Interpretation and analysis
IV.Formation of the skills of analysis and interpretation of a poetic text
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky clouds purple roses,
Reflection of amber
And kisses, and tears;
And dawn, dawn!
1.Perception of the poem.
What was unusual about the text?
What's not clear?
What did you see?
What did you hear?
What did you feel?
What is unusual in terms of syntax?
The poem consists of one exclamatory sentence.
What is unusual in terms of morphology?
There are no verbs in the text, mostly nouns and adjectives.
2. Language composition of the text.
What nouns refer to nature?
What nouns indicate the state of a person?
Let's build two verbal thematic series - nature and man.
"Nature" - the trills of a nightingale, the silver and the ripple of a sleepy stream, the light of the night, the shadows of the night, the purple roses in the smoky clouds, the reflection of amber, the dawn.
"Human" - a whisper, a timid breath, a series of magical changes in a sweet face, a kiss, tears.
Conclusion. The composition is based on the technique of psychological parallelism: the world of nature and the world of man are compared.
3. compositional analysis.
First stanza
What is a micro theme?
Date of lovers in the evening by the stream.
What colors? Why?
Dim colors.
What sounds? Why?
Whisper, sway.
Epithet "timid", "sleepy", metaphor "silver".
Second stanza
What is it about?
A night spent in love.
What sounds?
Silence.
What colors? Why?
There are no color definitions.
What is the role of epithets?
Third stanza
What is a micro theme?
Morning, separation of lovers.
What colors? Why?
Bright tones.
What sounds? Why?
Tears, kisses.
What is the role of means of artistic expression?
Conclusion. Fet uses the technique of color and sound contrast. In the first stanza, muted, soft colors, in the last - bright tones. This shows the flow of time - from evening through night to dawn. The nature and feelings of a person change in parallel: evening and a timid meeting, dawn and a stormy farewell. Through the sounds, the change in the mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.
4.Time and action.
There are no verbs in the poem, but there is an action.
Most nouns contain movement - trills, swaying.
What is the time characteristic?
Evening, night, morning.
5. The rhythmic pattern of the poem.
Work in pairs or groups.
Meter - trochee. Size - diverse with pyrrhic. Constant on 5 and 7 syllables. Clause male and female. There is no caesura. Short and long lines alternate. Anacrusis variable. The rhyme in the verse is finite, masculine and feminine alternate, precise and inaccurate, rich, open and closed. The rhyme in the stanza is cross.
Conclusion. The rhythmic pattern is created by a multi-footed trochaic with pyrrhias. The constant, alternating on syllables 5 and 7, gives harmony to the rhythm. The alternation of long and short lines, feminine and masculine clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a solid masculine ending, the last line is short.
6. Features of the composition of the poem.
The text has three stanzas of 4 verses. Composition of the stanza: in the first stanza 1 verse - man, 2,3,4 verses - nature; in the second stanza, verses 1.2 - nature, verses 3.4 - man; in the third stanza verses 1,2,4 - nature, verse 3 - man. These lines intertwine, alternate.
Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply fixes them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.
V.Reflection
What did you learn in the lesson?
What have you learned?
What is the benefit of the lesson?
VI.Homework
Analysis of any verbless poem.
Approximate scheme for the analysis of a poetic text
1. Rhythmic pattern (organization)
Meter (iamb, trochee, dactyl, amphibrach, anapaest). Size (number of stops in lines). Constant (the last strong point in the line). Clause (end). Line length. Anacruz (initial weak point in the line). Caesura (word division within a line). Rhyme in verse. Rhyming in a stanza.
2. Composition of a poetic text
Stanzas and verses. The microtheme of each part.
Language composition: keywords, verbal thematic series.
Compositional techniques: repetition, amplification, opposition, montage.
Strong positions of the text: title, epigraph, first and last sentences, rhymes, repetitions.
3. Artistic images and motifs
Lyric hero.
4. Artistic time and space
5. Text language levels
A) Phonetic level. Sound recording. Alliteration on ... (consonants). Assonance to ... (vowels).
b) Morpheme level. The role of morphemes.
V) Lexical level. Words are bookish, colloquial, neutral. Synonyms, antonyms. Emotional coloring. Color painting.
G) Morphological level. Predominant parts of speech (objectivity, descriptiveness, reality).
e) Syntactic level. syntactic constructions. Unusual word order. The role of punctuation marks. Figures.
6. Language means of artistic representation
Paths and figures.
7. Theme and idea of the text
8. The relationship of rhythm with the content of the text
Fet's poetry, not so broad in subject matter, is unusually rich in various shades of feeling, emotional states. It is unique in its melodic pattern, full of endless combinations of colors, sounds and colors. In his work, the poet anticipates many discoveries " silver age". The novelty of his lyrics was already felt by his contemporaries, who noted “the poet’s ability to catch the elusive, to give an image and a name to what before him was nothing more than a vague fleeting sensation of the human soul, a sensation without an image and a name” (A.V. Druzhinin ).
Indeed, Fet's lyrics are characterized by impressionism (from the French impersion - impression). This is a special quality of the artistic style, which is characterized by associative images, the desire to convey primordial impressions, fleeting sensations, “instantaneous memory snapshots” that form an integral and psychologically reliable poetic picture. These are, in fact, all Fet's poems.
The poet's words are polyphonic and ambiguous, epithets show not so much direct as indirect signs of the objects to which they refer ("melting violin", "incense speeches", "silver dreams"). So the epithet “melting” to the word violin conveys not the quality of the musical instrument itself, but the impression of its sounds. The word in Fet's poetry, losing its exact meaning, acquires a special emotional coloring, while blurring the line between direct and figurative meaning, between the external and internal worlds. Often the whole poem is built on this fluctuation of meanings, on the development of associations (“ by the bright sun a fire is blazing in the garden…”, “Whispers, timid breathing…”, “The night shone. The garden was full of moon ... "). In the poem “I’m falling back in an armchair, I’m looking at the ceiling ...” a whole series of associations are strung on top of each other: a circle from a lamp on the ceiling, slightly spinning, evokes associations with rooks circling over the garden, which, in turn, evoke memories of parting with beloved woman.
Such associativity of thinking, the ability to convey moments of life, fleeting, elusive feelings and moods helped Fet come close to solving the problem of “inexpressibility” in the ethical language of the subtlest movements of the human soul, over which Zhukovsky, Lermontov, Tyutchev fought. Feeling, like them, “how poor our language is,” Fet moves away from words into the element of musicality. Sound becomes the basic unit of his poetry. Composer P.I. Tchaikovsky even called Fet a poet-musician. The poet himself said: “Seeking to recreate the harmonic truth, the artist’s soul itself comes into the corresponding musical system. No musical mood - no artwork". The musicality of Fet's lyrics is expressed in the special smoothness, melodiousness of his verse, the variety of rhythms and rhymes, the art of sound repetition. material from the site
We can say that the poet uses musical means of influencing the reader. For each poem, Fet finds an individual rhythmic pattern, using unusual combinations of long and short lines (“The garden is in bloom, / The evening is on fire, / So refreshingly joyful to me!”), sound repetitions based on assonances and consonances (in the poem “Whisper, timid breathing ...” assonances in -a: nightingale - stream - end - face - amber-rya - dawn), various sizes, among which trisyllabic ones stand out, perfectly fitting into the tradition of romances (“ At dawn, you don’t wake her up ... ”, written in anapaest). It is no coincidence that many of Fet's poems were set to music.
Fet's artistic discoveries were accepted by the poets of the Silver Age. Alexander Blok considered him his direct teacher. But far from immediately, such an unusual, unlike anything Fet's lyrics won the recognition of readers. Having released the first collections of his poems back in the 1840s-1850s, Fet retired from literature for a long time. life and remains known only to a narrow circle of connoisseurs. Interest in him increased at the turn of the century, during the new flowering of Russian poetry. It was then that Fet's work received a well-deserved appreciation. He was rightfully recognized as the one who, according to Anna Akhmatova, discovered in Russian poetry "not a calendar, the real twentieth century."
Fet called himself the singer of a Russian woman. The theme of love in his work is the main one. The poet himself claims that this feeling "will always remain the grain and center on which every poetic thread winds." Love is that magic crystal through which the poet looks at the world.
There was a woman in the poet's life who became long years tragic heroine of his poetry. The source of inspiration for the poet was the love of his youth - the daughter of a Serbian landowner Maria Lazic. Afanasy Fet was 28, Maria Lazich - 22. He soon realized that their conversations about the novels of Georges Sand, reading poetry were developing into something else - into the "Gordian knot of love". Their love was as strong and lofty as it was tragic. Lazic knew that Fet would never marry her, nevertheless her last words before his death there was an exclamation: "It is not he who is to blame, but I!". Maria Lazich burned down in the fire. A thrown match set fire to her muslin dress. The flame was knocked down, but the burns were so strong that it was not possible to save Maria. She died on the fourth day in terrible agony. The exact circumstances of her death have not been clarified, but there is reason to believe that it was suicide. The consciousness of indirect guilt and the severity of the loss weighed on Fet throughout his life, and the result of this was "two worlds". Contemporaries noted the coldness, prudence and even some cruelty of Fet in Everyday life. But what a contrast this makes with another world of Fet - the world of his lyrical experiences, embodied in his poems.
Favorite for Fet - a moral judge and ideal. She has great power over the poet throughout his life, although already in 1850, shortly after the death of Lazich, Fet writes: "My ideal world has been destroyed for a long time." The influence of a beloved woman on the poet is also felt in the poem "For a long time I dreamed of your cries of sobs." The poet calls himself "an unfortunate executioner", he acutely feels his guilt for the death of his beloved, and the punishment for this was "two drops of tears" and "cold shivering", which he endured forever in "sleepless nights".
