In 1917, A. Einstein built a model of the Universe. In this model to overcome...
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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Alexey Konstantinovich 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 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!
The hero of Tolstoy's lyrics connects the image of resurrecting nature with memories of distant youth. The work “In Bygone Days It Happened...” 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.
The hero of Tolstoy's lyrics connects the image of resurrecting nature with memories of distant youth. The work “In days gone by…” displays 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
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.
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Other works on this topic:
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A lot of this poet’s tender poems were set to music, and they became romances. This is what happened with this poem. From its content it is clear that A.K. Tolstoy was sad, but happy when he wrote these lines of memoirs.
This meeting, the date, took place in early spring, when the grass was just coming up, the streams had already melted, and it was neither hot nor sultry. When the shepherd was still quietly playing his horn, gathering his flock.
Then, in early spring, they sat together in the shade of birch trees, and his beloved, with her eyes downcast, listened with bated breath to the poet’s passionate declaration of love for her, and how beautiful the world around them was for the poet: the forest, the sun, youth, hopes, in a word— the whole world!
From the love and tenderness that gripped the author for his beloved, the poet... cried. In the last lines, he regretfully recalls his lost youth and everything that happened to him that early spring. And it doesn’t let me forget the young, fresh smell of spring birch.
(3
ratings, average: 3.33
out of 5)
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In the romance, Tchaikovsky used the techniques of dynamic swells and combining words into single uncut waves. The main theme of the romance, its “super task” is the joy of the emerging new life in the hero’s soul, caused by the spring awakening of nature. The elated excitement of his spring experiences on the “morning of years” is conveyed by the rising and falling waves of musical periods. The leitmotif of the romance “that was…” sounds on the crests of the waves. Already in the prelude of the romance, the theme of spring is heard - the theme of happiness. The wave of this theme, falling, is supported by a new, similar counter wave, rising in another voice to meet the first wave. The singer’s voice (“that was”) enters on a new crest of a wave after the spring themes, echoing and catching up with each other, fade away in the prelude of the romance. “That was” sounds here on the rise of a musical phrase, and this phrase falls along with the words “in early spring, the grass barely sprouted.” The words of this phrase do not have a caesura (pause) separating them; they sound in a single logical flow. And then this wave breaks into two small phrases: “the streams flowed, the heat did not soar and the greenery of the groves shone through.” The hero's visual impressions are replaced by auditory ones. He recalls that at this time of spring the shepherd’s horn has not yet been heard (“the shepherd’s trumpet has not yet sung loudly in the morning”). But then, before the hero’s gaze, signs of early spring appear: a curl of a thin fern, rising grass. A new surge of enthusiastic emotions is born in his soul. Already with the words “there was a thin fern,” the rise of a new musical wave begins to rise to the words “that was.”
Everything surrounding the hero, as if in passing, passes through his consciousness. Neither curls of ferns, nor flowing streams, nor barely growing grass, nor the shadows of blossoming birches firmly hold his attention. He is completely absorbed in his happiness. The beloved girl, in response to his confession, “lowered her lids,” that is, reciprocated his love. He cries looking at her “sweet face.” The whole environment is just a side theme to the main theme of his happy love. He contemplates the surrounding natural life through tears of happiness. There are exclamations of “Oh!” (“Oh, life, oh, forest, oh, sunshine, oh, youth, oh, hopes!”), everything sparkles and sways in the rays of light. This is an impressionistic musical painting, and everything is dominated and everything contains the words of the hero “that was...”.
