Whisper timid breath size. Analysis of the poem "Whisper, timid breathing ...

The poetry of A.A. Fet reflects the world of "flying moods". It lacks political, civic motives, there are no acute social conflicts. The main themes are nature, love, art. In nature, the poet finds an echo of his feelings. He subtly feels the overflows and transitions of the states of nature. The love lyrics of A. Fet are light, calm, optimistic. Art, according to A. Fet, should not "intervene" in the affairs of the "poor world". Its purpose is to serve beauty, which is understood only by "initiates". The lyrics of A.A. Fet are very musical - many of his poems have become famous romances.

The critic Julius Aikhenvald in his article "Fet" spoke of A.A. Fet "... A poet of silence, a singer of the inaudible ... his poems move with an "air foot"; ... he has sounds, the quietest in our literature, and in general he is a whisper of Russian poetry ... his poems are covered with a thin veil, as it were ... Fet in general is a singer of the barely noticeable ... Fet is a sorcerer, a musician ... A great listener, overheard all the secrets of the world, and even "grass indistinct smell" ... In the end, there is no world ... The only reality is the soul. The soul dreams of the universe. That means where ... all this airiness of Fet comes from. "

Analysis of the poem "Whisper, timid breathing ..."

Whisper, timid breath,



trill nightingale,
Silver and flutter
sleepy stream,

Night light, night shadows,
Shadows without end
A series of magical changes sweet face,

In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!..

A. Fet's poem "Whisper, timid breathing ..." appeared in print in 1850, during a stormy romance with Maria Lazich. With this poem, the loud glory of Fet began.
The theme of the work, probably, is still nature, against which a specific plot develops: a meeting of lovers in a garden is described. In twelve lines, the author expresses a whole bunch of feelings, subtly conveys all the shades of experiences. A. Fet makes a brilliant transition from a colorful image of a picture of a night nature to a "series of magical changes in a sweet face", he does not depict a detailed development of relationships, but recreates only the most important moments of this great feeling.
The meeting begins long before dawn. The world is ruled by the owner of the spring moonlit nights, the nightingale. Gradually, everything is filled with new colors, the word "shadows" is used twice, and this enhances the impression of mystery, mystery. Further, the changes occur very rapidly: it is still night - "in the smoky clouds the purple of a rose", but already there is a "reflection of amber". The author uses metaphors that help to see the rapidly approaching dawn. In the last line - the triumph of the morning: "And dawn, dawn!", Which serves as an expression of the highest point of tension of human feelings and the most beautiful moment in the life of nature. The world of man is in merger with the world of nature!
Many epithets serve for a mysterious mood, expectation of something unknown: "timid", "sleepy", "night", "magic", "sweet", "smoky".
Syntactically, a poem is one compound sentence, consisting of nominal sentences. It is pronounced almost in one breath.
There are no verbs here, but this does not deprive the work of movement: actions are present in each stanza "whisper", "swaying", "a series of ... changes", "reflection", "kiss".
At the end of the poem there is an exclamation mark - this is the ecstasy of the lyrical hero with his feeling, delight. There is also an ellipsis, which indicates a possible continuation, the development of feelings. A.A. Fet very carefully, with hints, through natural images, initiates the reader into the great mystery of love.
The poem is life-affirming, it is full of freshness and aroma! From him breathes the morning coolness and becomes joyful in the soul!

Analysis of the poem by A.A. Fet “The night shone. The garden was full of moon"

“Whisper, timid breathing…” Afanasy Fet

A whisper, a timid breath. Trills of the nightingale, Silver and the ripple of the Sleepy stream. Light of the night, shadows of the night, Shadows without end, A series of magical changes of a sweet face, In smoky clouds the purple of a rose, A reflection of amber, And kisses, and tears, And dawn, dawn! ..

Analysis of Fet's poem "Whisper, timid breathing ..."

Afanasy Fet is rightfully considered one of the most romantic Russian poets. Although the author never identified himself with this literary movement, his works are imbued with the spirit of romanticism. The basis of Fet's work is landscape lyrics. Moreover, in some works it is organically intertwined with love. This is not surprising, since the poet was a staunch supporter of the theory of the unity of man with nature. In his opinion, a person is an integral part of him, as a son is a product of his father. Therefore, it is impossible not to love nature, and this feeling in Fet is sometimes expressed in poetry much more strongly than love for a woman.

The poem "Whisper, timid breath ...", written in 1850, is a vivid example of this. If in his earlier works Fet admired the beauty of a woman, considering her the center of the universe, then the lyrics of a mature poet are characterized, first of all, by admiration for nature - the progenitor of all life on earth. The poem begins with refined and refined lines that describe the early morning. More precisely, that short period when night is replaced by day, and this transition takes a few minutes, separating light from darkness. The first harbinger of the approaching dawn is the nightingale, whose trills are heard through the whisper and timid breath of the night, “silver and the swaying of a sleepy stream”, as well as the amazing play of shadows that create bizarre patterns, as if weaving an invisible web of predictions for the coming day.

The pre-dawn twilight not only transforms the world around it, but is also the reason for the “magical changes in a sweet face”, on which, after a few moments, the rays of the morning sun will sparkle. But before this delightful moment has come, there is time to indulge in love joys that leave tears of admiration on the face, mixing with purple and amber reflections of dawn.

A feature of the poem "Whisper, timid breathing ..." is that it does not contain a single verb. All actions remain, as it were, behind the scenes, and nouns allow you to give each phrase an unusual rhythm, measured and unhurried. At the same time, each stanza is a completed action that states what has already happened. This allows you to create the effect of presence and gives a special liveliness to the poetic picture of an early summer morning, makes the imagination work, which vividly “paints” the missing details.

Despite the fact that the poem "Whisper, timid breathing ..." is a classic of Russian literature, after its publication a flurry of negative reviews hit Afanasy Fet. The author was blamed for the fact that this work is pointless. And the fact that it lacks specifics, and readers have to guess about the coming dawn from chopped short phrases, made critics classify this work as “poetic opuses designed for a narrow circle of people.” Today it can already be said with confidence that both Leo Tolstoy and Mikhail Saltykov-Shchedrin publicly accused Fet of “narrow thinking” for only one simple reason - the poet in his poem will touch on the topic of intimate relationships, which in the 19th century was still subject to unspoken taboo. And although this is not directly mentioned in the work itself, subtle hints turn out to be much more eloquent than any words. However, this poem does not lose its romanticism and charm, refinement and grace, elegance and aristocracy, which are characteristic of the vast majority of the works of Athanasius Fet.

Analysis of the poem Whisper timid breathing according to plan

1. History of creation. The poem "Whisper, timid breath" (1850) is one of the most famous works. It most clearly manifested the main features of the poet's talent. However, after its publication, the poem was heavily criticized. Fet was accused of pointlessness and too obvious allusions to intimate relationships. In 1856, the poet seriously revised the work and published its final version.

2. Genre of the poem- a combination of landscape and love lyrics.

3. The main theme of the work- love unity against the backdrop of nature. Fet describes a transitional state, when night is replaced by dawn. The poet was convinced that there is an inextricable link between nature and man. Therefore, in the poem, "timid breathing" alternates with "trills of a nightingale", "night shadows" - with "changes in a sweet face."

Lovers seem to merge with nature. A distinctive feature of Fet's work is the absence of a lyrical hero. Only hints are given about people through "whispers", "kisses", "tears". The reader must imagine the big picture for himself. The entire work as a whole is a series of half-hints, separately presented elusive states. Short chopped lines are intended not to describe the picture, but to create in the reader a certain sense of belonging to what is happening.

4. Composition of the poem consistent. It is a miniature of three stanzas.

5. The size of the work- a multi-footed trochee with a cross rhyme.

6. Expressive means. The main distinguishing feature of the poem is the complete absence of verbs. Dynamics is achieved by a continuous alternation of nouns hinting at movement ("swaying", "changes"). No less burden lies on the epithets ("night", "magic", "smoky").

Fet uses very beautiful metaphors: "the silver of the stream", "the purple of the rose". The special smoothness and melodiousness of the work arises in the second stanza due to lexical overflow: "light of the night, night shadows, shadows without end." The poem, unhurried in rhythm, ends at the same time with a solemn exclamation and ellipsis ("dawn, dawn! .."), which emphasizes the strength and incompleteness of the bliss of lovers. The lexical repetition of the union "and" reinforces this impression.

7. The main idea of ​​the work. Fet was a staunch supporter of the theory of "pure art". The poem "Whisper, timid breath" itself testifies in defense of this theory. Describing the light, elusive states of nature and man, as well as the connection between them, the poet seeks to create the same feelings in readers. Fet's task is only to give a hint, to give an incentive. A complete picture will inevitably arise in the soul of every imaginative person.

Fet is called the master of the poetic style. He gives preference to the themes of love and nature. Among Fetov's lyrics, verses are especially distinguished, dictated by the memory of his true first and last love - Maria Lazich, with whom, in his own words, his birth as a poet is connected.

But in his love lyrics there is no individualized image of his beloved girl. And this conveys the joyful state of the first love, when a winged person feels unity with the entire universe, in the center of which is the idolized She.

Her image merges with the trills of the nightingale, reflected in the silvery surface of the water, in the very early dawn. For example, we see this in the poem “Whisper, timid breathing” ... The first time I read the poem, I was surprised that there were no verbs in it. Probably, it is this feature that gives the work the figurativeness of details that convey subjective sensations and impressions. We see the happy moments of a date: a languid expectation, followed by a sweet moment of meeting. We hear a whisper, timid breathing, which indicates that the lovers are overwhelmed with feelings, that they are excited. The moment of parting is approaching every minute, but this does not overshadow their happiness, because they are glad that they can even be together at least a little.

The night has already fully entered into its rights, it gives the surrounding nature languor, mystery, and the farther, the more everything intrigues us. The surrounding world changes, but even the slightest fluctuation in nature manifests itself magically in the state of the souls of the heroes.

Night light, night shadows,
Shadows without end
A series of magical changes
Sweet face.

In the poem, the awakening nature and the awakened soul are harmoniously merged, interpenetrating each other. For example, "silver and the ripple of a sleepy stream" echoes lines such as "a series of magical changes in a sweet face." Real chiaroscuro coexists with spiritual movements, trembling of the heart, the flow of thoughts.

But the night is not eternal, which means that the dawn must “come”. And then, when the sky begins to turn pink and shine with the rays of the morning sun, everything changes: the world around and the actions of the characters. The pace of what is happening grows and develops: first there were whispers and timid breathing, night, then kisses, tears and dawn, there were disturbing night shadows, then the light of a triumphant morning.

Fet's poems are characterized, in the words of the researcher B. Eikhenbaum, by "abundant lyrical repetitions", which give the greatest accuracy and clarity to everything that happens.

Night light, night shadows,
Shadows without end.

In order to increase the aesthetic impact on the reader, to emphasize the splendor of the language, the author uses figurative and expressive means. Tropes such as epithets ("magical changes") are used to show how beautiful nature is in this heart-rending moment - dates; metaphors (“silver of a sleepy stream”, “smoky clouds”) to show the magic, the unusualness of some life moments.

The poem uses both non-union and polyunion. At the beginning, we see that the action takes on a more dynamic, fast pace, but then suddenly everything slows down, becomes smoother.

And kisses, and tears,
And dawn, dawn!

The polyunion conveys the state of mind of the heroes who want to postpone the separation.

The poem is written in two-syllable meter, or rather in trochee, which usually gives the work a rhythmic expressiveness.

Whisper, timid breath,
Treʾli nightingale´…

Here, due to the strong lengthening of the verse, the movement acquires smoothness, melodiousness, melodiousness. The rhyme is cross, which gives the poem additional melody and expressiveness.

J: Whisper, timid breath,
M: Nightingale's trills,
F: Silver and roar
M: sleepy stream´.

I really liked the poem, but some of Fet's contemporaries criticized it from the first to the last line, believing that it smells of debauchery.

They altered it in their own way, and this is what Shchedrin remarked on this score: “If this most magnificent poem is presented to you in several versions, then it will not be very surprising that, finally, its very charm will become somewhat doubtful for you.” Personally, I believe that each person should judge everything in his own way, because I understand that one cannot base one's opinions on others, one must always decide everything on one's own.

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

Fet's poem "Whisper, timid breathing ..." appeared in print in 1850. By this time, Fet was already a well-established poet with his own special voice: with a sharply subjective coloring of lyrical experience, with the ability to fill the word with living concreteness and at the same time capture new overtones, “flickering” nuances in its meaning, with a heightened sense of the role of composition, “structure” development of feeling. Fet innovatively developed the figurative structure of the verse, its melody, surprised him with his free use of vocabulary and aroused indignation with his unwillingness to listen to the elementary laws of grammar.

The 50s can be called his “finest hour”, since it was they who brought him the greatest recognition among connoisseurs of poetry, if we correlate this time with the general background of many years of misunderstanding, hostility and indifference to him from the reading public.

The poem "Whisper, timid breathing ...", being published on the threshold of the 1850s, became stronger in the minds of contemporaries as the most "Fetov" from all points of view, as the quintessence of individual Fetov's style, giving rise to both delight and bewilderment:

In this poem, disapproval was caused primarily by "insignificance", the narrowness of the theme chosen by the author, the lack of eventfulness - a quality that seemed inherent in Fet's poetry. In close connection with this feature of the poem, its expressive side was also perceived - a simple enumeration, separated by commas, of the poet's impressions, which were too personal, insignificant in nature. Deliberately simple and at the same time to audacity non-standard form could be regarded as a challenge. And in response, sharp and well-aimed, in essence, parodies really rained down, since parody, as you know, beats the most characteristic qualities of style, concentrating in itself both its objective properties and the individual artistic preferences of the author. In this case, it was even assumed that Fet's poem would not lose if it was printed in reverse order - from the end ... On the other hand, it was impossible not to admit that the poet brilliantly achieved his goal - a colorful depiction of a picture of night nature, psychological richness, and the intensity of human feeling , sensations of the organic unity of spiritual and natural life, full of lyrical dedication. In this sense, it is worth citing the statement of Fet’s principal opponent in terms of worldview - Saltykov-Shchedrin: “Undoubtedly, in any literature it is rare to find a poem that, with its fragrant freshness, would seduce the reader to such an extent as Mr. Fet’s poem “Whisper, timid breathing” (30; 331).

The opinion of L. N. Tolstoy, who highly appreciated Fet's poetry, is interesting: “This is a masterful poem; there is not a single verb (predicate) in it. Every expression is a picture.<…>But read these verses to any peasant, he will be perplexed, not only what is their beauty, but also what is their meaning. This is a thing for a small circle of gourmets in art ”(33; 181).

Let's try to determine how Fet achieves that "every expression" becomes a "picture", how he achieves the amazing effect of the momentary nature of what is happening, the feeling of lasting time and, despite the absence of verbs, the presence of internal movement in the poem, the development of the action.

Grammatically, the poem is a single exclamatory sentence passing through all three stanzas. But our perception of it as an indivisible text unit is firmly fused with the feeling of its internally compact compositional integrity, which has a semantic beginning, development and culmination. The fractional enumeration, separated by commas, which may seem to be the main engine in the dynamics of experience, is in fact only an external structural mechanism. The main engine of the lyrical theme is in its semantic compositional development, which is based on constant comparison, correlation of two plans - private and general, intimate human and generalized natural. This transition from the image of the human world to the world around, from what is “here, nearby” to what is “there, around, far away”, and vice versa, is carried out from stanza to stanza. At the same time, the nature of the detail from the human world corresponds to the nature of the detail from the natural world.

The timid plot in the scene of a human date is accompanied by the first impressions that appear close to the scene of action, discreet details of the night world:

Whisper, timid breath,

trill nightingale,

Silver and flutter

Sleepy stream…

In the second stanza, the poet's gaze expands, capturing larger, more distant, and at the same time generalized, more indefinite details. These changes are immediately reflected in the details of the image of a person - foggy, blurry:

Night light, night shadows,

Shadows without end

A series of magical changes

Sweet face...

In the final four lines, the concreteness of the image of nature and its generalization merge, creating the impression of the vastness, voluminousness of the world (in the poet's field of vision is the sky engulfed by dawn). The state of a person in itself becomes one of the details of this world, organically enters into it, being filled with its general content:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

Personal human experience is invariably accompanied by something more, the human world is in merger with the world of nature. And the final exclamation "And the dawn, the dawn! .." serves as a closing bundle of both plans, being an expression of the highest point of tension of human feeling and the most beautiful moment in the life of nature.

Both plans are manifested respectively in the coexistence and alternation of two visual rows, in a peculiar montage of visible pictures, frames: enlarged, close, detailed pictures are replaced by distant, “blurred”, general ones. Thus, the flow of feeling here has not only a temporal extension, but, being transmitted through a change of visual images, it also acquires a spatial characteristic, a spatial structure. The poem is a "series of magical changes" both in time and space.

Fet's work is unusually picturesque, it has several small canvases on its common canvas, equal to the local viewing sector, a fragment of reality, limited by the poet's gaze. Together, these canvases are framed by a single "frame" of a given poetic mood.

The interpenetration and internal development of human and natural plans is fully consistent with the color symphony in the poem: from muted, “divorced” colors (“silver ... streams”, “light of the night, night shadows ...”) - to bright, sharply contrasting tones in the final (“In in smoky clouds the purple of a rose, A gleam of amber…”). This evolution in Fet's pictorial means actually expresses the flow of time (from night to dawn), which is not grammatically embodied in the poem. At the same time, in the direction of expression, the feeling, the mood of the poet, the very nature of his perception of man and nature develops (“And kisses, and tears, And the dawn, the dawn! ..”). It becomes obvious how wrong those contemporaries of Fet were who believed that the essence of the poem "Whisper, timid breathing ..." will not change if you rewrite it in the reverse order - from the end to the beginning. They did not see the internal patterns of development of the lyrical theme, which determine the structure of the poem and make its fundamental existence possible.

The poem is absolutely devoid of analytical moments, it captures the feelings of the poet. There is no specific portrait of the heroine, and the vague signs of her appearance, in fact, are conveyed through the impressions of the author himself and dissolve in the stream of his own feelings (this is the individual property of Fet's poetic handwriting).

In almost every noun, designed to convey the state of man and nature at the moment, movement is potentially contained, dynamics is hidden. What we have before us is, as it were, motion itself frozen, a process molded into a mould. Thanks to this quality of the nouns listed in the poem, the impression of continuous development, change is created, and the enumeration in itself contributes to escalating tension.

The first and third stanzas contain not only visual, but also sound pictures, picturesque images here also have a sound characteristic (this even applies to the lines “Silver and the swaying of the Sleepy Stream ...”). The second stanza, in contrast to them, creates the impression of absolute silence. Such a sound, or rather, auditory image of the world further enhances the "living life" of the poem, forming in it a kind of psychological space. All means in the poem are mobilized to convey the very process of "lasting" lyrical experience.

A certain stability is characteristic of the creative manner of the mature Fet; he remained faithful to most of his artistic principles until the end of his life. One of the confirmations of this conclusion is a poem written in the eighties - "This morning, this joy ...". Just like "Whisper, timid breath ...", it is a verbless enumeration and is built in the form of one sentence, pronounced in one breath and expresses the subtlest shades of a single emotion.

Fet's confession made at the end of his life is interesting (December 30
1888. Letter to Y. Polonsky), but as if sending us back,
by 1850, by the time the poem "Whisper, timid breath ..." appeared:

“He who reads only a few of my poems will be convinced that my pleasure consists in striving contrary to everyday logic and grammar only because public opinion clings to them, to which it is so sweet for me to put a hussar in the nose” (29, 450- 451).