Sad birch. I came to you with greetings Fet sad birch tree at my window

You need to read the poem “Sad Birch” by Fet Afanasy Afanasievich, remembering that it belongs to the first attempts of the poet’s pen. Despite this, it is already dominated by sad intonations that will permeate almost all of Fet’s future masterpieces.

The main image of the work is the tree-symbol of Fet’s homeland – birch. The white-trunked beauty not only reflects the mood of the lyrical hero, she supports and comforts him with her presence. The author speaks with love about the birch tree; even the tree’s mourning attire brings joy to him. The entire text of Fet’s poem “Sad Birch” is devoted to a description of the tree, through which the author conveys his emotions. To express his mood, he limits himself to two words with the theme “sadness” - “sad” and “mourning”, but they are quite enough to convey the main idea to the reader.

Poems should be taught in literature lessons in the 6th grade after becoming familiar with the individual style of Fet the landscape painter. You can read the entire work online or download it from the link.

Afanasy Afanasyevich Fet

Sad birch
At my window
And the whim of frost
She's dismantled.

Like bunches of grapes
The ends of the branches are hanging,
And joyful to look at
All mourning attire.

I love the game of Lucifer
I notice on her
And I'm sorry if the birds
They will shake off the beauty of the branches.

Birch is one of the most common images of Russian landscape poetry. 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, the birch tree could act as a protector from evil spirits. According to other beliefs, mermaids and devils lived in its branches. In pre-Christian times, 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 “Sad Birch” was created in 1842. It dates back 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 tree that grows under the window of the lyrical hero, while giving it the epithet “sad.” Perhaps the choice of adjective is due to the fact that the tree is described in winter. Deprived of leaves or catkins, it seems to be dying. At the same time, the lyrical hero is impressed by the plant’s mourning outfit. He likes branches covered with snow. It seems that the arrival of spring will not be joyful for him, when the tree is reborn and throws off its white dress. Most likely, the sad birch tree 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 and sublime, which is achieved through the precise selection of vocabulary. Fet uses the obsolete word Lucifer, denoting the last “morning star,” the planet Venus. Also in the final stanza the noun “krasa” (meaning “beauty”) is used. In the first quatrain, the passive participle “disassembled” is found.

Fet's poem is often compared with Yesenin's famous work "Birch", written in 1913. Both poets depict a winter birch tree. But in Sergei Alexandrovich she appears in the image 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 it is indirectly present only at the beginning. What unites the two works? First of all, the endless love for the homeland that the poets were able to convey.

The birch tree is rightfully considered one of the main symbols of Russia. Many songs and legends have been written about her, and poems that are deeply lyrical have been written. Most often, the birch was compared, of course, with a Russian beauty. After all, her figure is white and thin, and her lush green braids, and even earrings - everything is like a village girl. Emigrant writers who found themselves far from their homeland especially missed Russian birches. For example, Teffi in her story “Nostalgia” wrote with pain: “Every woman here knows - if the grief is great and you need to lament - go into the forest, hug the birch tree and sway with it, go away with tears all along with it, with the white one, with your own, with a Russian birch tree! Therefore, the birch tree accompanied the Russian people both in sorrow and in joy. So on Trinity Sunday, one of the most famous and beloved church holidays, a young birch tree symbolized the strength of the awakening earth, so they decorated the house with its branches inside and outside, especially carefully laying out the branches behind icons and behind window frames. Before the holiday, the birch tree was “curled”, i.e. the branches were braided and twisted into a wreath, and then beads, ribbons, and scarves were hung on it. Directly on the holiday of the Trinity, round dances were held around the birch tree, 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 Trinity is celebrated in the summer, in the winter, obviously, longing for this joyful warm season begins. Perhaps this is why the 19th century Russian poet Afanasy Fet wrote a poem about the birch, but already in the title he endowed it with the epithet "sad". Naturally, in winter she no longer has earrings, green braids, and the white trunk merges with the white snow.

Why is Fet’s birch tree sad? Perhaps because "It was dismantled by the whim of the frost", that is, in essence, 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 "dismantled" usually used in relation to someone who shines with clothes. The image of a lush beauty involuntarily 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 increases because the branches of a winter birch tree remind him of bunches of grapes, and this comparison, at first glance, seems inappropriate in winter. The impression is enhanced by the oxymoron “the whole mourning outfit is joyful to look at”. How is this possible? Is mourning compatible with joy? The most surprising thing, perhaps, for the reader of the 21st century, is why white is a mourning color, since 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 attire, and it is usually white. And yet this outfit "pleasant to look at" poet.

In the last stanza the play of light of the morning dawn ( "Dennitsy") brings the birch tree to life so much 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", "pleasant to look at"(it’s clear whose point of view is meant), "I love... I notice", "I'm sorry". Such an attitude is not typical for landscape poetry, which is why, probably, such a poem cannot be considered a landscape. It is, rather, an expression of feelings and experiences, which is more typical of 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 they give the sound of the verse pomp and solemnity.

The analysis of “Sad Birch” is not the only essay on Fet’s work:

• Analysis of the poem by A.A. Feta “Whisper, timid breathing...”
• “The First Lily of the Valley”, analysis of Fet’s poem
• “Storm”, analysis of Fet’s poem

Dove Pavel

The creative work offers a comparative analysis of the poems of A. Fet and S. Yesenin.

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State budgetary educational institution

Gymnasium No. 261 of the Kirov district of St. Petersburg

Creative work

COMPARATIVE ANALYSIS OF POEMS BY A. FETA “SAD BIRCH”, S. ESENINA “BIRCH”.

subject: "Literature"

Executor:

Dove Pavel,

5B class student

Supervisor:

Elder I.N.,

teacher of literature and Russian language

Saint Petersburg

2014

I. Introduction 2

II. Comparative analysis of the poems by A. A. Fet “Sad Birch...” and S. Yesenin “Birch” 3

1. Biographies of A. A. Fet and S. A. Yesenin 3

2. Analysis of the artistic image of birch 5

2.1. Variety of visual media 5

2.2. Emotional coloring of poems 6

III. Conclusion 9

IV. Appendix 11

V. List of references 12

Introduction

Nature is an inexhaustible source of inspiration for poets and musicians, writers and artists. The landscape is often in tune with the moods and feelings of a person. These feelings, sensations, experiences are difficult, sometimes impossible, to convey, but can be expressed in poetry. Native nature is familiar to every person, but not everyone is able to discern its beauty. Poets differ from us in that they are able to see the new and extraordinary in the familiar and ordinary. Poets, observing natural phenomena, convey their attitude, mood, and state of mind. Motherland, home, childhood home, native nature - these concepts are inextricably linked.

There is a tree in Russia, the image of which is dear to the heart of every Russian person; it has long become a symbol of our Motherland, the embodiment of the purity and beauty of the Russian soul.And how many songs and poems are dedicated to this beauty. Two completely different poets turned to the image of the birch and sang in their poems: Afanasy Fet, a poet of the 19th century, and Sergei Yesenin, a poet of the 20th century.

Object of studycreative work became the texts of poems by S.A. Yesenin “Birch” and A.A. Feta “Sad Birch”.

Subject of study: linguistic means of poems by S.A. Yesenin “Birch” and A.A. Feta “Sad Birch”.

Tasks:

1. Learn to analyze a poetic text.

2. Find out what linguistic means poets use to create

artistic image and expression of one’s feelings.

3. Compare and determine what these poems have in common and what makes them

difference.

Goal of the work: through comparison, reveal the originality of the poetry of Fet and Yesenin; show that the features of stylistics and poetry reflect the spiritual world of the poet, his perception of the world.

Hypothesis: The foundations of poets’ worldview and understanding of the world are laid already in childhood.

Practical use:creative work can be used in literature lessons when studying the works of S. Yesenin and A. Fet, as well as for teaching comparative analysis of poems.

Comparative analysis of the poems by A. A. Fet "Sad Birch..." and S. Yesenin "Birch"

1. Biographies of A. A. Fet and S. A. Yesenin

Let’s compare S. Yesenin’s poem “Birch” with “Sad Birch” by A. Fet. To better understand the differences in the works of poets, let's get acquainted with their biography.

Afanasy Afanasyevich Fet (real name Shenshin) (1820-1892) was born on December 5 in the Novoselki estate, Oryol province.His father was a wealthy landowner A. Shenshin, his mother was Caroline Charlotte Föth, who came from Germany. The parents were not married. The boy was registered as the son of Shenshin, but when he was 14 years old, the legal illegality of this recording was discovered, which deprived him of the privileges given to hereditary nobles. From now on he had to bear the surname Fet; the rich heir suddenly turned into a “man without a name.” Fet took this as a shame. Regaining his lost position became an obsession that determined his entire life path. Subsequently, he achieved a hereditary noble title and regained his surname Shenshin, but his literary name - Fet - remained with him forever.

Fet's childhood was both sad and good. Until the age of 14 he was educated at home.Most of all, he was taught and educated by the surrounding nature and living impressions of life; he was educated by the entire way of peasant and rural life.The poet's house is the center of space, of nature, which is depicted in his landscape lyrics. Therefore, in his poems there are frequent references to the fact that the poet contemplates nature through the window. The poet is surrounded by a special sphere, “his own space,” and this space is for him the image of his homeland.

The boy's poetic inclinations were encouraged primarily by his uncle, an educated and well-read man, a lover of poetry and history. At the age of 14, Afanasy Fet was taken to a boarding school in the city of Verro, Livonia province, where he spent three years. Later he was sent to the private boarding school of M.P. Pogodin in Moscow to prepare for admission to Moscow University. In 1844 he graduated from the verbal department of the university's Faculty of Philosophy. Then he began to write poetry, and soon his first book, “The Lyrical Pantheon,” was published.

In the 40-60s of the 19th century, Fet’s poems were regularly published in magazines and were published four times in separate collections; they were popular and loved by many readers.

He achieved maximum perfection in conveying pictures of nature, seasons, and the most subtle personal experiences. Immersing himself in the world of forests, fields, birch groves, flowering gardens, observing nature in all the diversity of its constantly changing life, Fet sought and found in it correspondence to his spiritual world, a source of moral peace. The poet feels - as he himself admitted in his poems - a “connection” with the natural world.

In order to achieve his goal - to regain the title of nobility - in 1845 he left Moscow and entered military service in one of the provincial regiments in the south. He continued to write poetry. In 1858 he retired. He settled on an estate he bought in Mtsensk district and became a landowner. So, farming the land and continuing to write poetry, Fet lived until he was 72 years old. During this time, he published many collections of poems, the last of which were published annually and were called “Evening Lights.” Afanasy Afanasyevich Fet died on December 3, 1892. Fet went down in the history of Russian poetry as a representative of the so-called “pure art.” He argued that beauty is the only goal of the artist. Nature and love were the main themes of Fet's works.

Sergei Aleksandrovich Yesenin (1895-1925) was born on September 21 (October 4), 1895 in the village of Konstantinovo, Ryazan province. Yesenin's parents were peasants.Yesenin spent his early childhood with his maternal grandparents. His grandfather adhered to strict religious rules, knew the Holy Scriptures well, and memorized many pages of the Bible and the lives of saints. Yesenin’s grandmother knew many songs, fairy tales and ditties, and, according to the poet himself, it was she who gave the “impetus” for him to write his first poems - “she told fairy tales, I didn’t like some fairy tales with bad endings, and I remade them in my own way " Yesenin loved his mother's singing. It was not only at home that the future poet heard folk songs: “When raking hay in the meadows, the mowers sing to me a song.” Therefore, his poems are similar to smooth, calm folk songs. The boy lived freely and carefree. He was not familiar with the early hardships of labor. Since childhood, the poet was surrounded by his native nature. “There was nothing remarkable in our Konstantinov. It was a quiet, clean village surrounded by gardens. Our water meadows are rich and beautiful. There is so much space around. In the distance, the forests turn blue in the haze, the air is clean and transparent,” he wrote.Here, on Ryazan soil, he saw and fell in love with all the beauty of Russian nature, which he sang in his poems.The ability to draw pictures of Russian nature is one of the strongest sides of Sergei Yesenin’s talent.

Sergei began writing poetry early, at the age of nine, but conscious creativity began at the age of 16-17.Yesenin studied at the Konstantinovsky Zemstvo School, then at the Spas-Klepikovsky School, which trains rural teachers. There his creative path began, which was strongly influenced by folk poetry, poems by Koltsov, Nekrasov and the so-called “peasant” poets (I. Nikitin, I. Surikov).The nature of central Russia, the Russian village, oral folk art, and Russian classical literature had a huge influence on the development of the young poet’s natural talent.

After graduating from school, the poet went to Moscow. There he soon began to attend the literary and musical circle named after I. Surikov. From that time on, Yesenin gradually became a famous poet who loves life with all his heart, tenderly and touchingly. All of Yesenin’s work is imbued with spiritual harmony: poems about the homeland, about love, about nature and about animals. The richness of the artist’s verbal painting helps us feel the beauty and power of nature.

So, the poets are separated by 70 years. Fet grew up on a landowner's estate. Yesenin - “peasant son”. This means that they spoke different languages ​​and looked at the world differently. Fet and Yesenin represent two traditional settings: a noble estate and a peasant hut. All this is reflected in their poems.

1. Analysis of the artistic image of a birch

1. Variety of visual media

Let us analyze the artistic image of the birch in S. Yesenin’s poems “Birch” and “Sad Birch” by A. Fet: by what means it is created, what emotional coloring it differs in, how the author’s position is expressed.

A. Fet

Sad birch

At my window

And the whim of frost
She's dismantled.

Like bunches of grapes

The ends of the branches hang, -

And joyful to look at
All mourning attire.

I love the game of Lucifer
I notice on her

And I'm sorry if the birds
They will shake off the beauty of the branches.

1842

S. Yesenin
Birch

To create a certain mood, both poets use a variety of figurative and expressive means: comparison, metaphor, epithets, personification.

Yesenin's poem is more figurative, it contains more personifications and epithets. It's more colorful. The colors are called: white, silver, gold. The mention of dawn brings to mind the color scarlet. The epithets in Fet's poem do not draw, but convey sensations. It has a more complex construction of sentences - inversion. Yesenin mainly uses simpler sentences.Fet strives for an archaic poetic style (branches, morning star ), Yesenin’s words are commonly used, simple, natural (branches, dawn). The words “branches”, “daystar”, characteristic of the style of the 19th century and the style of Fet himself, give the sound of the verse pompousness and solemnity.

2.2. Emotional coloring of poems

Let's consider what mood is permeated with each poem?

For Fet, this is a mood of sadness and joy (change of mood).

Sad birch

Mourning outfit

It's a pity

Joyful to look at.

For Yesenin it is calm and tranquility, fascination with the winter landscape.

Sleepy silence

Lazily walking around.

Both poets begin the poem with an adjective that modifies the noun birch. Yesenin uses “white” as a color epithet. For Fet, “sad” is an epithet for subjective assessment.It is very important that it is with these epithets that the revelation of the artistic image of the winter birch begins, because each word of the poet carries a certain semantic load.

In ancient times, the color white was identified with the divine. In ancient monuments, the adjective white denoted participation in God: white angel, white vestments, white robes of saints. The image of a white birch evokes a feeling of joy, shining light, purity, and the beginning of a new life. She appears before us light, graceful, blinding with whiteness.

The personifying epithet “sad” simultaneously conveys the mood of the birch. The poet calls her snowy attire: “mourning outfit” (this name supports the emotional tone of the image, set by the epithet “sad”).The most surprising thing, probably for the modern reader, is why white is a mourning color, since 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 attire, and it is usually white. And yet this outfit is “joyful to the eye” of the poet.

Fet's birch is simply a beautiful tree.Yesenin creates a living image of a birch tree, much like a woman. Fet's birch was stripped away by the whim of the frost, and the Yesenin birch itself was covered with snow, as if it had dressed up. The ends of the Feto birch branches hang like bunches of grapes. She is motionless - the poem conveys only the movement of light (“the play of the morning star”) and the birds that are about to “shake off the beauty of the branches.” Probably it is precisely because of the frost-bound nature that the beautiful birch tree is sad. And at Yeseninskaya, on the fluffy branches, white fringed brushes blossomed like a snowy border (a comparison from village life: the birch tree seemed to cover itself with a scarf, like a girl). This poem was written by Yesenin in 1913, when he was only eighteen years old. At this time, Yesenin lived in Moscow, his native village of Konstantinovo was far behind. And maybe, when he draws a birch tree, he sadly remembers his native village.

Yesenin's birch is a flirtatious beauty, light and graceful. Fet is sad, she is not happy with her winter outfit.

1. Expression of the author's position

In which poem is the lyrical hero more active, is his presence more noticeable?

Fet admires the beauty of the winter landscape: “And the whole mourning outfit is joyful to look at”; “I love the play of the morning star, I notice it on it,” and it’s a pity if the “beauty of the branches” - the snow - falls off the tree. It turns out that the mood of the birch (“sad”) and the author’s emotions (joy, admiration, regret if the “mourning outfit” flies around) do not coincide and are in dynamic interaction. This poem talks more about the author's feelings and less about the birch itself.

Yesenin does not directly name his feelings. But he describes the birch tree and its branches in great detail, and we understand that he admires and admires the birch tree and everything that is visible from the window.The birch is depicted in unity with the entire world around it, in close interaction with it, and this is expressed precisely figuratively. Does Yesenin talk about the beauty of this world? He literally never speaks directly. But the entire figurative structure of the poem presents the birch tree and the world around it as beautiful, and the author, clearly admiring it, draws this winter beauty. His feelings are in complete harmony with the image that caused these feelings. In fact, he seeks to convey a quiet admiration for the beauty of winter nature in his little poem, which is outwardly very similar to Fet’s poem and at the same time completely different.

Conclusion

In a comparative analysis of the poems “Sad Birch” by A. Fet and “Birch” by S. Yesenin, we identified their similarities and differences.

What do these poems have in common?

1) Artistic image of a birch tree.

2) Topic. Both birches are beautiful, winter has decorated and dressed them up, the light of dawn glitters on the snowflakes.

3) The scene of the action is under the window.

How are these works different?

1) Unique linguistic means.

2) Different emotional coloring of the poems.

The same winter tree can be seen in different ways. Two birches - Fetovskaya and Yeseninskaya - are both similar and dissimilar at the same time. This is also because one was seen from the window of a noble estate, the other from the window of a peasant hut. Our hypothesis is confirmed that the foundations of poets’ worldview are laid in childhood. The poets' poems reflect their inner world, the peculiarities of their worldview, and their entire life experience. Hence the difference in the views of their poetic embodiment.

Fetovskaya birch looks like a sophisticated beauty, an aristocrat. The beauty did not dress herself, she was “decorated by the whim of the frost.” She stands somehow lifeless, quietly, calmly. This is how noble ladies behaved with restraint.

And Yesenin? It's bright, cheerful,young beauty. Like a true Russian beauty, she herself “covered herself with snow, like silver.” She looks more like a bride in a wedding dress (“white fringe”, “snow border” of the dress).

Each poet paints nature as he loves most or as he observes at the moment.

Yesenin’s poem “Birch” is a little sad, very beautiful and touching description of the landscape that the lyrical hero of the work admires from his window. And despite the fact that this poem is a landscape , we still see the lyrical hero himself. Yesenin with great skill conveyed a feeling of admiration for his native nature, personal involvement in the entire world around him.

Afanasy Fet in the poem “Sad Birch” depicts a birch tree, which he sees every day from the window of his room, and this winter landscape serves for the poet as the embodiment of the beauty and winter life of the nature of his native land. The state of the frost-bound birch tree perfectly corresponds to the sad feelings and experiences of the poet.Maybe this is due to worries about the lost nobility. That is why he is afraid that the birds will disturb the cold beauty of the birch and interrupt that invisible spiritual connection that has arisen between the frozen tree and the author. 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”, “I love... I notice”, “I feel sorry for me”. Such an attitude is not typical for landscape lyrics, therefore, probably, such a poem cannot be considered a landscape. It is, rather, an expression of feelings, experiences, which is more typical of an elegy .

These poems belong not only to different eras, but also to different types of attitudes. In Fet's poem, the relationship between man and nature is more important for the poet, and in Yesenin's poem it is the pleasure from the beauty of the world seen by the poet.

Application

Dictionary of literary terms used in the work

Archaism – an obsolete word that has been replaced by a synonym in modern speech.

Inversion - changing the usual order of words in a sentence to give them a special meaning. Inversion gives the phrase special expressiveness.

Metaphor – hidden figurative comparison, transferring the properties of one object or phenomenon to another based on common characteristics.

Personification –a type of metaphor, transferring the properties of an animate object to an inanimate one.

Comparison – comparison of two objects or phenomena in order to explain one of them with the help of the other.

Epithet – a figurative definition of an object or phenomenon, giving an additional artistic characteristic, expressed mainly by an adjective.

List of used literature

Lotman L. M. A. A. Fet / History of Russian literature. In 4 volumes. - Volume 3. - L.: Science, 1980.

Korovina V.Ya. Literature 5th grade. Textbook for general education institutions. Part 1/ V.Ya. Korovina, V.P. Zhuravlev, V.I. Korovin. – M.: Education, 2007. – 318 p.

Korovina V.Ya. Literature 5th grade. Textbook for general education institutions. Part 2/ V.Ya. Korovina, V.P. Zhuravlev, V.I. Korovin. – M.: Education, 2007. – 303 p.

Russian poetry of the mid-19th century: Collection / Comp., compilation. text, preface, note. N.V. Bannikova. - M.: Moscow worker, 1985. - 391 p.

An elegy is a poem that contains the poet’s thoughts and feelings, most often sad and sad.

Sad birch
At my window
And the whim of frost
She's dismantled.

Like bunches of grapes
The ends of the branches are hanging,
And joyful to look at
All mourning attire.

I love the game of Lucifer
I notice on her
And I'm sorry if the birds
They will shake off the beauty of the branches.

Analysis of the poem “Sad Birch” by Fet

Afanasy Afanasyevich Fet is a famous Russian poet. The poet is unique in his simplicity in addressing the theme of nature, as well as in the form of words that he uses to most clearly convey the meaning. In the poem “Sad Birch,” the poet turns his gaze to the birch, which is winter, and therefore sad, but beautiful and amazing.

Fet in the poem uses various means of artistic expression that help bring the reader closer to the state of the birch.
At the center of the poem is the lyrical hero, who is also the author, he observes nature and its changes. The author is also attracted to the sad birch tree, it is so beautiful in its appearance: the mourning outfit is joyful to look at, but at the same time, it seems as if he wants spring to come and the birch tree to be transformed.

In the poem, the author uses an epithet such as: sad birch. With the help of this epithet, the work describes the author’s own state of mind. The poet endows her with the intangible beauty of a person, and he is sorry to even think that the birds will shake off the beauty of the branches. A simple syllable in addressing nature helped Afanasy Afanasyevich Fet convey the beauty of winter that he himself sees. But at the same time, to convey all the trepidation and sadness, through the noun “beauty” and through the passive participle “disassembled”, the author carefully selected each word to create a complete image.

In the final lines of the poem, the author begins to reflect: “I love the game of the Lucifer,” and the Lucifer is the last morning star, this appeal adds a certain sadness and sentimentality. The author is trying to say that in any of its states and seasons, nature is beautiful in its own way, you just need to be able to see it. The lyrical hero is immersed in the same state as the birch; he experiences everything that she feels along with her. The poem is written in iambic trimeter, which is often used in describing natural themes, because it is as smooth and rolling as nature itself.

In his work, Afanasy Fet, describing nature, conveys his inner state: emotions, feelings, experiences. With the help of this style of writing, the author helps the reader get closer to the state of nature and his inner experiences. This poem is from the author’s early work, such a simple landscape sketch of three quatrains actually immerses you in the deep world of feelings and emotions.