Card number 5
A. A. Fet
sad birch
By my window
And the whim of frost
She is torn apart.
Like bunches of grapes
The ends of the branches hang, -
And joyful to look at
All mourning attire.
I love the daylight game
I notice in her
And I'm sorry if the birds
Shake off the beauty of the branches.
The poem was written in 1842, more than a century and a half ago. The word is a witness dennitsa(dawn, dawn). What other expressions, words in this poem sound archaic?
The poem is filled with admiration for life. Even in the mourning attire of a winter birch, the poet's gaze finds beauty. What makes this sad birch happy?
S. Yesenin
White birch
under my window
covered with snow,
Exactly silver.
On fluffy branches
snow border
Brushes blossomed
White fringe.
And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire
A dawn, lazy
Walking around,
Sprinkles branches
New silver.
What feeling does a white birch evoke in a poet? What time of day does he describe it?
Yesenin's birch is more shy, more modest than Fet's. She is covered with snow, like silver. The double prefix in the word covered up brings poetic speech closer to folk. Yes and a word sprinkles testifies to the same. Yesenin is a man of a different environment, and this immediately affects his vocabulary. A poem is like a song. And Fet's is more of an urban romance.
What is the difference between Feta birch and Yesenin birch?
Afanasy Afanasyevich Fet
sad birch
By my window
And the whim of frost
She is torn apart.
Like bunches of grapes
The ends of the branches hang, -
And joyful to look at
All mourning attire.
I love the daylight game
I notice on her
And I'm sorry if the birds
Shake off the beauty of the branches.
"Sad birch ...", analysis of Fet's poem
Birch is rightfully considered one of the main symbols of Russia. Many songs, legends have been composed about her, poems deep in their lyricism have been written. Most often, the birch was compared, of course, with the Russian beauty. After all, her camp is white and thin, and lush green braids, and even earrings - everything, like a village girl. Emigrant writers who found themselves far from their homeland were especially homesick for Russian birch trees. For example, Teffi in her story "Nostalgia" wrote with pain: "Every woman here knows - if grief is great and you need to lament - go into the forest, hug a birch tree and swing with her, shed tears all along with her, with white, with my own, with a Russian birch!" Therefore, the birch accompanied the Russian people both in grief and in joy. So on Trinity, one of the most famous and beloved church holidays, a young birch tree symbolized the power of the awakening earth, so the house was decorated with its branches inside and out, especially carefully laying out the branches behind the icons and behind the window frames. Before the holiday, the birch was "curled", i.e. branches were woven with a pigtail and twisted into a wreath, and then beads, ribbons, scarves were hung on it. Directly on the feast of the Trinity, round dances were led around the birch, and then they "developed" it and drowned it in a pond, so that it would give all its strength to the first shoots in the fields and contribute to the well-being of people.
Since the Trinity is celebrated in summer, in winter, obviously, longing for this joyful warm season begins. Perhaps that is why the 19th-century Russian poet Afanasy Fet wrote a poem about a birch, but already in the title he endowed it with the epithet "sad". Naturally, in winter she no longer has earrings, green braids, and her white trunk merges with white snow.
Why is Fet's birch sad? Perhaps because "it is dismantled by the whim of frost," that is, in fact, it depends on external elemental forces, and the form of the passive participle emphasizes this doom in the best possible way. On the other hand, the word "disassembled" is usually used in relation to someone who shines with outfits. Involuntarily, an image of a magnificent beauty arises, just in the style of the 19th century. Therefore, in the first stanza of Fet's poem, some surprise is heard: the winter birch is sad, but at the same time elegant.
In the second stanza, the poet's joy grows, because the branches of a winter birch remind him of bunches of grapes, and this comparison, at first glance, seems out of place in winter. The impression is reinforced by the oxymoron "the whole mourning attire is joyful to look at." How is this possible? Is mourning compatible with joy? The most surprising, perhaps, for the reader of the 21st century, is why white is a mourning color, because it is more common to associate mourning with black. Perhaps, in the middle of the 19th century (and the poem was written in 1842), it was more traditional to perceive the deceased in a shroud - a funeral dress, and he, as a rule, was white. And yet this outfit is "joyful to the eye" of the poet.
In the last stanza, the play of the light of the morning dawn ("daylight") so enlivens the birch that the poet is afraid of any changes in it and does not want the birds to shake off the snow from its branches. Then she will lose the charm of the charm of sadness, and the hero will no longer experience the range of feelings that he has already experienced. It is important to note that the hero of the poem very openly expresses his feelings towards the described tree: “at my window”, “joyful to look at” (it’s clear whose look is meant), “I love ... I notice”, “sorry to me". Such an attitude is not typical for landscape lyrics, therefore, probably, such a poem cannot be considered a landscape. Rather, it is an expression of feelings, experiences, which is more typical for an elegy.
In conclusion, it remains to add that the words "branches", "dennitsa", characteristic of the style of the 19th century and the style of Fet himself, are already archaic in our time, but on the other hand they give the sound of the verse grandiloquence, solemnity.
Moliere (Jean Baptiste Poquelin) - playwright, poet, actor - created wonderful plays that still do not leave the stages of many theaters of the world, such as Tartuffe, Don Juan, Misanthrope. And one of the best, most striking of his comedies is "The Philistine in the Nobility", where the author painted a satirical image of the bourgeois. Before us is the tradesman Jourdain - the protagonist of the play, who is trying to suddenly turn from a tradesman into a nobleman. It seems to him that for this he has the main thing - money. There is money, but no elementary education, no manners, and most importantly no mind, he is hopelessly stupid. In old age, Jourdain
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AI KuprinIzumrud4-year-old stallion Izumrud is standing in a stall. Opposite - a young mare Shchegolikha, next to him - a rival, old Onegin. Emerald chews hay and thinks about the grooms, the hippodrome and remembers his childhood. In the morning, after breakfast, they take him out into the yard, wash him, harness him to a 2-wheeled American woman and cover him with a blanket, like other horses. On the run, after a promo, the Emerald, as if listening to the instructions of the English groom, comes first, overtaking the black one. But the Englishman is accused of forging a horse; The emerald is taken out and hidden in an unfamiliar stable. Early one morning, the chief in this stable gives him oats with a strange
Comparative analysis of poems by A. A. Fet "Sad birch ..." and S. Yesenin "Birch"
Both poems are textbooks, well known to schoolchildren. Comparing them within the framework of the curriculum is not included in the tasks of the language teacher, since the chronological and authorial ("nominal") principles for constructing a course in the study of literature do not provide for comparative analytical analyzes of works by different authors and different eras.
Let's try to correct this shortcoming of the school literature course in some measure.
Written in 1842 and 1913, respectively, these poems belong not only to different eras, but, as even the most cursory comparison makes clear, to different types of attitude, to different aesthetic programs.
The difference is revealed from the very first definitions. Fet's birch is "sad", Yesenin's is "white". Is it possible to say that the word "white" has a semantic correlation with the word "sad"? Pet. Black (dark, in any case) color is more "suitable" for sadness. White color is usually associated with love of life, confidence, calmness. But there is another difference. "White birch" is a stable phrase, traditional for Russia, which has a positive subtext, but at the same time not subjective-evaluative. "The sad birch" is a clearly subjective expression, associated with a certain mood of the observer. Fet sees the winter birch in this way and it is Fet who sees how important these statements are for subsequent analysis? If we proceed from the assumption (absolutely, however, justified) that a work of art is not formed from a mechanical set of random, unrelated words that, together or individually, have some indefinite effect on the nervous organization of the reader or listener, but, on the contrary, arise as a lexical-intonational system that has the property of direct transmission of artistic meaning or pointing at it, - then it will become clear: in a work of art, every detail, every substantive and every formal unit is significant and works for its entire structure and meaning.
From this point of view, the semantics of not only full-valued, but also functional words of conjunctions, prepositions, etc. is of interest.
Fetovskaya birch - at the window. The meaning of the preposition "y" is nearby, close, but it is still a designation of the distance between the observer (lyrical subject) and the object, while the Yesenin birch is under the window, and in this case the preposition eliminates the distance: its meaning here indicates the position of objects not vertically, not in discrete space (when one object is below another, as, for example, in the phrases "under the sky", "under the table", "under the ceiling" or even "under the rubble"), but in a non-discrete, unified space ( as in the phrase "at hand"). Consideration regarding the existing in Fet's poem.
The distance between the observer and the object is confirmed by the union "if" (And I'm sorry if the birds ....), which emphasizes precisely the observational position of the lyrical subject, noting changes in the observed object.
Fet's birch is just a beautiful tree. Yesenin has a living independent being in a living natural family. Birch Feta is an object not only in relation to the lyrical subject, but also among other natural phenomena. It is torn apart by the whim of frost, and the Yesenin birch itself was covered with snow. At Fetov’s birch, the ends hang like bunches of grapes (a rather curious comparison, which makes one think that the lyrical subject remembers summer), and at Yesenin’s, brushes of white fringe blossomed on fluffy branches with a snowy border (comparison from village life: a birch is like a handkerchief - covered herself, as if the girl was thinking before a date). The subjectivity in Fet's poem is obvious: "W is joyful to look at / The whole mourning outfit" ("mourning" white on black); "And I'm sorry ..."; "the beauty of the branches." But this subjectivity is evidence of the subject-object vision of the world (the lyrical subject will convey in terms of poetic speech his perception of a natural object). Yesenin has something completely different. First of all, anthropomorphism is visible in his poem - the animation of nature, the attribution of human properties to it. Yesenin's birch is an independent subject along with other subjects ("dawn, lazily walking around ..."). And we have the right to conclude that the relationship of the lyrical "I" to nature in Yesenin's poem is subject-subject.
There are two fundamentally different visions here. One can be defined as follows: the world is outside of me; I and the world exist separately, but the world does not look at me, but I look at the world; and it is my privilege to see the world as only I can see it. The concise-thesis judgment of M. M. Bakhtin approaches the other: "The thought of the world is about me, the thinker. Rather, I am an object in the subjective world." That is, I am inside the world, and therefore the world and I are inseparable and inseparable; I see the world, and sees me, and this is the privilege of the world to consider me as an object. Hence the different aesthetic approaches to depicting the world. In one case, he is free to use any associations that arise in his mind about the depicted, to express his emotional attitude to what he describes; In another case, a kind of dialogue takes place between the artist and the subjective world.Such are the ideological positions and aesthetic programs of two great (and very different) Russian poets.
To the question Comparative analysis of the poems by A. A. Fet "Sad birch ..." and S. Yesenin "Birch" given by the author Yotasechka... the best answer is Comparison A. Fet's poem "A sad birch ..."
sad birch
By my window
And the whim of frost
She is torn apart.
Like bunches of grapes
The ends of the branches hang, -
And joyful to look at
All mourning attire.
I love the daylight game
I watch her
And I'm sorry if the birds
Shake off the beauty of the branches.
1842
and a poem by S. Yesenin "Birch"
White birch
under my window
covered with snow
Exactly silver.
On fluffy branches
snow border
Brushes blossomed
White fringe.
And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire
A dawn, lazy
Walking around,
Sprinkles branches
New silver.
1913
The difference is revealed from the very first definitions. Fet has a "sad" birch, Yesenin has a "white" birch. Is it possible to say that the word "white" has a semantic correlation with the word "sad"?
Black (dark, in any case) color is more “suitable” for sadness. White color is associated, as a rule, with love of life, confidence, calmness. But there is another difference. "White birch" is a stable phrase, traditional for Russia, having a positive connotation, but at the same time not subjective and evaluative.
“Sad birch” is a clearly subjective expression, associated with a certain mindset of the observer. This is how Fet sees a winter birch, and this is how Fet sees it...
Fet's birch is just a beautiful tree. Yesenin has a living independent being in a living natural family. Birch Feta is an object not only in relation to the lyrical subject, but also among other natural phenomena. It is torn apart by the whim of frost, and the Yesenin birch itself is covered with snow. At Fetov’s birch, the ends hang like bunches of grapes (a rather curious comparison, which makes one think that the lyrical subject remembers summer), and at Yesenin’s, brushes with white fringe blossomed on fluffy branches with a snowy border (comparison from village life: the birch seemed to be covered with a scarf, as if the girl was thinking before a date). Subjectivity in Fet's poem is obvious:
And joyful to look at
The entire mourning outfit (“mourning” - white on black);
"And I'm sorry..."; "the beauty of the branches". But this subjectivity is evidence of the subject-object vision of the world (the lyrical subject conveys his perception of a natural object in terms of poetic speech). Yesenin has something completely different. First of all, anthropomorphism is visible in his poem - the animation of nature, attributing human properties to it with the help of white. Yesenin's birch is an independent subject along with other subjects (“dawn, lazily walking around ...”). And we have the right to conclude that the relationship of the lyrical "I" to nature in Yesenin's poem is subject-subjective.
There are two fundamentally different visions here. One can be defined as follows: the world is outside of me; I and the world exist separately, but the world does not look at me, but I look at the world; and it is my privilege to see the world as only I can see it. The other - I am inside the world, and therefore the world and I are inseparable and inseparable; I see the world and the world sees me; and it is the privilege of the world to treat me as an object. Hence - different aesthetic approaches to the image of the world. In one case, the artist is free to use any associations that arise in his mind about the depicted, to express his emotional attitude to what he describes; in the other case, a kind of dialogue takes place between the artist and the subjective world. Such are the ideological positions and aesthetic programs of two great Russian poets. The poem was written a year after Yesenin's departure from his native village. And that merging with what is being described is an expression of homesickness for a person deprived of balance (as biographies testify to him). Something to do with imbalance is what ordinaryness - just a snow-covered birch - the author elevates to the rank of what value: twice he bestows it with “silver”, sees it “in silver fire” (all precious metals).
Afanasy Afanasyevich Fet
sad birch
By my window
And the whim of frost
She is torn apart.
Like bunches of grapes
The ends of the branches hang, -
And joyful to look at
All mourning attire.
I love the daylight game
I notice on her
And I'm sorry if the birds
Shake off the beauty of the branches.
Birch is one of the most common images of Russian landscape lyrics. In addition, it is considered the most important symbol of our country. There are many folk beliefs associated with this tree, both positive and negative. According to some traditions, birch could act as a protector from evil spirits. According to other beliefs, mermaids and devils settled in its branches. In pre-Christian times, the symbolism associated with birch was found not only among the Slavs, but also among the Celts, Scandinavians, and Finno-Ugric peoples. In most cases, they associated the plant with the transition from spring to summer. In a broader sense, it became a symbol of death and subsequent resurrection.
The poem "The Sad Birch" was created in 1842. It refers to the early period of Fet's work. The work is a small landscape sketch, consisting of only three quatrains. The poet depicts a birch that grows under the window of the lyrical hero, while endowing it with the epithet "sad". Perhaps the choice of the adjective is due to the fact that the tree is described in winter. Deprived of leaves or earrings, it seems to die. At the same time, the mourning attire of the plant impresses the lyrical hero. He likes branches strewn with snow. It seems that the arrival of spring will not be joyful for him, when the tree will be reborn and throw off its white dress. Most likely, the sad birch is close to the lyrical hero because of his own state of mind. This gives the miniature a touch of tragedy.
The work sounds solemn, sublime, which is achieved through the exact selection of vocabulary. Fet uses the obsolete word dennitsa, denoting the last "morning star", the planet Venus. Also in the final stanza, the noun “beauty” is used (meaning “beauty”). In the first quatrain there is a passive participle "disassembled".
Fet's poem is often compared with Yesenin's famous work "Birch", written in 1913. Both poets depict a winter birch. But in Sergei Alexandrovich she appears in the form of a bride, and Afanasy Afanasyevich practically dresses her in a funeral shroud. In addition, in Fet's "Sad Birch" the position of the lyrical hero is more clearly expressed. In Yesenin, he is indirectly present only at the beginning. What unites the two works? First of all - the endless love for the motherland, which the poets were able to convey.
