Native nature in Russian poetry XIX century
Literature lesson in 5th grade
- Show the beauty of Russian nature in poems by poets and paintings by artist V.M. Vasnetsov.
Don- Aminado - pseudonym Aminado Petrovich Shpolyansky, poet, feuilletonist, storyteller, he was born in the Kherson region. The first collection of poems, “Songs of War,” was published in 1914. Since 1920, the poet was in exile. M. Gorky called him one of the most gifted poets
Cities and years Old London smells like rum Tin, smoke and fog. But this smell can Become the only one desired.
- Camp of autumn fog,
- The domain of the nightingale,
- Quiet Princess Nesmeyana -
- My dim homeland!
- I know that more than once a dashing force
- At a remote outskirts in the forest
- She carried a shoemaker's knife
- To your imperishable beauty.
- Only you endured everything and again
- Beyond the expanse of the fields, where the rye is ripening,
- On a stump near a forest pool
- Sing Alyonushka's song...
- I would wander around the world for thirty years,
- And I would come back to you to die,
- Because in childhood this song,
- To know, my mother sang above me too!
Prokofiev Alexander Andreevich - Soviet poet, participated in Civil War 1918-20. Prokofiev's heroes are peasant fishermen, recent Red Army soldiers, ordinary guys - "pine ridges"; the landscape is associated with the poet’s native places - Ladoga region. In the 30s Prokofiev published collections of lyrical poems "Vremennik" (1934), "In Defense of Lovers" (1939).
- The stalled pond is covered in green duckweed, in which the reeds sway and make noise. And on the shore, just like in a fairy tale, Sweet Alyonushka sits. The wreath is simple, but there is nothing more beautiful, Red from carnations, white from lilies, Poplar fluff on a blue dress, It flew from poplar groves. From the shore, the grass, bursting in violently, does not want to know that the water is dead, and the wild rosemary blooms nearby, by the dead pond. But the cuckoo crows on the pine tree, And the path leads to the shore, The sun generously lays golden hoops on such water.
- Although the passerby curses the roads of my coasts, I love the village of Nikola, where I ended up primary school! It happens that a dusty boy follows the trail of a guest, I will also leave here
- Among the surprised girls, he is brave, barely out of diapers: - Well, why wander around the province? It's time to go to the capital! When he grows up in the capital, Looks at life abroad, Then he will appreciate Nikola, Where he graduated from primary school...
Victor Mikhailovich Vasnetsov was born May 15 1848 in the Russian village of Lopyal, Urzhum district, Vyatka province, in an Orthodox family priest He studied at theological school, then at the Vyatka Theological Seminary. He took drawing lessons from the gymnasium art teacher N. G. Chernyshev. With the blessing of his father, he left the seminary in his penultimate year and went to St. Petersburg to enter the Academy of Arts.
- Viktor Mikhailovich Vasnetsov wrote “Alyonushka” in 1881, being in the prime of his creative powers, he no longer needed the plot basis of the fairy tale to create a recognizable image.
- After all, at first glance, there is no indication that this yearning teenage girl is the heroine of the famous fairy tale about brother Ivanushka and sister Alyonushka. Neither an evil witch nor a little goat... But having felt the picture, small details, harmonious animated landscape, color scheme paintings, you begin to be imbued with understanding and sympathy.
- The black water of the lake, the forest approaching close, the bare feet of the tired girl - everything speaks of her suffering, the difficult life of an orphan, which became even more hopeless and difficult when trouble happened to her brother. And there is nowhere to run, and there is no one to complain to.
- This is how Vasnetsov dreamed of Alyonushka, this is how he recreated her, and it is no longer possible to imagine her in any other way, and the setting for a fairy tale can only be a sad and poignant fairy-tale Russian forest, the way a wonderful Russian artist once saw it.
- Native nature inspired both poets and artists.
- The beauty of Russian forests and fields gave birth to wonderful poems and paintings.
Native nature in Russian works poets of the 19th century century The presentation was made by the teacher of Russian language and literature of GBOU school No. 688 Makarchuk Yu.V. In poetry, autumn, winter, spring and summer have long meant something more than ordinary seasons. They acquired stable images associated with the awakening of vitality, moods of joy and fun, sadness and sadness. Nature was depicted not just as a background against which a person’s life and activity takes place, but as part of his soul... Poems about nature are a reverent story about one’s own soul. Poets see Russian nature differently, each in their own way, experiencing it. Poems about nature are a reverent story about complex feelings, helping your own soul. Poets see Russian nature in order to understand why the world is different, each in its own way, experiencing complex ones, and sees it this way. feelings, helping us understand why the world is seen However, no matter what they write about in their poems this way. Russians. However, no matter what Russian poets wrote in their poems: about the seasons, music and colors of our poets: about the seasons, about the music and colors of our fields and forests, about native and native open spaces, about the peasantry and forests, open spaces, labor, about peasant - they always thought and remembered the main thing. This is work, the main thing - they always thought about the Motherland, caring for - love and remembered the main thing. This is the Russian word and faith in the great future of the Russian, the main thing is love for the people. Motherland, respect for the Russian word and faith in the great future of the Russian people. Nature is an inexhaustible source of inspiration. In lyrical works it is animated, endowed with the experiences, properties and traits of a living being. This attitude towards nature goes back to ancient times. Man perceived the powerful forces of the elements as something living, capable of feeling, and therefore did not so much depict nature as talk with it. The idea of the unity of man and nature, which distinguishes Slavic folklore, passes into Russian classical poetry of the 18th-20th centuries. The 19th century is the golden age of Russian literature. It was then that A. Pushkin, M. Lermontov, F. Tyutchev, A. Fet, Y. Polonsky, I. Nikitin, A. Maikov, I. Surikov, and others created. It was at this time that unsurpassed masterpieces of the poetic word were written. Russian poets have always been attracted to their native nature, devoid of bright, catchy, exotic colors. You are well familiar with the poems about nature by the poets of the first half of the 19th century A. S. Pushkin and M. Yu. Lermontov, but the poems of F. I. Tyutchev, A. A. Fet and A. N. Maykov (poets of the second half of the 19th century) you are just beginning to learn. Today we will try to get better acquainted with some poems about nature, written by the poets of the “golden age” Alexander Sergeevich Pushkin, (1737 - 1799) The last flowers are more beautiful than the luxurious firstborn of the fields. They awaken sad dreams in us more vividly. So sometimes an hour of separation is more lively than a sweet date. The poem is small, but very colorful, tender and a little sad. It is known that autumn is Pushkin’s favorite time of year. And in this poem he also writes about autumn. The fact that the luxurious flowers of the hot summer have already faded, only the “last flowers” of autumn remain, and it is they who are dearer to the poet than those “luxurious” ones, because they encourage us to sad memories and dreams. So sometimes the moments of parting are “more vivid than a sweet date” . In these few lines there are epithets, comparisons, personification. M.Yu. Lermontov 1814 - 1841 Autumn The leaves in the field have turned yellow, And only the drooping spruce trees are kept in the forest, Under the overhanging rock, They don’t like it, among the flowers. , The plowman sometimes takes a break from his midday labors. The brave beast involuntarily hurries to hide somewhere. At night the moon is dim, and through the fog the field only turns silver. The poem “Autumn” is a small landscape sketch, characterized by restraint and precision of language. Before us is a recording of the moments of the passing autumn. , behind which lies the torment of emptiness and loneliness of the lyrical hero. He is interested in the interpermeability and conjugation of the world of man and nature: in everything, the thirst for unity and a sharp break in the mystery of natural harmony frightens a person: a few epithets are negatively charged (“gloomy greenery”, “overhanging rock”). Mikhail Yuryevich Lermontov never considered himself a lyricist, believing that admiration for the beauty of the surrounding world is the lot of romantic natures who have not had time to know the bitterness of disappointment. However, at the initial stage of his work, the poet periodically turned to the theme of his native nature, but at the same time his landscape lyrics were often of a social nature. An example of such a work is the poem “Autumn,” written in 1828, when young Lermontov was barely 14 years old. At this time, he was studying at a boarding school, preparing to enter the university. However, at the insistence of his grandmother, from time to time he left his studies and came to the family estate near Moscow, where he spent time reading books and walked a lot in the vicinity of the village. It was on the family estate that Lermontov was first able to appreciate the beauty of Russian nature, its grandeur and luxury. Even though autumn was never the poet’s favorite time of year, he managed to find in it an amazing charm that was in tune with his own state of mind. The first thing that caught Lermontov’s eyes outside the village was the yellowed leaves flying from the trees. But at the same time, the author notes that “in the forest, drooping spruce trees store gloomy greenery.” Dark and damp autumn attracts the poet much more than the gold of falling leaves. And this phenomenon is explained by the personal experiences of Lermontov, who is deprived of the opportunity to communicate with his father, which he very much regrets. It is during this period that an inquisitive and flexible boy turns into an impulsive, irritable and very hot-tempered young man who is disappointed in life and does not see the meaning in it. Therefore, with slight bitterness, the poet states the fact that “the plowman sometimes doesn’t like to rest from his midday labors between the flowers.” A wild animal, flashing among a thinning forest, strives to quickly find a more reliable shelter for itself, so as not to become an easy prey for a person whose home is nearby. Alienation, the isolation of man from the fundamental principles is conveyed through the image of the plowman: He doesn’t like to rest between the flowers, the Plowman sometimes... The tragic feeling of the fragility of existence is seen through blurred colors (“the month is dim”) and erased contours (“through the fog it only shines silver”), replacing in the last lines of the poem there is a clear dynamics natural life outlined at the beginning of the text. The deceptive simplicity of “Autumn” becomes a meaningful sign of a comprehensive meaning. The movements of natural life are artless and easy, emotions are clear. Ordinary, familiar events that prepare nature for winter are viewed here through a different prism, because direct experiences lyrical hero exceed the events described. It is interesting that the last line of the poem is an involuntary reference to Pushkin’s lyrics. Through the fog it only shines silver. Lermontov The moon makes its way through the wavy fogs Pushkin The doomed “only” in Lermontov is the abyss that lies between the harmony of Pushkin’s worldview and the tragedy of Lermontov’s. Pushkin's poetry is experiences caused by impressions from life, and in his successor in poetry, each experience is considered from the point of view of its excitement from the impression. The trochaic tetrameter conveys the rhythmically pulsating life of nature, which is ready to live more slowly. The clarity of the cross rhyme emphasizes the poetic sense of the beauty of nature, although frightening and dark, but at the same time simple and understandable. Everything in the poem is moving towards winter: the colors are gradually fading, the beast is hiding, and the lyrical hero also strives to catch this natural course of events, adapt to it and accept it. The minor nature of the sound of Lermontov’s “Autumn” elevates autumn into a symbol of sadness that underlies all earthly existence. Possessing innate powers of observation, Lermontov was able to notice another characteristic sign of autumn, when “the moon is dim at night” and no longer floods the neighboring fields and meadows with its milky light, but only slightly silvers them. Its radiance barely breaks through the thick fog, creating a mystical and sad picture. But it is she who is so dear and close to the heart of the young poet, who sees in the extinction of nature the natural completion of the life cycle, and humbly accepts what fate has in store for each of us. Fet Afanasy Afanasyevich (1820 - 1892) O first lily of the valley! From under the snow You ask for the sun's rays; What virginal bliss In your fragrant purity! How bright is the first ray of spring! What dreams descend in it! How captivating you are, a gift from the Flaming Spring! So the maiden sighs for the first time About what is unclear to herself, And the timid sigh is fragrant with the abundance of young life. The poem consists of two parts: in the first, a description of the lily of the valley and the spring awakening of nature, in the second, a comparison of a flower and a young girl. The first part consists of two quatrains, rich in figurative and expressive means. The epithets “sunny”, “fragrant”, “captivating”, “igniting” convey the inspiration, even the jubilation of the lyrical hero. Spring, the awakening of nature, the return of lush, bright beauty - this ignites the author’s gaze, which makes the reader feel something similar. After describing the first lily of the valley, the lyrical hero admires the spring sunbeam, the exclamations “how” and “which” raise the emotional intensity, and the culmination is the line “How captivating you are, a gift from the igniting spring! "In this sentence - and gratitude, and delight, and an echo of hope for spiritual rebirth - the "igniting" spring can ignite the human heart. In the second part, consisting of one quatrain, the author moves on to reflection, comparing the spring flower and sunbeam with the movement of a young soul. More of a flower, this is emphasized by the words “virgin” in the first part and “virgin” in the second. A gentle, pure lily of the valley emerging from under the snow, giving its aroma to the whole world, is as touching as a young girl who has just blossomed with her first beauty, not yet knowing what awaits her in life, and trusting everything. Touchingness and innocence are emphasized by the words “first”, “timid”, “young”. But the hope that is felt in the approaching warmth is always justified - nature blossoms. But the hope of the human soul can melt away without a trace... And the “excess of young life” will be wasted. This parallel contains the philosophical meaning of the work. The poem is written in iambic tetrameter, like most of Fet's other works. This size conveys the cheerfulness and inspiration of the author admiring nature. The inseparability of the surrounding world and human mood is the leitmotif of the poet’s work, and in “The First Lily of the Valley” this idea is revealed to the maximum, it even anticipates the future. Tyutchev Fyodor Ivanovich (1803 - 1875) Brilliant lyricist, poet of a romantic type. He developed a philosophical line in Russian poetry in a unique way. A singer of nature, acutely aware of the cosmos, a subtle master of poetic landscape, Tyutchev painted it as spiritual, expressing human emotions. In Tyutchev's poetry there is no impassable line between man and nature; they are almost identical. The world in Tyutchev’s eyes is full of mystery, enigma - somewhere at its core chaos is “stirring”, night is hidden under the golden cover of the day, death is visible in the abundance and triumph of life, human love is just a fatal duel that threatens death. Autumn evening There is a touching, mysterious charm in the lightness of autumn evenings: The ominous shine and variegation of trees, The languid, light rustling of crimson leaves, Misty and quiet azure Above the sad and orphaned land, And, like a premonition of descending storms, A gusty, cold wind at times, Damage, exhaustion - and on everything that gentle smile of withering, What in a rational being we call the Divine modesty of suffering. The poem “Autumn Evening” dates back to the period of the early work of F. I. Tyutchev. It was written by the poet in 1830 during one of his short visits to Russia. Created in the spirit of classical romanticism, this elegant, light poem is not just landscape lyricism. Tyutchev interprets the autumn evening in it as a phenomenon of natural life, looks for an analogy to the phenomenon of nature in the phenomena human life , and these searches give the work a deep philosophical character. “Autumn Evening” is an extended metaphor: the poet feels the “gentle smile of withering” of autumn nature, comparing it with the “divine modesty of suffering” in man as a prototype of morality. The poem is written in iambic pentameter and cross rhyme is used. A short, twelve-line poem - one complex sentence, read in one breath. The phrase “gentle smile of withering” unites all the details that create the image of fading nature. Nature in the poem is changeable and multifaceted, full of colors and sounds. The poet managed to convey the elusive charm of autumn twilight, when the evening sun changes the face of the earth, making the colors richer and brighter. The brightness of the colors (azure, crimson leaves, shine, variegated trees) is slightly muted by the epithets that create a translucent haze - foggy, light. The poem is full of epithets that create a feeling of rich painting: “touching, mysterious charm”, “ominous brilliance”, “...languid, light rustling of crimson leaves”, // Misty and quiet azure // Above the sad and orphaned earth... ”, “ intermittent , cold wind”, “the gentle smile of withering”. The “cold wind” that blows in from time to time appears before us “as a premonition of descending storms.” In general, the entire poem is an expanded metaphor: the feeling that evokes in the poet “the lightness of autumn evenings” is felt by him as a gentle smile of withering, which is compared with the “divine modesty of suffering” in a person. The alliteration technique used by F.I. Tyutchev especially strongly reflects the state of nature and the lyrical hero who empathizes with it. We hear the song of falling leaves. In the instant impression of an autumn evening, Tyutchev contained his thoughts and feelings, the entire infinity of his own life. Tyutchev compares autumn with spiritual maturity, when a person gains wisdom - the wisdom to live and appreciate every moment of life. .The color palette of the poem is unusual: the “lightness” of the evenings is combined with an “ominous shine” and “variegation of trees,” “crimson” color of leaves, “foggy” azure. Bright colors seem to be covered with a blanket of thin fog. Nature is still alive, but one can already feel the approach of winter sleep: “... and on everything // That gentle smile of withering. The poem is written in iambic pentameter, all three stanzas have a cross rhyme. The rhyme of the poem is rich: azure - storms, withering - suffering, on everything - we call. In the first stanza, you should probably read: evenings - trees. “Autumn Evening” is a true masterpiece of Russian poetry. Tyutchev's lyrics are permeated with a keen sense of tragedy, intense and passionate thought, and are marked by the depth of philosophical reflection. The artistic image of nature is concretely visible, marked with the stamp of romantic feeling. F. I. Tyutchev’s sensitivity to the Russian language and his ability to deeply and accurately convey the subtlest shades of thoughts and feelings in his poems are generally recognized. Tyutchev’s nature is humanized: like a living creature, it breathes, feels, experiences joy and sadness. Tyutchev perceives autumn as gentle suffering, a painful smile of nature. The poet does not separate the natural world from the human world. .Tyutchev depicts nature not from the outside, not as an observer and photographer. He tries to understand the soul of nature, to hear its voice. For Tyutchev, nature is the most living, intelligent creature. Trying to penetrate its secrets, he turns to human life for help. Man turns out to be a kind of instrument for comprehending nature. But nature also serves as a tool for understanding man. Apollo Nikolaevich Maikov The field is rippling with flowers... The field is rippling with flowers... Waves of light are pouring in the sky... The singing of spring larks The blue abysses are full. My gaze is drowning in the brilliance of midday... You can’t see the singers behind the light... So young hopes Tease my heart with greetings... And where their voices come from, I don’t know... But, listening to them, they look to the sky, Smiling, I draw your attention In 1857, the poet published the poem “The field ripples with flowers...”, which is a small sketch dedicated to a warm summer day. The landscape that opened up to Maikov’s gaze can hardly be called remarkable. An ordinary field, caressed by the sun's rays, would hardly be able to attract the attention of anyone else. But the poet saw something sublime and divine in this peaceful picture, admitting: “My gaze is drowning in the splendor of midday.” This feeling of boundless happiness and freedom is reinforced by the singing of larks, with which “the blue abysses are full.” The poet does not see the birds, but hears their delightful chirping, which gives the trivial summer landscape special beauty and audacity. Spring for poets has always been a special time of year, causing a surge of vitality and emotional excitement. Spring is a time of rebirth and blossoming of nature, new hopes and joy, love and happiness. Nature and man are united in their mood, and lyrical poets reveal this very subtly and convincingly. The poem by A. N. Maykov paints a picture of spring and the singing of larks. The spaciousness and freshness of spring are emphasized: The field is rippling with flowers... Waves of light are pouring in the sky... Spring larks are singing, Blue abysses are full. The lyrical hero does not see the singers, he only hears them singing, but these songs resonate in his heart with new young hopes. ... So young hopes Tease my heart with greetings ... Joy in the soul, peace, tranquility evokes the singing of larks. And where their Voices come from, I don’t know... But, listening to them, I turn my eyes to the sky, Smiling. Turning your eyes to the sky, thinking about the eternal, the immortality of the human soul and how to live life in harmony with nature and the world is one of the highest tasks of the human mind. A. N. Maikov connects changes in nature with human mood. .The author is mentally transported to the ordinary world and immediately finds a surprisingly accurate comparison to his feelings, asserting: “So young hopes console my heart with greetings...”. This phrase requires some explanation and decoding. The fact is that Apollo Maykov worked almost his entire life as a librarian at the famous Rumyantsev Museum, and young writers often turned to him for help. Not only was he personally acquainted with future celebrities, but he also watched with excitement their ascent to literary Olympus. Very few of Maykov’s friends knew that he himself wrote poetry, since the poet never sought to advertise his hobby. Meanwhile, the first collection of works by this author was awarded the Imperial Prize, thanks to which the poet was able to visit many cities in Europe. Reading the works of his young friends, Maikov did not experience envy or jealousy. On the contrary, he rejoiced at their achievements even more than his own victories, believing that a wonderful future awaited Russian literature. Therefore, the last verse of the poem can be interpreted in two ways, since such aspiring writers as Turgenev, Belinsky and Nekrasov are represented in the image of larks. The poet admits that he does not know where their voices are coming from. However, he notes: “But, listening to them, I turn my eyes to the sky, smiling.” Homework: 1. Learn one poem about nature by 19th century authors. 2. Give a written analysis of the poem according to plan
It’s not enough to look closely here,
Here you need to listen
So that there is harmony in the soul
They rushed together...
N. Rylenkov
Lesson objectives:
1. Educational:
expand students’ knowledge about F.I. Tyutchev, A.A. Fet, consolidate the ability to determine ways to create images using artistic means of expression;
2. Educational:
develop interest in poetry;
help to understand the mood and feelings of poets;
help create visual images when reading poetry;
3. Educational:
cultivate love for native land, surrounding nature, Motherland.
Lesson design
On the board is the topic of the lesson, epigraph; portraits of poets;
vocabulary work
Lesson progress:
Teacher's word
Childhood yearsFyodor Ivanovich Tyutchev
took place in Ovstug, his father’s hereditary estate in the Oryol province.
The fate of Fyodor Ivanovich was unusually difficult; a professional diplomat, he lived abroad for 21 years. The poet, by his own admission, expressed his thoughts better in French than in Russian; he wrote all his letters and articles only in French. And all his life he spoke almost exclusively in French, but he could express his most secret thoughts only in Russian verse. All his poems about nature are written this way.
Let's listen to Tyutchev's poem “Reluctantly and timidly...”.
Reluctantly and timidly
The sun looks over the fields.
Chu, it thundered behind the cloud,
The earth frowned.
Warm gusts of wind,
Distant thunder and rain sometimes...
Green fields
Greener under the storm.
Here I broke through from behind the clouds
Blue lightning jet -
The flame is white and volatile
He bordered its edges.
More often than raindrops,
Dust flies like a whirlwind from the fields,
And thunderclaps
Getting angrier and bolder.
The sun looked again
From under your brows to the fields -
And drowned in the radiance
The whole earth is in turmoil.
Vocabulary work:
Chu - a call to pay attention to some sounds.
Niva is a sown field.
Confused – in a state of agitation.
This poem describes the state of nature during a thunderstorm. The poet vividly paints a picture of its approach.
The first two stanzas depict the expectation of a thunderstorm, the second two – the thunderstorm itself, the fifth stanza depicts the peace of nature refreshed by the thunderstorm.
Epithets create color images: “greener fields / greener under a thunderstorm”, “blue lightning stream”, “white and volatile flame”.
The mood is clear from the line: “the thunderclaps are getting angrier and bolder.”
The comparison “Dust flies like a whirlwind from the fields” gives dynamism and swiftness to the action.
Nature in this poem does not live on its own. Tyutchev needs her images to reveal the inner world of a person.
No less interesting is another poem by the poet.
Leaves.
Let the pines and spruce
They hang around all winter,
In snow and blizzards
Wrapping themselves up, they sleep, -
Their skinny greens,
Like hedgehog needles
At least it never turns yellow,
But it’s never fresh.
We are an easy tribe,
We bloom and shine
And for a short time
We are visiting on the branches.
All red summer
We were in glory -
Played with rays
Bathed in dew!..
But the birds sang,
The flowers have faded
The rays have turned pale
The marshmallows are gone.
So what do we get for free?
Hanging and turning yellow?
Isn't it better to follow them?
And we can fly away!
Oh wild winds,
Hurry, hurry!
Rip us down quickly
From the annoying branches!
Rip off, run away,
We don't want to wait
Fly, fly!
We are flying with you!..
Vocabulary work:
Zephyrs - southern warm winds.
Boring - causing boredom.
This poem is written from the perspective of autumn leaves that are eager to fly away with the wind. They contrast themselves with pine needles: “Their skinny greens, / Like hedgehog needles, /
Although it never turns yellow, / But it’s never fresh.”
The leaves call themselves a “light tribe” that “stays briefly on the branches.” They rejoice that “they were in beauty all red summer, playing with the rays, bathing in the dew.” But in the fall they got bored, so autumn leaves they turn to the wild winds for help and are ready to fly away.
Conclusion:
Tyutchev portrays nature not from the outside, not as an observer. He tries to understand the soul of nature, to hear its voice. Tyutchev’s nature is a living, intelligent being, “It has a soul, It has freedom, It has love, It has language.”
Teacher's word: Let us turn to the work of another famous poet - Afanasy Afanasyevich Fet.
Performance of group II.
ChildhoodAfanasy Afanasyevich Fet spent in the Oryol province, a serf nanny looked after him, a serf servant taught him to read, in the summer he ran through the forest with the village children, caught siskins, climbed trees, and rode horseback.
From early childhood, Fet, as he himself said, was “greedy for poetry,” tried to find them everywhere, learned them by heart, and very early began to write himself.
From the age of 14 he studied first at St. Petersburg and then at Moscow universities.
He is a tireless dreamer... He was often seen with a gun, on horseback... He devoted a lot of energy to the old overgrown pond: he cleaned it, planted trees along the banks, looked after the fish... He loved to help the peasants, built a hospital, was always interested in the health of the peasants children. The poet’s estate had a real rose garden, the house was buried in flowers, it seems that he could not live without beauty.
He was interested in literature, theater, and continued to write poetry throughout his life. He was a keen observer of nature and knew how to capture what he saw.
When he had a lot of poems, he showed them to Gogol. Nikolai Vasilyevich liked the poems. He saw in Fet a “mysterious talent.”
Fet was one of the most musical poets. The great Russian composer Pyotr Ilyich Tchaikovsky created several romances based on the words of the poet.
Almost half of the poems written by Fet are dedicated to Russian nature - after all, he lived in the village for many years, deeply felt his native nature and loved it very much.
The spruce covered my path with its sleeve.
Wind. Alone in the forest
Noisy, and creepy, and sad, and fun,
I won't understand anything.
Wind. Everything around is humming and swaying,
Leaves are spinning at your feet.
Chu, you can suddenly hear it in the distance
Subtly calling horn.
Sweet is the call of the copper herald to me!
The sheets are dead to me!
It seems from afar as a poor wanderer
You greet tenderly.
Vocabulary work:
Humming (obsolete) – humming.
Horn – 1. A musical or signaling instrument in the form of a curved pipe with a flared end.
Herald - in the old days: a person who announces official news to the people.
In this poem, Fet records his impressions of a walk in autumn forest, where “it’s noisy and creepy and sad and fun.” He is unable to understand his condition: “I won’t understand anything,” he admits. And he is glad to hear the subtly calling horn, “sweet is the call of the copper herald.” That's why there are exclamation marks at the end of these lines.
This poem awakens our imagination, we feel the wind and how “everything around is humming and swaying, the leaves are spinning at our feet.”
Conclusion. Fet's poems are surrounded by radiance. Chekhov called them “captivating,” Saltykov-Shchedrin called them “the most sincere and fresh.”
“In poetry, autumn, winter, spring and summer have long meant something more than ordinary seasons. They acquired stable images associated with the awakening of vitality, moods of joy and fun, sadness and sadness.” “Nature was depicted not just as a background against which a person’s life and activity takes place, but as a part of his soul...”
Now we will talk about spring - the time of year that brings renewal to nature. What is associated with the word spring for you? You can close your eyes, pronounce this word clearly, expressively and try to catch what is heard in this word, what is seen. Write down the word spring in the left corner of the sheet, and under it those words that arise in your memory in connection with it. I suggest the first phrase: when I hear the word spring, I see..., I imagine...
Spring is... It turns out that one phenomenon can be described in different ways: an artist conveys the freshness and splendor of spring with colors, a poet uses expressive means of language, a composer conveys a person’s spring mood, his admiration for the beauty of nature with sounds. And these pictures, like a mosaic, add up to a large and bright picture of the life of nature, where you can see not just spring, but the Spring of light, the Spring of water, the Spring of the first greenery, the Spring of man!
Alexey Nikolaevich Pleshcheev The snow is already melting, streams are running, Spring is blowing through the window... The nightingales will soon whistle, And the forest will be dressed in leaves! The azure of the sky is pure, the sun has become warmer and brighter, the time of evil blizzards and storms has passed again for a long time. And my heart is beating so hard in my chest, as if it’s waiting for something, As if happiness is ahead, And winter has taken away my worries!..
The bird is happy about spring, and the baby is happy about its mother. March is with water, April is with grass, and May is with flowers. Dry March and wet May - there will be porridge and loaf. A lot of snow - a lot of bread, a lot of water - a lot of grass. The cuckoo began to crow - there was no more frost to be seen. Friendly spring - expect big water. If migrant flows in flocks - to a friendly spring. Birds build nests on sunny side– the summer will be cold, the shady summer will be warm. Long icicles – for a long spring. The snow will soon melt and the water will flow together - towards a wet summer
Creative task Spring begins from the sky. First it brightens and pure blue flows down to the gray earth. Spring begins with the cries of cheerful flocks of sparrows, which incessantly and excitedly talk about spring. Spring begins with looks that have thawed after the cold. Spring begins in the heart, where there is clear silence. Or maybe its beginning was in that first huge puddle? I don’t know, but everyone understands: It has begun, spring. O. Lebedushkina Where do you think spring begins? Continue this reasoning based on the impressions received from the poems you read and personal observations.
Fyodor Ivanovich Tyutchev Autumn comes unnoticed, insinuatingly. She still doesn’t like the cold name, and at first she is called “Indian Summer,” but the bushes have already turned yellow, yellow strands have appeared on the birch trees. And now the forest becomes bright and motley, comes golden autumn. F.I. Tyutchev does not hide his admiration for the “wonderful times” of “the original autumn.”
P. I. Tchaikovsky “The Seasons” Autumn with its beauty inspires not only poets and artists, but also musicians. The musical work expresses the spiritual mood of the composer, who hopes that there will be souls who will sensitively respond to his music. In 1876, P. I. Tchaikovsky wrote “The Seasons” - an album consisting of 12 musical pieces, one of which you will hear. We will listen to P.I. Tchaikovsky’s play “October. Autumn Song"
Native nature in the poems of Russian poets of the 19th century
Lyrics are one of three types of literature, the main content of which is the thoughts, feelings and experiences of the lyrical hero. These experiences may be caused for various reasons: unrequited love, homesickness, the joy of meeting friends, philosophical thoughts, contemplation of pictures of nature.
Images of nature are most often found in the poems of Russian poets. And these motives are always colored by love, admiration, admiration for the forces of the surrounding world.
Thus, the poem by Ya. P. Polonsky “There are two gloomy clouds on the mountains...” paints a picture of the beginning of an evening thunderstorm.
Nature is strong and powerful: lightning is bright, thunder is strong. Everything around trembles before the elements, even the rock sighs pitifully. The poet uses the technique of personification, endowing the clouds and the rock with human traits (the clouds wander, the rock groans and dies). In this way he revives nature.
Despite the depiction of a formidable element, the lyrical hero has no fear of it, but has admiration for its strength and power.
F. I. Tyutchev’s poem “Reluctantly and carried shallowly...” also describes a summer thunderstorm. And again nature is endowed with human qualities: the sun looks, the earth frowns. The earth is in front of us and we are waiting for the elements. She, like a person, worries, trembles, waits for the inevitable. The poem is very bright: everything but the circle is colored green, white, and blue. It’s as if we smell grass, dusty earth, the first drops of rain, hear distant rumbles of thunder, the howl of the wind. The poem is characterized by a fast pace and swiftness.
Here a stream of blue lightning broke through from behind a cloud -
A white and volatile flame bordered its edges.
The lyrical hero is not afraid of the elements, but admires its power, admires its strength.
No less expressive is the poem by I. S. Nikitin “The twinkling of stars is bright...”. Before us is a quiet, light night. You can distinguish all the sounds: the rustling of a horse in the gravel, the singing of a corncrake, the rustling of reeds. Sound writing with the help of the consonant “l” gives the poem melodiousness, smoothness, and viscousness.
The Sleepy Forest looks into the mirror of the bay;
In the thicket of silent darkness lies.
The sound “r”, on the contrary, allows you to hear the crackling of branches burning in a fire.
Laughter and conversation can be heard between the bushes;
It's hot with mowers. A fire has been lit.
The lyrical hero seems to be hiding and watching the night life of nature. He is careful and careful, does not want to disturb the silence of the night. It is at such moments that inspiration strikes the poet.
All poems by Russian poets about nature are unusually lyrical, melodious and beautiful. Contemplation of landscapes generates only the best feelings in the poetic soul.
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- native nature in poems of Russian poets of the 19th century
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