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The poem “Still fragrant spring bliss...” was written in 1854 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 in it there is the main idea a 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 picture conveys one elusive moment, using the author's artistic means creating 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, like an antithesis, begins with the conjunction “but” and is expressive means transfer of the author's idea, subordinate to a common goal. Creating an intensely emotional picture of nature, conveying a subtle, almost elusive feeling lyrical hero, his joy, trembling newness 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. And not in nature yet significant changes: 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 large number verbs, three of which, in addition, are in 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 difficult experiences human soul. Feta lyricists were not interested in public and political problems modernity, for which he was condemned and ridiculed by revolutionary democratic literary figures as a representative of “pure art”. 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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The poem “Still fragrant bliss of spring...” was written by the famous Russian poet Afanasy Afanasyevich Fet in 1854. A few months after its creation, it was first published in the Sovremennik magazine, along with a number of other poems by the poet. At the time of writing the work, the name of A. A. Fet was already widely known, the poet became close to the literary circle of the Sovremennik magazine, which included such recognized masters of words as I. Turgenev and N. Nekrasov. Despite Fet's friendship with other poets, their influence on his poetry was minimal: A. A. Fet was an innovator in the field of verse and followed his own unique style.
The poems of A. A. Fet are considered the pinnacle of Russian landscape lyrics, to that literary direction also belongs to the work “Another fragrant bliss of spring...”. When creating the poem, the poet turned to one of his favorite lyrical genres: elegies. Creative works This style is distinguished by a slight sadness that permeates the author’s lines. The melancholy, thoughtful mood of the poem creates a feeling of observing the world around us. In the last lines of the work, the lyrical hero’s spiritual uplift occurs; his inspiration is noticeable due to the appearance of the first signals of the coming spring.
The elegy “Still fragrant spring bliss...” is dedicated to nature theme, like most of the works of A. A. Fet. In the poet's work, love for landscapes is closely intertwined with love for his native land, but at the same time there are no motives of civil lyricism in the poem. The central place is occupied by the worldview of the lyrical hero, observing nature filled with spirituality.
The work consists of three stanzas, each of which consists of five lines. The first two stanzas logically unite each other and are built into a single composition. In them the poet describes the winter landscape with its signs: "The ravines are full of snow", “only at noon the sun warms”. The third stanza was created using the technique of opposition; notes of spring nature appear in it: "passing cranes", "news of rebirth".
Plot the poem is a sequence picturesque paintings, which replace each other. The author seems to be painting two landscapes: on the first of them there is still snow, and the sun begins to warm only at noon. The lyrical hero observes winter, in which there is still no hint of spring metamorphosis; but he anticipates them, this is indicated by the constantly repeated word “more.” Fet understands that winter will not last forever, and spring is about to come. The second landscape, painted by the author, also depicts winter, but the man is "beauty of the steppes"- is already experiencing the feeling of the arrival of spring, which is in the air along with the passing cranes. In a short sketch, the poet manages to show the relationship between man and nature, a synthesis of feelings that is familiar to everyone who has observed changes in the world around them.
The lines of the poem are written in tetrameter and pentameter iambic.
The poem “Even more fragrant spring bliss...” is distinguished by a variety of paths, which create a uniquely beautiful landscape of awakening nature. Among them are such means artistic expression as numerous epithets ("beauty of the steppes", "frozen path", "fragrant spring"), metaphor ("rebirth is a living message"), antithesis(third stanza against the backdrop of the first two), personifications (“the sun is warming”, “the linden tree is turning red”, “the birch tree is turning yellow”), syntactic parallelism using lexical repetition ( "more"). The last stylistic figure is actively used by the author in order to emphasize the mood of anticipation of changes in nature. The onset of spring cannot happen suddenly; all changes are gradual, smooth, and the poet talks about them as if moment by moment. At the same time, the transience of the moment is also noted, this is manifested in the rapid change in the nature of the poem in the final stanza.
Afanasy Afanasyevich Fet is a genius of landscape poetry. His extraordinarily beautiful and thoughtful poem “Still fragrant spring bliss...” is filled with an amazing love for nature, which has so many faces.
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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 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
/ / / Analysis of Fet’s poem “Still fragrant spring bliss...”Thanks to his unique talent, Afanasy Fet could convey in poems the smallest details that most of us do not even pay attention to. The poet in his lyrics could endlessly depict the beauty of the surrounding nature. He speaks not only about things that are familiar to us, about the change of seasons. The author's talent allowed him to observe the subtle, fleeting changes that are happening behind the scenes in the world. The poetic work “Still fragrant bliss of spring...” is a clear confirmation of this. It would seem that the streets and roads are still covered with snow. There are no swollen buds or young leaves on the trees. However, the aroma of coming spring is in the air. It has not yet taken full possession of the surrounding territories. But the person feels that its approach is already very close. The reader is presented with a picture of a late, delayed winter. We also hear nightingale songs that come from the currant bush. Warm Sun rays They warm the earth only at the peak of the solstice - at noon. In addition, a feature of Afanasy Fet’s landscape lyrics is his talent for describing those natural phenomena that not only characterize changes around, but directly relate to changes in the lands of Russia. The author pays a lot of attention in rhyming lines to this natural phenomenon like dawn - sunrise. It is during this period that you can catch the brightest, purest colors that shine in all directions. Fet considers this phenomenon mysterious and unusually gentle. The day begins at dawn, just as the rebirth of the earth begins in spring.
Composition
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 this is the main thing the thought of a 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, the 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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