fragrant spring bliss
She didn’t have time to come down to us.
The picture is clarified by some details depicting winter: it is snow, a frozen path. In the second stanza, the sketch continues, the dynamics are enhanced through the use of a large number of verbs, three of which, in addition, are in the rhyming position: “warms”, “turns yellow”, “dare”. Speaking about winter, Fet introduces bright spring colors into the poem: “dawn”, “turns red”, “turns yellow”. Denying that spring has already arrived, he seems to bring its arrival closer, mentioning that “the sun is warming”, that the nightingale sings in the currant bush. The image of spring arises from negations and is generalized in the last stanza, which begins with an antithesis: “But there is living news of rebirth // There already is...” Sounds associated with the word “life” take on a special role: “rebirth”, “living”, “seeing off” .
The poem moves from denial to affirmation and ends with the image of a steppe beauty “with a bluish blush on her cheeks.” Fet made objects of art that were generally not poetic things: a currant bush, a bluish blush. However, these are precise details that allow you to feel and understand that we are not talking about spring in general, but about spring in Russia, which Fet knows and undoubtedly loves, despite all the reproaches of his contemporaries for lack of ideas.
It is interesting to compare this poem with Tyutchev’s “The appearance of the earth is still sad...”. written much earlier.
What Tyutchev and Fet have in common is a philosophical understanding of the unity of man and nature. However, in Tyutchev, especially in his early lyrics, images associated with nature tend to be abstract, general, and conventional. Unlike Tyutchev, in Fet they are more specific at the level of detail, often substantive. You will see this if you start from the thematic similarity of the poems, the peculiarities of their construction, the coincidence of individual words, and note the peculiarities of the figurative series in both poets, the symbolism of details in Tyutchev and their concreteness in Fet. Pay attention to the context in which Tyutchev and Fet use the same key words: “spring”, “bliss”. Compare such images as “dead stem”, “thinning sleep” (Tyutchev) and “cart”, “flying cranes” (Fet); “blocks of snow shine and melt” (Tyutchev) and “the ravines are full of snow” (Fet). Pay attention to the combinations: “nightingale... in a currant bush”, “steppe beauty”, “with a bluish blush” (“high” and “low”).
Poem by A.A. Feta “More fragrant bliss of spring. »
A.A. Fet is deservedly and widely known as a subtle lyricist, a sensitive artist who created bright, unforgettable pictures of nature, reflecting the most complex experiences of the human soul. Feta the lyricist was not interested in the social and political problems of our time, for which he, as a representative of “pure art,” was condemned and ridiculed by revolutionary democratic literary figures. The main themes for the poet were “eternal” themes: nature, love, beauty. His poems are musical, his images excite with sounds, smells, they are almost tangible, visible, like beautiful bright moments of life. Fet’s nature is spiritual and harmonious with the human soul; it is interconnected with the mood and attitude of the lyrical hero. As Af himself wrote. Fet in the preface to the third edition of the poems “Evening Lights”, he would like to find in poetry “a refuge from all everyday sorrows,” and such a refuge becomes for him, first of all, nature, its elusive world, permeated with the thought of beauty and eternity.
The poem “Still fragrant bliss of spring. "was written in 1854 by an already famous poet, a recognized master of landscape lyricism. The author paints a picture of just emerging spring, or rather, a foretaste of it:
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
The poem is small in volume - it has only three five-line stanzas. Two of them compositionally continue each other, emphasizing the winter signs of the surrounding landscape. The sun warms “barely at noon”, the trees are still transparent and bare, “and the nightingale does not yet dare to occupy the currant bush” - its time has not yet come. But the third stanza is the antithesis of the previous two, and it contains the main idea of the poet, who subtly senses the coming awakening of nature:
But the news of rebirth is alive
Already there are in the passing cranes,
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on the cheeks
The feeling of the revival of nature is in the air, it is transmitted to man and projected by the author directly onto man - a steppe beauty who feels the cold, but dreamily awaits spring, as all nature awaits it. This sketch of a living painting conveys one elusive moment, using the artistic means used by the author to create a vivid emotional impression. As always with the author, epithets serve this purpose (“fragrant spring”, “frozen path”, “passing cranes”). A major role in this case is played by syntactic parallelism, which is subordinated, as already mentioned, to the compositional design of the mood of the work. In the first two stanzas, these are repetitions of both individual words (“still”) and the syntactic model chosen by the author. The third stanza, as an antithesis, begins with the conjunction “but” and is an expressive means of conveying the author’s idea, subordinate to a common goal. Creating an intensely emotional picture of nature, conveying the subtle, almost elusive feeling of the lyrical hero, his joy, trembling novelty of sensation - these are the features that distinguish Fet’s landscape lyrics and give him the right to be called a subtle artist of nature, an inspired master of poetic creativity.
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1.What are these poems about? What mood does it evoke?
The poems are united by a common theme: they show the premonition of spring as a renewal of life. Both convey a transitional state of nature. Bright, joyful mood.
2.How are the poems structured? What are the features of the composition?
The composition of the poems, with the same movement from nature to man, varies: Tyutchev’s poem is in two parts: the first stanza is a landscape sketch, the second is the philosophical development of the theme, a poetic generalization;
In Fet’s poem, two parts can also be distinguished (as indicated by the conjunction “but” in the third stanza), but the poet does not compare and, especially, does not contrast man and nature, but shows man in unity, in harmony with the world around him.
That is, for Tyutchev the main thing is man, for Fet it is nature.
3.What picture is drawn and by what means in one and the other poem? What do you see the difference in creating the image of reduced nature between Tyutchev and Fet? What is the role of detail in Tyutchev and Fet’s understanding of nature?
In both poems, the images of pre-spring nature are similar, the key words are the same: “spring”, “bliss”. Both poems are impressionistic: the poets do not so much depict the landscape as convey the subjective state of the lyrical hero; it is his feelings that surround the landscape. However, the images of nature in Tyutchev and Fet are significantly different: in Tyutchev, the image of nature gravitates towards abstraction, generality, details are symbolic in nature (“dead stem”, “thinning sleep”, “azure glitters”, “blocks of snow glitter and melt”). In Fet, on the contrary, the images of nature at the level of detail are concrete, objective (“cart”, “ravines are full of snow”, “the linden tree is turning red”, “the birch tree is turning a little yellow”). The artistic means are of the same type: anaphora, epithets, personification, inversion, assonance, syntactic parallelism.
In Tyutchev there is one - the only picture of nature in the poem, in Fet the landscape is given in fragments, split into many pieces.
4.What can you say about the lyrical heroes of the poems?
The lyrical hero of Tyutchev and Fet is distinguished by his attitude towards the nature that reveals itself to him. Although in both poems the lyrical hero rejoices at the arrival of spring, Tyutchev’s landscape is, rather, just an excuse to think about a person, about his state of mind. For Fet, the main thing is the beauty of the emerging spring in all even the most ordinary objects, and man is by no means the main part of this world.
5.Compare the poems at the level of use of vocabulary and syntax. What difference do you see?
At the lexical level, the poems differ. Tyutchev uses high-style words: “Stem”, “Azure”, “thinning dream”, “gilds dreams”; Fet, along with high-style words (“descend”, “news”) easily introduces the simplest vocabulary: “cart”, “ bluish blush." For Tyutchev, a generalizing, majestic picture is important, for Fet it is simple and concrete.
At the level of syntax, the poems also differ. In Tyutchev, the philosophical sound of the poem is emphasized by the figure of silence and rhetorical questions, complicated sentences. Fet's poem does not pretend to be philosophically general, which is reflected in the syntax: the sentences are simpler, there are no figures of silence, no rhetorical questions
6.Analyze the rhythm of the poems and draw conclusions. (Complicated type task).
The meter of the poems is the same: iambic tetrameter with complex rhyme. But the poems sound different due to the different stanzas of the poems and the use of pyrrhichs. In Fet, the pace of the poem is lighter, livelier, more energetic; numerous pyrrhichis speed up the pace, and the use of pentaverse with a complex arrangement of rhyming lines stops the reader's attention on individual details. In Tyutchev, the pace of the poem slows down in the second part due to the almost complete absence of pyrrhichs and the transfer of stress (though weakened) to the first syllable in the first foot in the last lines of the poem. The use of octets with cross and ring rhymes also contributes to the rhythm of reflection.
7. What is the result of the lyrical statements of Tyutchev and Fet? What do you see as the commonality and difference of the poetic idea in the poem?
The poetic idea in both poems is close: spring is the rebirth of nature, spring is the awakening of the human soul. In both poems, poetic thought moves from a landscape picture to a person. What poets have in common is a philosophical understanding of man and nature. For Tyutchev and Fet, nature is a living being, and man is part of nature. But if for Fet the main thing is the beauty of nature in all its manifestations, and man is in harmony with the world around him, then in Tyutchev man is compared with nature, i.e. is in some discord with her, although in this poem the discord is still almost not felt, there is not yet that tragedy of the relationship between man and nature that will appear in the late Tyutchev.
Effective preparation for the Unified State Exam (all subjects) -
Didactic material
for a literature lesson in 5th grade
Analysis of the poem
“More fragrant bliss of spring”
teacher of Russian language and literature MBOU "Lyceum No. 1"
r.p.Chamzinka Republic of Mordovia
check the level of knowledge of A.A. Fet’s work, the degree of understanding of the poem “Even more fragrant bliss of spring”, its themes, ideas, features of the visual and expressive means of poetic language
A.A.Fet
“More fragrant bliss of spring”
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
But the news of rebirth is alive
Already in the migratory cranes,
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on her cheeks.
The linden tree turns red in height,
And the nightingale does not dare yet
Sing in a currant bush.
The leading theme of the poem is:
d) freedom
c) nature;
b) homeland;
How many microthemes can this poem be divided into:
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
The sun barely warms at noon,
The linden tree turns red in height,
Through, the birch tree turns a little yellow,
And the nightingale does not dare yet
Sing in a currant bush.
But the news of rebirth is alive
Already in the migratory cranes,
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on her cheeks.
What feeling is conveyed in the line
“More spring fragrant bliss
Didn’t have time to come down to us”?
a) indifference;
b) expectation of change;
c) experience;
d) a premonition of spring
The last stanza of the poem is dedicated to:
a) the arrival of spring;
b) the departure of winter;
c) meeting a beauty;
d) the coming awakening of nature
What is the name of the visual medium used in combinations? "fragrant bliss"
"on the frozen path" :
d) metonymy
a) epithet;
b) metaphor;
For comparison;
Name the key phrase of the poem:
“But the news of revival is living
Already in the migratory cranes"
In line
“But the news of revival is living
Already in the migratory cranes" syntactic device used. Name this technique:
inversion
What type of lyricism does this poem belong to?
landscape lyrics
Determine the meter in which the poem is written:
More fragrant spring bliss
She didn’t have time to come down to us,
The ravines are still full of snow,
Even before dawn the cart rattles
On a frozen path.
The sun barely warms at noon,
The linden tree turns red in height,
Through, the birch tree turns a little yellow,
And the nightingale does not dare yet
Sing in a currant bush.
But the news of rebirth is alive
Already in the migratory cranes,
And, following them with my eyes,
The beauty of the steppe is standing
With a bluish blush on her cheeks.
- Alieva L.Yu. Literature tests. - M.: Iris-press, 2004
- Berezhnaya I.D. Literature: current control of knowledge, tests, tests, assignments. - Volgograd: Teacher, 2008