That was early spring. Alexey Konstantinovich Tolstoy. “It was early spring... Analysis of Tolstoy’s poem “That Was in Early Spring...”

It was early spring
The grass was barely growing
The streams flowed, the heat did not soar,
And the greenery of the groves showed through;

Shepherd's trumpet in the morning
I haven’t sung loudly yet,
And in curls still in the forest
There was a thin fern.

It was early spring
It was in the shade of the birches,
When you smile in front of me
You lowered your eyes.

That's in response to my love
You dropped your eyelids -
O life! oh forest! oh sunshine!
O youth! oh hopes!

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

That was on the morning of our years -
Oh happiness! oh tears!
O forest! oh life! oh sunshine!
O fresh spirit of birch!

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You are now reading the poem That Was in Early Spring, by the poet Alexey Konstantinovich Tolstoy

“That was in early spring...” Alexei Tolstoy

It was early spring
The grass was barely growing
The streams flowed, the heat did not soar,
And the greenery of the groves showed through;

Shepherd's trumpet in the morning
I haven’t sung loudly yet,
And in curls still in the forest
There was a thin fern.

It was early spring
It was in the shade of the birches,
When you smile in front of me
You lowered your eyes.

That's in response to my love
You lowered your eyelids -
O life! oh forest! oh sunshine!
O youth! oh hopes!

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

That was on the morning of our years -
Oh happiness! oh tears!
O forest! oh life! oh sunshine!
O fresh spirit of 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. The work “” reflects the state of mind that is generated by the sensations of the first warmth of spring. The 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 “past 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. The opening determines the time coordinates of the lyrical situation - early spring. A clearly expressed theme evokes a complex of natural images: young grass, the first greenery of trees, deep streams. What stands out from the general series is the original image of the unfolding leaves of a fern, metaphorically likened to curls. 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 theme - 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 a love scene.

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

The traditional, seemingly uncomplicated dating scene informs the reader about the details of the psychological portrait of the young couple. A declaration of love has just been made, and on the stage there is he, inspired, with tears of happiness in his eyes, and she, embarrassed, but greeting 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 and selfless tenderness are complemented by light sadness and regret about the past spring of life.

Alexey Konstantinovich Tolstoy