The poem “Cloud” belongs to the landscape and philosophical lyrics of Alexander Sergeevich Pushkin, and, although at that time the poet had already begun to move away from romanticism, this work is completely consistent in this direction. You need to read the poem “Cloud” by Alexander Sergeevich Pushkin carefully, because this work is not accidental. It was written on April 13, 1835. The next day, the poet was supposed to have an appointment with the head of the Third Department, A.K. Benkendorf, to whom he submitted a request to publish his own newspaper. The poet hoped that the storm clouds above his head would finally clear and life would return to normal. The image of a cloud is classic for romantic works. This is a symbol of sadness, anxiety, danger. The poet seems to describe everything that happens in his life, revealing to the reader his fears and hopes. In the first part of the poem, the cloud is just approaching, instilling fear and despondency in the poet, in the second the storm has already broken out and the long-awaited rain has poured on the ground, but in the third the cloud has gone away, fears and anxieties have dissipated. The poet, with the help of symbols, images and allegories, tries to convey to the reader the idea that everyday storms are a temporary, passing phenomenon.
The poem also carries a different meaning. Pushkin, using antithesis, paints with watercolor precision the storm and the calm after it, as if saying that the time of his glory has passed, that it is necessary to leave the “poetic stage”, to give way to young talents. At this time, the poet was really experiencing a certain creative crisis; readers no longer admired him and his works, and critics directly said that “Pushkin is no longer the same.” Some researchers believe that “Cloud” is a poem dedicated to the decade that has passed since the Decembrist uprising. The poet in his work seems to be saying that the time of storms, when his poems were really needed, has passed. In this poem, Pushkin uses many different epithets that enhance the “pictorial quality” of the narrative, convey the mood of the original house and the ensuing peace, personifications revive nature and the main “hero” of the narrative - the cloud. The poet resorts to the technique of alternating female and male rhymes, which is atypical for landscape works. The rhythm of the piece is very smooth, calming, and measured. It is easy to learn this piece by heart. This work was recognized as the best landscape poem by Pushkin. The richness and beauty of artistic images still impresses readers today. It is usually discussed in literature lessons in the 9th grade.
The text of Pushkin’s poem “Cloud” can be downloaded from our website or read in full online.
The last cloud scattered storm!
You're rushing along alone clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.
You recently hugged the sky,
And lightning wrapped around you menacingly;
And you made mysterious thunder
And she watered the greedy land with rain.
Enough, hide! The time has passed
The earth was refreshed and the storm passed,
And the wind, caressing the leaves of the trees,
He's driving you out of the calm heavens.
Analysis of the poem “Cloud” by Pushkin
The poem "Cloud" (1835) is a brilliant example landscape lyrics Pushkin. In it, he uses the technique of personification, addressing the cloud as if it were a living creature. Thanks to this, the poem has great expressiveness and artistic beauty.
About hidden meaning There are two points of view of the work. The first is associated with the romantic interpretation of the image of a cloud. Romantic poets considered clouds to be symbols of everyday problems and misfortunes that gather over a person’s head. Thickening clouds meant immediate danger. A storm with thunder and lightning symbolized the struggle of the romantic hero with hostile forces. Bad weather was also associated with negative emotions overwhelming the human soul. But the weather is a rapidly changing phenomenon. The storm is replaced by a clear sunny day. In the same way, a person finds the strength to cope with his problems. Having expelled fear and hatred from his heart, he again experiences joyful and bright feelings. New vital forces awaken in him. After the passing hurricane, all human sensations are filled with a special freshness of perception.
According to another point of view, the poem is dedicated to the tenth anniversary of the Decembrist uprising (“dispersed storm”). The Decembrists are seen as a necessary shock to society. The poet completely shared the views of the rebels, so the cloud “produced mysterious thunder” and “watered rain” on the land yearning for moisture. “Mysterious thunder” and “rain” are the Decembrists’ ideas about a fair social order. They should have influenced human society(“greedy land”), guide him on the right path. The uprising failed, and the Decembrists, like clouds, were scattered. Society calmed down, and imaginary prosperity reigned again. The ideals of the Decembrists and their rebellion were condemned. Pushkin remains true to these ideals, therefore he compares himself with the last cloud. He felt dissatisfied, therefore, among a carefree society (“a jubilant day”) he seemed strangely and suspiciously thoughtful (“casting a sad shadow”).
Regardless of what meaning Pushkin himself put into the poem, it is a wonderful work dedicated to nature. In addition to personification, the poet successfully uses antithesis, contrasting the picture of a menacing storm with a calm day. The image of the last cloud, which becomes a borderline phenomenon between two opposing states of nature, looks very vivid.
If Lermontov’s “heavenly clouds” were indifferent to the poet’s suffering, then Pushkin’s cloud seems to listen to the human verb. Because Pushkin’s verb is such that it can burn not only the hearts of people, but also the soul of the cold elements. This is probably why such a prophetic verb was given to Pushkin, to ignite the heart of the element, to awaken in it the truth about who the element is!
Saying “and the sinner tore out my tongue,” Pushkin abandoned preaching, direct prophecy, and philosophy. Pushkin even refused revelation - in the name of poetry. Because there is no greater revelation pleasing to God, embodied in the elements, that is, in the beauty of nature. "I remember wonderful moment: You appeared before me, Like a fleeting vision, Like a genius of pure beauty.”
Pushkin did not have a greater revelation than the poem “Cloud”, although every significant poem in poetry is a revelation, which cannot be greater. “The last cloud of the scattered storm! Alone you rush across the clear azure, Alone you cast a dull shadow, Alone you sadden the jubilant day. You recently encircled the sky, And lightning encircled you menacingly; And you made mysterious thunder and watered the greedy earth with rain. Enough, hide! The time has passed, the Earth has become refreshed, and the storm has passed, And the wind, caressing the leaves of the trees, drives you from the calm heavens.”
If Lermontov's clouds - “eternally cold, eternally free” did not listen to his suffering, then Pushkin’s cloud does not leave the poet. One cloud, the only cloud of Pushkin.
But the wind, very gently, drives the clouds from the sky. The poet does not stop at one image of the world. Everyone in the elements has their own business. After the rain there is flowering. The wind caressing the “leaves of the trees” and the calm skies do not need to think about anything. They have nothing to suffer about.
In this poem, Pushkin depicted the existence of God, who became an element.
But interconnected natural phenomena do not need to know about this. They don't need to know themselves as a whole. The whole itself has already known them. Such is Pushkin's cloud. But Lermontov’s clouds know themselves, know the world.
Lermontov makes you think and experience Pushkin’s peaceful clouds.
Lermontov asks questions to God, who lives peacefully in Pushkin’s transparent metaphor. But, answering Lermontov, it is impossible for God to remain in Pushkin’s metaphor. It was impossible not to answer Lermontov. Lermontov was soon to leave forever, to become a force of nature. And answering Lermontov, it is impossible not to continue the creation of the world.
And who will Lermontov become in the elements? Maybe a cloud that is “bored of barren fields.”
Speaking about Lermontov, we are talking about Pushkin, about Tyutchev, about Blok, about Fet, because the poet is great because his space is limitless; in it self-knowledge of all things is inevitable...
You recently hugged the sky,
And lightning wrapped around you menacingly;
And you made mysterious thunder
And she watered the greedy land with rain.
Enough, hide! The time has passed
The earth was refreshed and the storm passed,
And the wind, caressing the leaves of the trees,
He's driving you out of the calm heavens.
1835
“The Cloud” by Alexander Sergeevich Pushkin was written in 1835.
« Late Pushkin achieves amazing spiritual enlightenment in prose and in lyrical creativity. The delight before the rebellious beauty of sensual passions disappears, the dark clouds and blizzards of vain earthly anxieties disappear, and a tender contemplation of spiritual beauty in nature and in man appears.
Just as nature is cleansed and renewed in stormy weather, so the soul (in the poem it is symbolized by the image of a cloud), passing through stormy sensory temptations, is renewed and reborn, joining the harmony and beauty of the surrounding world. In the poem “Cloud” Pushkin joyfully welcomes this harmony, this spiritual enlightenment» .
« The great poet used images of storms in the literal and figurative sense more than once in his works, for example, in the poem “Storm”, “Winter Evening”, “Cloud” and others... The philosophical meaning of the poem by A.S. Pushkin’s “Cloud” is that the author shows that nature and man are inextricably linked... In the poem “Cloud” (1835) Pushkin joyfully welcomes this harmony, this spiritual enlightenment» .
Poem by A.S. Pushkin's "Cloud" can be viewed not only as a sketch of nature, as a philosophical reflection, but also as a response to the decade of the Decembrist uprising. From a historical point of view, the poet recalls the events of the recent past (the Decembrist uprising, exile), sees echoes of those events in the present (the ban on the publication of his works). In this regard, the image of a thunderstorm is the semantic center of the poem, since the images of clouds, storms, thunderstorms are symbolic. The thunderstorm is the persecution to which the poet was subjected for his freedom-loving poems.
From the above it follows that the theme of the poem “Cloud” is the contemplation of nature by the lyrical hero, and the idea is a reflection of the social upheavals and hardships that the poet had to endure through an inextricable connection and unity with nature. Nature is cleansed and renewed in stormy weather - so the soul of a person (the lyrical hero) is resurrected in admiration of the beauty and harmony of the surrounding world.
Let's look at the text of the poem in more detail.
The composition of the poem is unique. Before us are three paintings, three parts, connected together by meaning. Conventionally, they can be designated as follows:
1. The present(a lonely cloud rushes across the sky / ban on publishing works);
2. Past(recent thunderstorm / Decembrist uprising);
3. Pacification(the last trace of a cloud in the calmed skies / the soul of the lyrical hero seeks peace, familiarity with the harmony and beauty of the surrounding world).
Each part has its own keywords and a certain style.
So the first quatrain is characterized by despondency. Words like this help us understand “you alone”, “sad shadow”, “sad... day”.
The second quatrain is aggressive. This is evidenced by the use of phrases such as “it wrapped itself around you menacingly”, “it made mysterious thunder”, “the greedy earth”. In addition, aggression is created by repeated “growling” consonants in the words “around”, “menacingly”, “thunder”.
There is a sense of peace in the last stanza with words like “passed”, “refreshed”, “rushed”, “drives from the calmed skies”.
The poem is written in amphibrach tetrameter with truncation (in this case, with an incomplete foot at the end of the last two lines of each stanza), thanks to which the poem becomes similar to the philosophical reflection of the lyrical hero. On the other hand, smoothly sounding lines seem to calm the raging elements.
Let's pay attention to the vocabulary. At first glance, all the words in the text are simple and understandable, but if we read more carefully, we will notice words such as “azure”, “hide”, “passed”, “trees”.
« Azure" - this is one of the shades blue color, the color of the sky on a clear day. According to some scientists, this word is borrowed from Polish or Czech.
The outdated forms of the words “hide” and “passed by” give an expressive tone to the text of the poem.
« Dreves" - i.e. trees, this word is not used in modern Russian.
These words set the reader in a solemn mood and serve to more fully reveal the meaning of the poem.
To give the text special elegance, the author uses semantic repetitions: exact lexical repetitions ( “you are the only one”, “and”), synonymous repetitions ( “closed” - “wrapped”, “passed” - “rushed”), root repeats ( “sky” - “heaven”, “earth” - “earth”, “storm” - “storms”).
Of particular note is the pronoun “ You" and its forms " you", which is the content center of the poem. This keyword occurs six times in the text; it concentrates the ideological content of the text of the poem.
Most of the text consists of verbs. The richness of verbs (plus one gerund) gives the poem dynamism, energy, and tense rhythm, indicating a quick change of action: rushing, inducing, saddening, hugging, entwining, publishing, drinking, hiding, passing, refreshing, rushing, chasing, caressing. The tense and type of verbs are interesting. In the first stanza there are verbs of the present tense, in the second - of the past. Thus, we see a response to the events of the past and a reflection of the phenomena of reality.
The poem is characterized by parallel rhyme. Male and female rhymes successfully alternate: the first two lines of each stanza are female - the last two stanzas are male rhyme. Thanks to the feminine rhyme, the poem is chanted. Completing each stanza with a masculine rhyme, on the one hand, gives completeness to each paragraph, on the other hand, makes the poem more solemn and sonorous.
Let's pay attention to the phonetic side of the text. It is not difficult to notice the alliteration on sonorant consonants r, l, m, n:
Pos l units n I'm a cloud R asseya nn oh boo R And!
Od n And you n you're eating like crazy n Ouch l basics R And,
Od n And you n driving around n s l wow those n b,
Od n and you bake l look l hiccuping de n b.
You n fuck n eating n o circle m about l yeah l A,
AND m ol n Ia g R oz n wrapped around you l A;
And you published l and thai n quality nn y g R O m
And a l h n yuu ze m liu poi l and in the rain m.
Dovo l b n oh juice R Oops! By R A m And n ova l ah,
Ze ml I'll refresh l ass and boo R I p R O m cha l ah,
And you R, l askaya l sources d R eves,
Calm you down nn oh th n it n fuck
The combination of these consonants is very successful. Thanks to this technique, it seems to the reader that the lyrical hero pronounces these words easily, in a singsong voice; they flow like music from his heart.
The syntax of the poem is peculiar. In the first two paragraphs we observe anaphora:
You're the only one rushing across the clear azure,
You're the only one you cast a dull shadow,
You're the only one sadden the jubilant day...
AND lightning wrapped around you menacingly;
AND you made mysterious thunder
AND watered the greedy earth with rain.
Anaphora " you're the only one
"sets a certain rhythm for the poem. Behind the threefold repetition of words, reproach and indignation sound. Anaphora on " AND
» shows stringing simple sentences as part of a complex This stylistic figure is called polyunion. The triple use of the conjunction here is not accidental, but intentional. Thanks to this technique, speech slows down with forced pauses; polyunion emphasizes the role of each word, creating unity of enumeration and enhancing the expressiveness of speech.
The text contains two exclamatory sentences, the first of which is nominative. This is a proposal-appeal " The last cloud of the scattered storm!" Second - incentive exclamatory sentence « Enough, hide!" Rhetorical appeal and rhetorical exclamation create the meaningful center of the work, conveying the mood of the poet, who feels a sense of indignation towards those who deprive him of the opportunity to create freely.
The sentences of the first paragraph are constructed clearly and concisely, according to a certain pattern: subject - predicate - minor members(definition - addition).
Alone you rush across the clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.
The same rigor in the construction of sentences is observed in the last stanza: subject-predicate:
... The time has passed,
The earth became refreshed and the storm passed...
The integrity of the text is achieved thanks to coordinating conjunctions « And", as well as non-union sentences connected in meaning.
The text contains epithets denoting the internal state: "pos. l units n I'm a cloud", " R asseya nn oh boo R and", "yas n Ouch l basics R and", "y n s l wow those n b", " l hiccuping de n b", "thai n quality nn y gro m", "A l h n yuu ze ml yu", "calm down nn s n fuck". The epithet " greedy land" To enhance the reader's impression, the poet uses the hyperbolic word " greedy" We see exaggerated greed, the desire to absorb something. Unexpected compatibility of lexical-semantic words clear azure, calm skies, scattered storm, mysterious thunder fills them with new content.
The animation of the cloud appears not only in the clear landscape-symbolic character of the poem, but also in the presence of personifications “you are rushing”, “you are leading”, “you are sad”, “you were hugging”, “lightning... was wrapped around”, “you were making... watering”, “the wind... is driving”, “the earth has been refreshed”, “the time has passed”. Cloud is Living being, symbolizing the soul of the lyrical hero, which goes through stormy sensual temptations, is renewed and reborn, and joins the harmony and beauty of the surrounding world.
Thus, this lyrical miniature is an opportunity to talk about the human world, his soul. Having analyzed the text, it is easy to notice that the basis of the poem is the technique of allegory - allegory. The images of clouds and storms reflect the social upheavals and hardships that the poet had to endure. Lexical means syntactic constructions, morphological features, means of expression contribute to this, making the text richer and more unique. Metrics, rhyme and type of rhyme introduce an element of philosophical reflection into the poem.
A.S. Pushkin "Cloud". The last cloud of the scattered storm! Alone you rush across the clear azure, Alone you cast a dull shadow, Alone you sadden the jubilant day. You recently encircled the sky, And lightning encircled you menacingly, And you emitted mysterious thunder, And you watered the greedy earth with rain. Enough, hide! The time has passed, the Earth has become refreshed, and the storm has passed, And the wind, caressing the leaves of the trees, drives you from the calm heavens. Olympic task Complete linguistic analysis text. Give detailed answers to the following questions: 1.What feeling is the poem permeated with? How does the construction of a poem help determine the mood of the lyrical hero? 2. Find in the poem: - stylistic figures and tropes; - categorical difference and similarity of verb tenses; - individual author's combination of words. 3. Explain the role of the named artistic and linguistic means in the text. 4. Give a linguistic commentary on the words: “azure, greedy, passed, hide, trees.” What “meanings” does the use of these words bring to the poem? 5. Is the image of a cloud in this poem traditional for the poetic language of the first half of the 19th century? Explain your point of view. Pushkin’s poem “Cloud” is imbued with the freshness of a summer day after a thunderstorm, permeated with sunlight, only the cloud that lingers in the sky for some reason “casts a dull shadow.” The poem is “impatient”: both the poet and nature seem to be waiting for the sky to become clear and the cloud to disappear behind the horizon. The structure of the poem is interesting. In the first quatrain, the poet clearly reproaches the cloud for the fact that it has not yet disappeared, bringing up melancholy and memories of the past downpour. In the second quatrain, the author recalls the past thunderstorm, when the earth greedily swallowed life-giving moisture, when lightning flashed dazzlingly, thunder sounded... When this cloud was at the height of its power. In the last four lines, the poet addresses the cloud, says that its time has passed and urges it to quickly disappear from sight. It is no coincidence that the poem is structured this way. Quatrain I tells us about the cloud, the main character, this is a kind of “introductory” quatrain. Here the author regrets that the cloud still darkens the “clear azure” of the sky. I quatrain - apotheosis, culmination of the poem. Memories inspire the poet; he paints a picture of it for us with bright, rich colors. We can say that these four lines are the most aggressive in the entire poem. The last, III quatrain is filled with peace. The author no longer threatens anyone, but only persuades the cloud to hide. This is a fitting conclusion to the poem. In the poem we see a variety of stylistic figures and tropes. Despite the fact that the theme and idea of the poem is the same, each quatrain has its own style. I quatrain - a little sad; The stylistic images created by the poet help to feel his mood: “a sad shadow,” for example, or the whole line “You alone sadden the jubilant day.” On the other hand, this quatrain seems to prepare us for the next, more “militant” one. Here one can also feel the poet’s annoyance at the rebellious cloud. This makes us understand both the appeal to the cloud and the threefold repetition of “you alone.” The style of quatrain II is aggressive “combat”. This is also evidenced by some phrases: “it wrapped itself around you menacingly,” “it made mysterious thunder,” “the greedy earth.” The repeated “growling” consonants in the words “around”, “menacing”, “thunder” also help us better perceive the mood of the quatrain. It should be noted that they are absent in the last line, which is the main transition to quatrain III. His style and keyword is peace. The author does not demand, but asks a cloud: “Enough.” The stylistic images here are also calm. We seem to imagine “leaves of trees” and “calm skies”. Characteristic words with phrases are also used here: “passed”, “refreshed”, “caressing the leaves of the trees”. All this helps us better feel the freshness and style of the final quatrain. In the poem, one can note the categorical difference and similarity of the verb tenses. The present tense of the verb is used in both quatrains I and III. It should be noted that they are similar in style: the poet either demands or asks the cloud not to darken the sunny day. In quatrain II, the author used the past tense of the verb, remembering the past thunderstorm. By this, he seemed to emphasize the difference between the calm I, III and “militant” II quatrains. In a lyrical miniature by A.S. Pushkin’s “Cloud” we can also note the author’s individual combination of words. The poet used here many bright epithets, which are not characteristic of anyone else except him. Among them, the following combinations stand out: “scattered storm”, “clear azure”, “dull shadow”, “rejoicing day”. Note: not a joyful, not a cheerful day, but a “rejoicing”(!) day. “Terribly entwined”, “greedy earth”, “mysterious thunder”, “calm heavens”. Data artistic media play a huge role: they help us understand and feel the mood of the poem. They make it richer and brighter. Without them, would there be a poem? Let's do a little experiment: let's remove only epithets from Quatrain I. What will happen? The last cloud... of the storm! Alone you rush across the sky, Alone you cast... a shadow, Alone you sadden... the day. Well, is this a poem? Of course not. We must not forget that we removed only epithets, but what will happen if we leave the poem without metaphors, inversions, comparisons, hyperboles?! Now, I think, it’s clear that it’s impossible to do without artistic and linguistic means in a poem (and prose!)! 4. Azure - the word means bright, pure blue. This is a very important word in the poem. Compare: “on clear azure” and “on clear blue.” Greedy means “greedy”, this word is no less important in the poem. It passed - that is, passed, passed. This word is outdated and is no longer used. Hide - hide, get away, this word is also outdated. Dreves - trees, this word is not used in modern Russian. These words, it seems to me, set the reader in a solemn mood and serve to more fully reveal the meaning of the poem. 5. I think yes, it is. Exactly on early XIX V. Romanticism flourished. This was marked by enthusiasm and impetuosity. The poem, as they say, matches. It is imbued with delight from the clear “jubilant” day, from the “clear azure”; the poet is in admiration for nature. And he describes the recent thunderstorm vividly and colorfully, which is no less characteristic of romanticism. Poem by A.S. Pushkin's "Cloud" is imbued with a feeling of hope for the best. We see the victory of good over evil. The mood of the lyrical hero changes during the course of the poem. At first it is gloomy, and dull, and sad, but just as after rain and thunder nature is “reborn”: “the earth is refreshed” and the wind “caresses the leaves of the trees,” so the poet’s soul becomes clear and bright. The first line of the poem “The last cloud of a scattered storm!” the lyrical hero-author shows that the main storm is already behind us, thunder, lightning - everything has already passed. This means that the composition of the poem seems to lack a peak moment - a climax. The last cloud is just a remnant of the raging elements. So we can call the entire poem “Cloud” the denouement of some action: the hero is already calming down, his mood is improving, his soul becomes light and free, and nature is gradually recovering from the storm. In the poem by A.S. Pushkin’s “Cloud” we see an artistic image of a cloud. It is the totality of all the negative emotions of the author, but at the same time, nature needs a cloud, grass and trees need rain. The cloud is the personification of something fickle: now it “makes mysterious thunder,” and now it is rushing across the sky, driven by the wind. So, a cloud is a symbol of impermanence, sad and dull, but very necessary for nature. There are many interesting tropes in the poem. For example, the epithets “scattered storm”, “mysterious thunder”, “greedy earth”, “rejoicing day”, etc. In the first stanza of the poem there is anaphora - unity of command: Alone you rush across the clear azure, Alone you cast a dull shadow, Alone you sadden jubilant day. In the second stanza, we can notice the author’s deliberate repetition of vowel sounds - assonance. In this case, the repetition of the vowel sound “O” creates a sound image of a storm. It’s as if we hear thunder, we are scared, and the sounds of fear and delight involuntarily burst out - the interjections “O” and “A”. You recently lightened the sky all around, And lightning encircled you menacingly, And you emitted mysterious thunder. When describing a recent storm, the author uses assonance. The author seems to be participating in the action of his poem. In the third stanza you can see the author’s individual combination of words: “Enough, hide yourself! “So the author seemed to imagine himself as the lord of storms, ordering the cloud to quickly rush away. The poem also contains linguistic device - categorical difference in verb tenses. The author describes two actions in the poem: the passing storm and the remaining cloud. Consequently, the storm that reigned a few minutes ago has already ended, which means the author uses the past tense for verbs associated with the elements (closed, wrapped around, published, went). But now a new, quiet and calm time has come, when the cloud is left alone and carries out its last actions (rushing, causing, sadness). The poem “Cloud” belongs to the last stage of A.S.’s work. Pushkin. The poem depicts a landscape painting that is very dynamic. Movement and development are given through antithesis, which is conveyed by the present and past tense of verbs. The poem consists of three stanzas. In the first stanza, the image of the lyrical hero is imbued with a feeling of loneliness. The repetition of the word “one” and the anaphora of stylistic figures (“sad shadow” - “rejoicing day”) once again emphasize the feelings of the lyrical hero. In the second stanza, the lyrical hero plunges into thoughts about the past. This is conveyed by the use of past tense verbs (“closed”, “published”, “wound around”, “went”). To add eccentricity and elation, the author uses lexical anaphora (and..., and...) and frequent repetition of the word “you”. We can also observe exclamations in stanzas 1 and 3. In the third stanza, the lyrical hero addresses the cloud (“Enough, hide!” This request seems illogical in the light of the events that took place. But this is further explained by the use of the past tense of verbs (“passed”, “rushed”). The vocabulary of the poem is very interesting. The word "azure" is used to mean a bright, blue sky. “Greedy” - thirsty, asking for moisture. When combined with a noun, it becomes personification. The words “passed”, “hide”, “trees” are archaisms. They are used to maintain the rhythm and rhyme of a poem. The poem is written in amphibrachic tetrameter using paired rhyme (male and female). The images in the poem are not only symbolic, but also allegorical. Perhaps the storm means some stormy feeling that left a mark on the poet’s soul. Or is this a kind of appeal to the king. Alexander Sergeevich reminds him of the Decembrist uprising. He hopes for the release of the exiled Decembrists. If this is so, then the image of a cloud in this poem is unconventional for the poetic language of the first half of the 19th century. The cloud signified danger (“The Tale of Igor’s Campaign,” “Ruslan and Lyudmila”). I think that A. S. Pushkin found a new meaning and expanded the meaning of the word “cloud”. Conduct a linguistic analysis of the poem by A.A. Feta “Learn from them - from the oak, from the birch.” Learn from them - from the oak, from the birch. It's winter all around. Cruel time! In vain the tears froze on them, And the bark cracked, shrinking. The blizzard is getting more and more angry and with every minute the heart is tearing up the last leaves, and a fierce cold is grabbing at the heart; They stand, silent; shut up too! But trust in spring. A genius will rush past her, again breathing warmth and life. For clear days, for new revelations The grieving soul will recover. Poem by A.A. Fet “Learn from them - from the oak, from the birch” was written in the early 80s. Already in the 50s, Fet’s romantic poetics was formed, in which the poet reflected on the connection between man and nature. He creates entire cycles: “Spring”, “Summer”, “Autumn”, “Evenings and Nights”, “Sea”, in which through pictures of nature the reader and the lyrical hero comprehend the truth about man. In this sense, the poem “Learn from them - from the oak, from the birch” is very characteristic. The discreet picture of Russian nature is reflected in poetry in a unique way. The poet notices its elusive transitional states and “paints” like an artist, finding new shades and colors. The term “impressionist poetry,” applied to Fet’s lyrics, most accurately reflects the search for poet-thinkers and poet-artists. Even Fet's contemporaries, especially Saltykov-Shchedrin, emphasized the complete fusion of man with nature in his lyrics. In Fet's voice one can hear the voice of a living creature, such as grass, trees, animals. The poet can “silence” their language, plunging into statistical contemplation. And following the poet, the reader faces harsh pictures of disharmony in nature, and, in Fetov’s way, in the human soul. They evoke a number of associations: trouble, disorder, anxiety, restlessness. This is facilitated by metaphorical images: “tears froze in vain”, “a fierce cold grabs the heart”; negatively emotionally charged epithets: “severe cold”, “cruel time”, “grieving soul”, inversion “in vain the tears froze on them” The culmination of bad weather in nature is associated with spiritual sensations. In the first and third stanzas, predominantly simple and simple complicated sentences are used (complications with participial phrases, homogeneous definitions). The second stanza has a different syntactic structure: complex non-union proposal. Short, information-rich sentences give the poem dynamics. The second stanza stops the dynamics of the poem, slows it down, in the third stanza the dynamics are restored. Incentive sentences set the tone for the entire poem, the forms of verbs in the imperative mood add elements of didactic instruction, and the obsolete forms of the words “shrinking” and “life” add solemnity to speech. At first, the poem is imbued with pessimistic sentiments. The intensification of tragic motives is especially noticeable in the second stanza, where the author allowed himself to use lexical repetitions: “the heart is tearing” - “grabbing the heart”, “they are silent; be silent too." This technique enhances the expectation of a denouement, which is why the third stanza begins with the adversative conjunction “but” (“But believe in the spring”). The conjunction “but” invades the last stanza, contradicting the world of disorder and discord. carries a bright image of beauty and harmony. Now the figurative system serves to create feelings of a different kind - faith in the triumph of goodness, beauty, harmony. Perhaps Fet saw in nature what he so lacked in life, in the sphere human relations(many years were spent on restoring the title of nobility, tragic love for Maria Lazic). I believe that this poem is a shining example the fact that Fet did not stop rereading the great and sublime book of nature all his life, remaining a faithful and attentive student of it. And following the poet, the reader should also know nature, because it contains the key to all the secrets of human existence. Nature - best teacher and a person's mentor. A metaphor is unfolded before us. The philosophical and psychological subtext of the poem is obvious. Oak is a symbol of perseverance, strength, strength. Birch is a symbol of vitality, resistance to adversity, flexibility, and love of life. The supporting words are winter - adversity, spring - full-blooded free life. The point in the poem, therefore, is that a person must courageously endure the blows of fate and believe in the inevitability of change. The poem breathes movement, but there is not a single word in it that directly expresses movement. To a greater extent, the poem is unique in that two very different series of events converge in one aesthetic reality. The ending is the most emotionally powerful; all the power of the poem is concentrated in it. Art world created by a variety of rhythms, sounds and special syntax, i.e. melodious style. In the first stanza, denominative incentive sentences are used, as Fet sought to express the complexity mental life man and nature. The second stanza closes with the culmination in the soul and in nature. In the third stanza, the opposing union changes the mood of the lyrical hero, and behind the pictures of the cruel winter one can feel a revival of hope. The poem is written in a three-syllable amphibrach with cross rhyme. The poet liberated the word and increased the load on it - grammatical, emotional, semantic. At the same time, the semantic unit poetic text is not a single word or even individual words and expressions, but the entire near and distant context. The poem itself is a vivid lyrical experience, an instant lyrical flash. The poem also uses outdated forms: “life”, “shrinking”. The author's presence is felt: “in vain the tears froze on them,” “a grieving soul.” Fet is perceived as a symbolist poet who, like a sage, transforms tragedy, pain, and compassion into beauty. It is in the ineradicable ability to pass everything through the heart that his creativity is perceived.” Expressively read I. Severyanin’s poem “Double Silence.” Conduct a linguistic analysis of the poem. There is a double silence, the moon stands high. The frosts are high. Distant carts creaking. And it seems that we can hear the Arkhangelsk silence. She is heard, she is visible: In her are the sobs of the cranberry bog. It contains the crunch of snowy canvas, It contains the whiteness of quiet wings, Arkhangelsk silence. Igor Severyanin chose an unusual title for the poem - “Double Silence.” On the one hand, the reader can hear it, the silence is described in such “detail”, it contains a lot of things, from the “sobs of the cranberry bog” to the “crunches of snow canvas.” It would seem, what can be special about silence? But only at first glance it may seem that the silence is lifeless and dull; it’s not for nothing that Igor Severyanin was considered a poet “ silver age“, because he was able to make the reader not only hear the silence, but also “see”, feel it... The moon stands high. The frosts are high. The anaphora “high” is quite unusual for the first lines. I want to raise my head and see this moon, feel such frost. The poem is written in iambic tetrameter using a ring composition. This helps the author reveal the idea: to describe silence so that every sound is distinguishable in it. The alliteration of the sounds “sh”, “zh”, “x” creates the effect of crunching, rustling, and sobbing. If you read the poem out loud, you can really hear it. Incomplete sentence with omitted predicates also help to create a certain image of silence. The poet repeats the word “audible” to once again draw the readers’ attention: so quietly that the silence can be heard. and this all-consuming silence allows you to hear the “distant creaking of the convoys.” The dash sums up everything that “is in “Arkhangelsk Silence.” It is interesting to compare snow with “snow sail”, that is, snow is white, like the sail of a ship at sea. It is complex, it is visible: It contains the sobs of a cranberry bog. The colon proves that she is indeed visible from what is happening around her. The epithet “quiet” emphasizes that even the wings try not to disturb this peace. It is difficult to talk about silence if it is most often associated with deadness and eternal peace. But the silence “overheard” by the poet is different - it is the leisurely flow of life, sleep and awakening, the absence of an alarming, tense flow of everyday affairs. The techniques and figures used complement the image of this complex phenomenon called silence. I. Severyanin’s poem “Double Silence” is built on a system of interconnected, overlapping images. It is not so much individual words or phrases that are important, but the associations that they generate in the reader. It’s as if we are plunging into another world, finding ourselves in the snowy Russian outback, where we peer and listen to the silence, “double silence.” “Speaking” is the very title of the poem. What does “double silence” mean? And in general, how can you hear silence, because silence is the absence of any sounds?! But for Severyanin, this very silence consists of the “sobs of the cranberry bog,” the creaking of convoys and the “crunch of snow canvas,” i.e. in other words, the crunch of snow underfoot. Northern silence is “visible”; This is not silence and not just a combination of sounds, this is a special feeling, a special atmosphere hovering over the Arkhangelsk expanses. The speakers are the epithets later used to describe the picture presented to him: “high moon” - this is because the moon in the north seems distant, located high, high in the sky; “high frosts” means severe frosts; “the sobs of the cranberry bog” - this phrase tells a lot. Firstly, that in summer cranberries grow in the swamps in the Arkhangelsk outback, that the bog makes strange sounds, similar to sobs, evoking melancholy. “Silent white wings” - this is probably said about the angels looking from the ancient Arkhangelsk icons. From all this comes the “double silence”, “Arkhangelsk silence”, the Arkhangelsk, incomparable spirit. The poem is written at such a pace, using such techniques for constructing phrases and sentences, that the reader gets a feeling of the unhurried passage of time and peace. Short, complete sentences give definition to everything the poet says. A technique is used when several lines begin with the same phrase (one word), which emphasizes the features of the described object (or phenomenon), and, in addition, gives the poem some resemblance to a simple, soulful song.” Analyze the poem based on the questions. A wonderful city will sometimes merge from the flying clouds; But as soon as the wind touches him, he will disappear without a trace; So the instantaneous creations of a poetic dream Disappear from the breath of extraneous vanity. E. Baratynsky 1. What is this poem about (define the topic), 2 b. its main idea (formulate it yourself or find it in the lines of the poem). 2 b. 2. What semantic parts can this poem be divided into? 2 b. What technique is it based on? 2 b. 3. What “extraneous vanity” is referred to in the last line? 2 b. 4. What, according to the author, brings the death of poetry? 2 b. 5. Try to define in one word what “disappears.” 1 b. 6. What means of expression help the author convey his thoughts? From 1 b. 7. Determine the poetic meter. 2 b.
