And to thick it was in early spring. “That was in early spring…” And

“That was in early spring…” Alexei Tolstoy

That was in early spring
The grass barely sprouted
The streams flowed, the heat did not soar,
And the green of the groves shone through;

Shepherd's trumpet in the morning
Haven't sung yet
And in curls still in the forest
There was a thin fern.

That was in early spring
In the shade of birches it was
When with a smile in front of me
You lowered your eyes.

That is in response to my love
You lowered your eyelids -
O life! oh forest! Oh the light of the sun!
O youth! oh hope!

And I cried in front of you
Looking at your face, dear, -
It was in early spring
It was in the shade of birches!

That was in the morning of our years -
Oh happiness! oh tears!
O forest! oh life! Oh the light of the sun!
O fresh spirit of the birch!

Analysis of Tolstoy's poem "That was in early spring ..."

The hero of Tolstoy's lyrics connects the image of resurrecting nature with memories of distant youth. In the work "" the state of mind is displayed, which gives rise to the sensations of the first spring warmth. Joyful excitement and cheerful dreams of youth, supported by pictures of the awakening of the living world, are replaced by sadness caused by thoughts of "former happiness".

A retrospective look at the events of youth is also presented in the poem of 1871: the depicted artistic space is separated from the position of the lyrical subject in the present.

The first quatrains, which set the meditative tone of the text, are dedicated to a landscape sketch. Zachin determines the temporal coordinates of the lyrical situation - early spring. A clearly expressed theme evokes a complex of natural images: young grass, the first greenery of trees, full-flowing streams. The original image of unfolding fern leaves, metaphorically likened to curls, stands out from the general row. Landscape dominants are also concentrated here, the structure of which is based on negation: the spring sun does not bring heat, and there are no loud sounds of a shepherd's horn.

In the third quatrain there is a smooth change of subject - from landscape to love. The effect of naturalness is provided by the first couplet containing a refrain and a line about the "shadow of birches". Describing the details of the natural world, the poet simultaneously points to spatial landmarks that serve as expressive decorations for the love scene.

In the second part of the text, the emotional intensity intensifies: the upbeat author's intonations increase to enthusiastic, expressed by a series of rhetorical exclamations. The episode is full of reminiscences from the heritage of Goethe, who turned to a similar stylistic device, depicting the spring delight of a soul in love.

The traditional, at first glance, uncomplicated dating scene informs the reader about the details of the psychological portrait of a young couple. A declaration of love has just been made, and he is on stage, inspired, with tears of happiness in his eyes, and she, embarrassed, but who met sincere words with a joyful smile.

Assessing the events of the past, the lyrical subject resorts to the formula “the morning of our years”, accompanying the metaphor with the already mentioned complex of exclamations. Admiration, selfless tenderness is complemented by bright sadness and regret about the past spring of life.

That was in early spring
The grass barely sprouted
The streams flowed, the heat did not soar,
And the green of the groves shone through;

Shepherd's trumpet in the morning
Haven't sung yet
And in curls still in the forest
There was a thin fern.

That was in early spring
In the shade of birches it was
When with a smile in front of me
You lowered your eyes.

That is in response to my love
You lowered your eyelids -
O life! oh forest! Oh the light of the sun!
O youth! oh hope!

And I cried in front of you
Looking at your face, dear, -
It was in early spring
It was in the shade of birches!

That was in the morning of our years -
Oh happiness! oh tears!
O forest! oh life! Oh the light of the sun!
O fresh spirit of the birch!

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You are now reading the verse That was in early spring, the poet Alexei Konstantinovich Tolstoy

Alexey Konstantinovich Tolstoy

That was in early spring
The grass barely sprouted
The streams flowed, the heat did not soar,
And the green of the groves shone through;

Shepherd's trumpet in the morning
Haven't sung yet
And in curls still in the forest
There was a thin fern.

That was in early spring
In the shade of birches it was
When with a smile in front of me
You lowered your eyes.

That is in response to my love
You lowered your eyelids -
O life! oh forest! Oh the light of the sun!
O youth! oh hope!

And I cried in front of you
Looking at your face, dear, -
It was in early spring
It was in the shade of birches!

That was in the morning of our years -
Oh happiness! oh tears!
O forest! oh life! Oh the light of the sun!
O fresh spirit of the birch!

The hero of Tolstoy's lyrics connects the image of resurrecting nature with memories of distant youth. In the work “In the past days it happened ...” the state of the soul is displayed, which gives rise to the sensations of the first spring warmth. Joyful excitement and cheerful dreams of youth, supported by pictures of the awakening of the living world, are replaced by sadness caused by thoughts of "former happiness".

A retrospective look at the events of youth is also presented in the poem of 1871: the depicted artistic space is separated from the position of the lyrical subject in the present.

The first quatrains, which set the meditative tone of the text, are dedicated to a landscape sketch. Zachin determines the temporal coordinates of the lyrical situation - early spring. A clearly expressed theme evokes a complex of natural images: young grass, the first greenery of trees, full-flowing streams. The original image of unfolding fern leaves, metaphorically likened to curls, stands out from the general row. Landscape dominants are also concentrated here, the structure of which is based on negation: the spring sun does not bring heat, and there are no loud sounds of a shepherd's horn.

In the third quatrain there is a smooth change of subject - from landscape to love. The effect of naturalness is provided by the first couplet containing a refrain and a line about the "shadow of birches". Describing the details of the natural world, the poet simultaneously points to spatial landmarks that serve as expressive decorations for the love scene.

In the second part of the text, the emotional intensity intensifies: the upbeat author's intonations increase to enthusiastic, expressed by a series of rhetorical exclamations. The episode is full of reminiscences from the heritage of Goethe, who turned to a similar stylistic device, depicting the spring delight of a soul in love.

The traditional, at first glance, uncomplicated dating scene informs the reader about the details of the psychological portrait of a young couple. A declaration of love has just been made, and he is on stage, inspired, with tears of happiness in his eyes, and she, embarrassed, but who met sincere words with a joyful smile.

Assessing the events of the past, the lyrical subject resorts to the formula “the morning of our years”, accompanying the metaphor with the already mentioned complex of exclamations. Admiration, selfless tenderness is complemented by bright sadness and regret about the past spring of life.