« Autumn leaves By circling in the wind..." Apollo Maykov
Autumn leaves are circling in the wind,
Autumn leaves cry out in alarm:
“Everything is dying, everything is dying! You are black and naked
O our dear forest, your end has come!”Their royal forest does not hear the alarm.
Under the dark azure of harsh skies
He was swaddled by mighty dreams,
And the strength for a new spring matures in him.
Analysis of Maykov’s poem “Autumn leaves are circling in the wind...”
Apollo Maykov is rightfully considered one of the founders of the lyrical movement in Russian poetry. He is the author of several hundred poems that glorify the beauty native nature and its pristine purity. This is not surprising, because with early childhood Maikov was fond of painting. However, I soon realized that the Russian language has many more colors and shades than the palette, so words can express what you see most fully and figuratively.
A distinctive feature of Maykov’s work is that he was one of the first to widely use the technique of animating inanimate objects. An example of this is the poem “Autumn leaves are circling in the wind...”, written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves, getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm,” which already has enough troubles before the onset of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.”
Maikov deliberately does not draw a parallel between trees and people, who also “shed their leaves” from time to time, radically changing own life. However similar comparison suggests itself, since the author, using the example of an ordinary forest, shows how changeable nature is in general. This applies to all living things on earth, which take their final form only after death, which is what happens with leaves. As for a person, as long as he is alive, there is an opportunity to correct and change something, improve and bring it to perfection.
Thus, Apollo Makov seems to suggest that we all take an example from trees, which, for the sake of revival in spring and autumn, get rid of what prevents them from developing and moving forward. Every person in life has the same limiting factors that prevent him from realizing his potential. And if you eliminate them, then you can achieve everything that any person dreams of. But first you will still have to sacrifice something, even if it can cause pain, panic and fear.
Great ones about poetry:
Poetry is like painting: some works will captivate you more if you look at them closely, and others if you move further away.
Small cutesy poems irritate the nerves more than the creaking of unoiled wheels.
The most valuable thing in life and in poetry is what has gone wrong.
Marina Tsvetaeva
Of all the arts, poetry is the most susceptible to the temptation to replace its own peculiar beauty with stolen splendors.
Humboldt V.
Poems are successful if they are created with spiritual clarity.
The writing of poetry is closer to worship than is usually believed.
If only you knew from what rubbish poems grow without shame... Like a dandelion on a fence, like burdocks and quinoa.
A. A. Akhmatova
Poetry is not only in verses: it is poured out everywhere, it is all around us. Look at these trees, at this sky - beauty and life emanate from everywhere, and where there is beauty and life, there is poetry.
I. S. Turgenev
For many people, writing poetry is a growing pain of the mind.
G. Lichtenberg
A beautiful verse is like a bow drawn through the sonorous fibers of our being. The poet makes our thoughts sing within us, not our own. By telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He's a magician. By understanding him, we become poets like him.
Where graceful poetry flows, there is no room for vanity.
Murasaki Shikibu
I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in the Russian language. One calls the other. The flame inevitably drags the stone behind it. It is through feeling that art certainly emerges. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.
Alexander Sergeevich Pushkin
-...Are your poems good, tell me yourself?
- Monstrous! – Ivan suddenly said boldly and frankly.
- Do not write anymore! – the newcomer asked pleadingly.
- I promise and swear! - Ivan said solemnly...
Mikhail Afanasyevich Bulgakov. "Master and Margarita"
We all write poetry; poets differ from others only in that they write in their words.
John Fowles. "The French Lieutenant's Mistress"
Every poem is a veil stretched over the edges of a few words. These words shine like stars, and because of them the poem exists.
Alexander Alexandrovich Blok
Ancient poets, unlike modern ones, rarely wrote more than a dozen poems during their long lives. This is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind each poetic work of those times, a whole Universe was certainly hidden, filled with miracles - often dangerous for those who carelessly awaken the dozing lines.
Max Fry. "Chatty Dead"
I gave one of my clumsy hippopotamuses this heavenly tail:...
Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea, and not a plague!
Vladimir Vladimirovich Mayakovsky
Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore, drive away the critics. They are just pathetic sippers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let poetry seem to him like an absurd moo, a chaotic pile-up of words. For us, this is a song of freedom from a boring mind, a glorious song sounding on the snow-white slopes of our amazing soul.
Boris Krieger. "A Thousand Lives"
Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing more than pure poetry that has rejected the word.
Apollon Nikolaevich Maikov
Autumn leaves are circling in the wind,
Autumn leaves cry out in alarm:
“Everything is dying, everything is dying! You are black and naked
O our dear forest, your end has come!”
Their royal forest does not hear the alarm.
Under the dark azure of harsh skies
He was swaddled by mighty dreams,
And the strength for a new spring matures in him.
Apollo Maykov is rightfully considered one of the founders of the lyrical movement in Russian poetry. He is the author of several hundred poems that glorify the beauty of his native nature and its pristine purity. This is not surprising, because from early childhood Maikov was interested in painting. However, I soon realized that the Russian language has many more colors and shades than the palette, so words can express what you see most fully and figuratively.
A distinctive feature of Maykov’s work is that he was one of the first to widely use the technique of animating inanimate objects. An example of this is the poem “Autumn leaves are circling in the wind...”, written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm,” which already has enough troubles before the onset of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.”
Maikov deliberately does not draw a parallel between trees and people, who also “shed their leaves” from time to time, radically changing their own lives. However, such a comparison suggests itself, since the author, using the example of an ordinary forest, shows how changeable nature is in general. This applies to all living things on earth, which take their final form only after death, which is what happens with leaves. As for a person, as long as he is alive, there is an opportunity to correct and change something, improve and bring it to perfection.
Thus, Apollo Maykov seems to invite all of us to follow the example of trees, which, for the sake of revival in spring and autumn, get rid of what prevents them from developing and moving forward. Every person in life has the same limiting factors that prevent him from realizing his potential. And if you eliminate them, then you can achieve everything that any person dreams of. But first you will still have to sacrifice something, even if it can cause pain, panic and fear.
Apollo Maykov is rightfully considered one of the founders of the lyrical movement in Russian poetry. He is the author of several hundred poems that glorify the beauty of his native nature and its pristine purity. This is not surprising, because from early childhood Maikov was interested in painting. However, I soon realized that the Russian language has many more colors and shades than the palette, so words can express what you see most fully and figuratively.
A distinctive feature of Maykov’s work is that he was one of the first to widely use the technique of animating inanimate objects. An example of this is the poem “Autumn leaves are circling in the wind...”. written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm,” which already has enough troubles before the onset of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.”
Thus, Apollo Maykov seems to invite all of us to follow the example of trees, which, for the sake of revival in spring and autumn, get rid of what prevents them from developing and moving forward. Every person in life has the same limiting factors that prevent him from realizing his potential. And if you eliminate them, then you can achieve everything that any person dreams of. But first, you still have to sacrifice something, even if it can cause pain, panic and fear.
Apollo
Maikov
Analysis of the poem by Apollo Maykov “Autumn leaves are circling in the wind. »
A distinctive feature of Maykov’s work is that he was one of the first to widely use the technique of animating inanimate objects. An example of this is the poem “Autumn leaves are circling in the wind...”, written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm,” which already has enough troubles before the onset of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.”
Maikov deliberately does not draw a parallel between trees and people, who also “shed their leaves” from time to time, radically changing their own lives. However, such a comparison suggests itself, since the author, using the example of an ordinary forest, shows how changeable nature is in general. This applies to all living things on earth, which take their final form only after death, which is what happens with leaves. As for a person, as long as he is alive, there is an opportunity to correct and change something, improve and bring it to perfection.
Thus, Apollo Makov seems to suggest that we all take an example from trees, which, for the sake of revival in spring and autumn, get rid of what prevents them from developing and moving forward. Every person in life has the same limiting factors that prevent him from realizing his potential. And if you eliminate them, then you can achieve everything that any person dreams of. But first, you still have to sacrifice something, even if it can cause pain, panic and fear.
“Autumn leaves are circling in the wind...” A. Maykov
“Autumn leaves are circling in the wind...” Apollo Maykov
“Everything is dying, everything is dying! You are black and naked
O our dear forest, your end has come!”
He was swaddled by mighty dreams,
Analysis of Maykov’s poem “Autumn leaves are circling in the wind...”
Apollo Maykov is rightfully considered one of the founders of the lyrical movement in Russian poetry. He is the author of several hundred poems that glorify the beauty of his native nature and its pristine purity. This is not surprising, because from early childhood Maikov was interested in painting. However, I soon realized that the Russian language has many more colors and shades than the palette, so words can express what you see most fully and figuratively.
A distinctive feature of Maykov’s work is that he was one of the first to widely use the technique of animating inanimate objects. An example of this is the poem “Autumn leaves are circling in the wind...”, written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves, getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm,” which already has enough troubles before the onset of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.”
Maikov deliberately does not draw a parallel between trees and people, who also “shed their leaves” from time to time, radically changing their own lives. However, such a comparison suggests itself, since the author, using the example of an ordinary forest, shows how changeable nature is in general. This applies to all living things on earth, which take their final form only after death, which is what happens with leaves. As for a person, as long as he is alive, there is an opportunity to correct and change something, improve and bring it to perfection.
Thus, Apollo Makov seems to suggest that we all take an example from trees, which, for the sake of revival in spring and autumn, get rid of what prevents them from developing and moving forward. Every person in life has the same limiting factors that prevent him from realizing his potential. And if you eliminate them, then you can achieve everything that any person dreams of. But first you will still have to sacrifice something, even if it can cause pain, panic and fear .
Please help me analyze the poem.
Angelina Lebedeva Pupil (157), closed 2 years ago
Autumn leaves are circling in the wind,
Autumn leaves cry out in alarm:
"Everything is dying, everything is dying! You are black and naked,
O our dear forest, your end has come! "
Their royal forest does not hear the alarm.
Under the dark azure of harsh skies
He was swaddled by mighty dreams,
And the strength for a new spring matures in him.
Liudmila Sharukhia Higher intelligence(169288) 2 years ago
The poem “Autumn leaves are circling in the wind...”. written in 1863. The author tried to imagine what nature feels as it prepares for the coming winter, and ultimately came to the conclusion that for leaves, autumn is the saddest time of the year, causing them to panic. Turning to the forest, they repeat in every way: “You are black and naked.” And they warn with horror about the upcoming end of the world. However, if for leaves autumn really is death in its usual sense, then for the trees themselves getting rid of foliage is just another round of life that must be passed through. Therefore, “their royal forest does not hear the alarm.” who already has enough troubles before the start of winter. He is preparing for renewal, and “strength is ripening within him for a new spring.” Maikov deliberately does not draw a parallel between trees and people, who also “shed their leaves” from time to time. radically changing your own life. However, such a comparison suggests itself, since the author, using the example of an ordinary forest, shows how changeable nature is in general. This applies to all living things on earth, which take their final form only after death, which is what happens with leaves. As for a person, as long as he is alive, there is an opportunity to correct and change something, improve and bring it to perfection. The poem consists of two stanzas. Size: amphibrachium tetrameter. The foot is three-syllable with stress on the second syllable. The rhyme of the first stanza is hyper-idle, the second is adjacent.
Roza Albetkova - Learning to read a lyric work
"Autumn leaves are circling in the wind..."
When reading the poem by A. N. Maykov, try to imagine the landscape described by the poet:
Autumn leaves are circling in the wind,
Autumn leaves cry out in alarm:
"Everything is dying, everything is dying! you are black and naked,
O our dear forest, your end has come!”
Their royal forest does not hear the alarm.
Under the dark azure of harsh skies
He was swaddled by mighty dreams,
And the strength for a new spring matures in him.
Of course you imagined autumn forest, yellow leaves birches, red wide paws of maples, brown, crumpled hazel leaves. The wind tears them from the branches, and they fall onto the road, soar up again, spin, rush like a whirlwind through the forest and even seem alive. And it is no coincidence that the poet endowed them with feeling and speech, using personification. They feel anxious, in a panic it seems to them that everything is lost.
This sense of disaster is created through repetition, which reinforces the meaning of the words. Look at how the first two lines are constructed, and you will see, in addition to phonetic repetition - rhyme - also lexical - anaphora (autumn leaves), and syntactic repetition (sentences are constructed in the same way: definition - subject - circumstance - predicate). The repetitions also enhance the feeling of anxiety in the words of the leaves themselves: “Everything is dying, everything is dying!” It is no less expressive that the “speech” of the leaves is emotional and consists of exclamatory sentences. All this creates an extremely excited intonation, a feeling of confusion.
And now this tragic emotion and tense, excited intonation is replaced by something completely different - calm and majesty. And the size of the verse - amphibrach tetrameter - unites both stanzas and creates the unity of the whole, in which there is both the confusion of dying leaves and the solemnity of a falling asleep forest. Nature appears in all its diversity - in dying and the triumph of life.
The second stanza begins with a negation, and the verb does not mean an action, like the verbs of the first stanza, but a state: does not hear. Compare the emotional coloring of the words in these stanzas. The forest is named regal, his dreams - mighty, while to the leaves it seemed completely different: black and naked. The state of the forest is sleep, not death. And therefore the poem ends with life-affirming words: “And the strength for a new spring matures in him.”
Why don't the leaves see this? Because they themselves perish, and their own death seems to them to be the collapse of the whole world. That is why the intonation of the first stanza is so alarming - it shows the attitude of the leaves involved in this event to the onset of autumn. And the leaves turn into a symbolic image, just like the wind, which we perceive as the “wind of change,” and autumn, an image traditionally in poetry associated semantically with dying. And if we remember that the poem was written in 1864, during the era of radical transformations in Russian life, then these images can be interpreted in a historical and social key.
The artistic richness of an image is determined by its polysemy, the abundance of its subject-semantic connections both inside and outside the text. Then, when reading a work, a person reflects on the unity of man and the world, on the limitations human mind, powerless to penetrate the fundamental properties of the world. And to get closer to the truth he needs special feeling harmony with the world of Nature, the ability to see the essence of what is happening.
From verse to thought
The verse in the lyrics is of paramount importance: it is not just a form into which the content is poured, like water is poured into a glass. The verse is the very meaning of the work. Therefore, poems cannot be retold in prose - this will make the meaning disappear. Beauty, harmony, rhythm will disappear, and with them the lofty thought that the poet wanted to express. After all, it is thanks to the verse that the lines are compared with each other. Feel the meaning of the properties of poetic speech - for example, verse size. intonation. which appears in the work thanks to rhythm. the roll call of words created rhyme. – is extremely important when analyzing a work. To do this, you need to understand how the verse relates to the words, the nature of the syntax and the entire composition. Not everyone can do this right away, because it requires serious knowledge and skills. But let's start with the simplest thing - with a comparison of works in which the meter of the verse is associated with a certain tradition and is therefore endowed with a certain meaning.
Two poems with the same title convey the thoughts of two poets different eras– A. S. Pushkin and A. A. Akhmatova, caused by the same object - the “Girl with a Jug” fountain in Catherine Park Tsarskoe Selo. The fountain represents the figure of a girl sitting on a stone with broken jug from which water flows continuously. Read the poems, imagine these pictures and feel the mood.
A. S. Pushkin Tsarskoye Selo statue
The maiden dropped the urn with water and broke it on the cliff.
The virgin sits sadly, idle holding a shard.
Miracle! the water will not dry up, pouring out from the broken urn;
The Virgin, above the eternal stream, sits forever sad.
Already maple leaves
Swan birds fly to the pond,
And the bushes are bloody
Slowly ripening rowan.
And dazzlingly slim
Tucked in my chilly legs,
On the northern stone she
Sits and looks at the roads.
I felt a vague fear
Praised before this girl.
Played on her shoulders
Rays of diminishing light.
And how could I forgive her
The delight of your praise, beloved...
Look, she has fun being sad
So elegantly naked.
You, of course, noticed how different the sound of these works is. In Pushkin's quatrains this is the so-called elegiac distich, which in Russian lyrics was usually used in stylizations ancient poetry. Odd lines are hexameter. In ancient poetry, a hexameter line is six feet, consisting of long and short syllables, and in Russian it is a six-foot dactyl: / – / -
– / – / – / – /-. Even lines are pentameter.
In ancient poetry this is a pentameter, and in Russian it is a dactyl, which is built according to the scheme: / – / – /|/ -
– / – /, where the third foot consists of only one stressed syllable, followed by a caesura - a constant pause; the last foot also consists of a single stressed syllable, and both halves of the line are metrically identical.
This size was not chosen by chance: it creates a reminiscence - a reminder of antiquity, of the elegies of Catullus and Ovid, and also of the works of Greek sculptors who glorified beauty, and thanks to the verse, the image speaks of the beauty sung by the ancient Greeks and Romans.
The size of Anna Akhmatova's verse is iambic tetrameter. What does this size remind you of? First of all, about Pushkin: most of his works are written in this meter. But Akhmatova’s poems are a memory of Pushkin, of his poem, inspired by the statue.
Thus, the size of the verse in Pushkin’s work serves to express the thought of beauty and harmony on which the world is based, of the unity of humanity. The size chosen by Akhmatova evokes the thought of Pushkin, who once sang the praises of this statue, and of his mood expressed in the poem. The meter of the poem helped us understand that although the titles are the same, the themes of these poems are different. And in order to understand the idea, the figurative thought of the poets, you need to read the text more closely. After all, the size of the verse, although it evokes certain reminiscences, receives meaning not so much in itself, but in unity with the meaning of the words - depending on which words are selected by the poet and how they are organized.
In Pushkin's poem, the description of the fountain is created in words with a highly poetic coloring; not a girl, but Virgo, not a jug, but urn, not aimless, but idle. All four sentences contain isolated revolutions, which is why the speech takes on not just a bookish, but an elevated character. This is also served by repetitions, which force us to pay attention to the words, to feel the melody and beauty of their sound. These are lexical repetitions: urn - from the urn, maiden - maiden, sits - sits, above the eternal - forever, sad - sad and phonetic (alliteration at – And – O): "U rn at from the waters O th at Ron And in about at T e s e e maiden razb And la".
The description is very brief and generalized, the only epithet is sadly - characterizes a virgin. The only word that directly communicates the feeling of the poet contemplating the sad maiden is miracle, it refers, of course, not to everlasting water, but to imperishable beauty, this is also evidenced by the repetition eternal - forever. And these words, interacting with the others, color the whole picture; together with the poet we admire beauty - this eternal miracle.
Listen to Maykov's poem Autumn leaves in the wind
Topics of adjacent essays
Picture for the essay analysis of the poem Autumn leaves in the wind
