Fet whisper timid breath. “Whisper, timid breathing…” A. Fet. Features in creating images
A. A. Fet is a poet who has admired the beauty of nature all his life. He wrote down his enthusiastic attitude in poems. But often in his works the theme of nature and love were woven together, because Afanasy Afanasyevich believed that a person should live in harmony with nature. The reader sees such a connection in the poem "Whisper, timid breath", an analysis of which is presented below.
Title fixes
The analysis of the poem "Whisper, timid breath" should begin with the fact that during the publication this work was somewhat modified. There are various spellings of the title. This is due to a change in the rules in spelling. And some adjustments were made by I. S. Turgenev, who published the poem in a magazine in 1850.
The writer changed some lines, believing that the poem would sound more harmonious. Turgenev often corrected Fet's poems in such a way that they did not always benefit them. Because the poet had his own, special style.
Some believe that this work, like many others, Fet dedicated to his beloved Maria Lazich. This love ended tragically, but Afanasy Afanasyevich continued to remember her. This poem is one of the best creations of the poet, in which the beauty of nature is intertwined with human feelings, which gave the work a special charm.
Composition features
The analysis of the poem "Whisper, timid breath" should be continued with compositional features. Despite the apparent simplicity and the absence of any plot, the reader does not perceive it as a listing of words, because this work has a holistic composition, with its inherent beginning, culmination and ending.
The verse consists of three stanzas, and each refers to a specific element of the composition. At the very beginning, the poet describes the sleepy nature, which begins its awakening with nightingale trills. Also behind the first line you can guess the images of lovers who came on a date.
In the next stanza, there is a denouement - there is a change of night in the morning. But they replace each other in a matter of moments. And the poet depicts this play of light and shadow on the sweet hero's face. And in the last stanza, the intensity of passions reaches its peak, just like the beauty of nature - the dawn appears, a new day begins. With a more detailed analysis of the poem "Whisper, timid breath", you can see that it contains a story about two lovers observing the beauty of nature together.
Motif of love
In the analysis of the poem "Whisper, timid breath" by Fet, it should be noted that, in parallel with the description of the change of night and morning, the development of a love line also occurs. Although the work does not mention any lovers, the reader, by subtle hints, understands that we are talking about them.
These are two lovers who rarely meet, and for them every date is exciting. The very first line in the work speaks of this. The hero treats his dear with tenderness and warmth. These feelings are reflected in a line that mentions the play of light and shadow on a pretty face.
In the last stanza, the lovers are already bolder, their passion flares up more and more. Just like the dawn is getting brighter. And tears are caused by separation, because with the onset of morning they have to part. So in his poem, the poet very subtly and delicately touches on an intimate topic, which in the 19th century was a bold decision.
Comparison of two topics
In the analysis of Fet's poem "Whisper, Timid Breath", it is important to note that the lyrical motive in the work develops due to the constant comparison of two themes. These are the themes of landscape and love lyrics. Each of these lines develops in parallel, which makes the work richer, more expressive.
Throughout the poem, development occurs in the direction from smaller to larger. If at the very beginning there was shyness, embarrassment between the characters, and nature was still asleep, then there is a gradual increase in the intensity of emotions. And at the same time, the hero's perception of nature is expanding. His gaze covers more and more, as if with intensification of feelings, he understands the natural beauty more subtle and deeper. This emphasizes the poet's opinion that a person should live in harmony with the outside world.
Poetic meter and method of rhyming
AT brief analysis poem "Whisper, timid breath" one of the points is the size of the poem and the way it rhymes. This work is written in four-foot trochaic. It consists of three stanzas, each with four lines. The way of rhyming is cross.
Features in creating images
In a brief analysis of Fet's poem "Whisper, Timid Breath" it is worth noting how, with the help of colors, the poet managed to give his creation even more expressiveness and lyricism. Here, as in the case of the plot, the reader sees a gradual gradation. At the very beginning, a calm, muted shade was chosen - silver.
In the second stanza, the poet continues to adhere to this scale, and the outline of the images themselves is still rather blurry and unclear. But already there is a mixture of different shades (the play of light and shadow is described). In the final lines, the reader already notices the brightness of colors (purple, amber), which correspond to a beautiful phenomenon - dawn. Thus, the color scheme complements the lyricism of the picture described in the poem.
Literary tropes and means of expression
An important point in the linguistic analysis of Fet's poem "Whisper, timid breathing" is its wordlessness. So the poet focuses only on sensations, and actions remain behind the scenes. And this wordlessness gives the poem a special smooth rhythm, unhurriedness.
The epithets chosen by the poet very accurately reflect the emotional state of the characters. And the use of personification in the description of the surrounding world emphasizes the idea of the unity of man and nature. Metaphors give the poem more lightness, weightlessness, make the line between two lovers thinner.
Many poems by Afanasy Afanasyevich formed the basis of romances due to their special musicality. And in this poem, the poet resorted to the melody of words: alliteration and assonance gave the lines melodiousness, smoothness. And the conciseness of phrases gives the work a touch of personal spiritual conversation.
Criticism of the poem
Not all of Fet's contemporaries were able to appreciate his creation. Many criticized the narrowness of his thinking, the absence of any action in the poem. At that time, society was already talking about revolutionary ideas, about the need for reforms, so contemporaries did not like the theme chosen by the poet for his work. They talked about the fact that his creation is absolutely unprincipled, and his main theme is already mundane and uninteresting.
Also, for some critics, the poem was not expressive enough. Not everyone was able to appreciate the purity and lyricism of the description of the poet's experiences. Indeed, for that time, Fet, who boldly wrote a poem in such a laconic form, touching on quite intimate details, seemed to defy society. But there were those who were able to appreciate the beauty and purity of this creation.
An analysis of the poem "Whisper, timid breath" according to the plan shows the reader how original the style of A. A. Fet is. This work is one of his best creations, in which the poet touched on his personal intimate experiences, describing all this, using all the beauty and richness of the Russian language.
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 with the free use of vocabulary and caused outrage by the unwillingness to listen to the elementary laws of grammar.
The 50s can be called his "finest hour", since it was they that 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. AT this case it was even assumed that Fet's poem would not lose if it was printed in the reverse order - from the end ... 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 one can rarely 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 kind of 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.
Interpenetration and internal development human and natural plans The color symphony in the poem fully corresponds: from muted, “diluted” colors (“silver ... of a stream”, “night light, night shadows ...”) - to bright, sharply contrasting tones in the finale (“In smoky clouds, the purple of a rose, Amber reflection ... "). 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. In parallel, in the direction of expression, the poet’s feeling, mood, the very nature of his perception of man and nature develops (“And kisses, and tears, And dawn, 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 in this moment, movement is potentially enclosed, 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, the nouns listed in the poem give the impression of continuous development, change, 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).
“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 considered himself to be literary direction, 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.
Predawn twilight not only transforms the world, but they are also the cause of the “magical changes in a sweet face”, on which, after a few moments, the rays of the morning sun will play. 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.
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The poetry of the classics of Russian literature has always served as an opportunity to look into the most hidden corners of one's own soul. For some reason, it was forgotten or relegated to the background that the poet, being a living person, often expressed his own thoughts, experiences, anxieties in poems, and, perhaps, wanted to try to capture a fleeting period of happiness.
It is in the context of this important and interesting aspect that one of the most unique poems in Russian literature called "Whisper, timid breathing ...", written by Afanasy Afanasyevich Fet.
A whisper, a 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!..
Brief information about the identity and biography of the author
The fate of Fet can be called truly difficult and even tragic. Future famous poet, lyricist, translator, author of memoirs, was born in Russia, although he could have been born in Germany - his mother, Charlotte-Elizabeth Becker, ran away from her husband from her historical homeland at the 7th month of pregnancy. As a result, she married the nobleman Shenshin; the boy received both his surname and the title of nobility. However, later it turned out that Athanasius has no legal ties either with Shenshin's estate or with his privileges, and, not being his biological son, cannot claim either one or the other.As a result, Athanasius, now bearing the surname assigned to him at birth - Fet - was deprived of Russian citizenship, position, and inheritance. The idea of \u200b\u200bfix was for him to return the lost title, but he was able to carry out his plans only in 1873 - then Fet was already 53 years old!
Studying was easy for Fet: he graduated from a private German school in Estonia, the city of Verro, and then entered the university, where he published his first collection of poems, which was called the Lyric Pantheon.
From 1845 to 1858 Fet devoted himself military service, since he believed that she was a prerequisite for the return of the title of nobility. As a result, by 1853 Fet was sent to the guards regiment, located near St. Petersburg, the then capital. This gave Afanasy Afanasyevich the opportunity to meet such famous personalities as Turgenev, Goncharov, Nekrasov, as well as the editors of the leading magazine Sovremennik.
During his military career, Fet had to taste the fruit of a tragic, unsuccessful, but strong love, the memory of which he kept until the end of his days and carried through all his work. The poet wanted to marry an educated girl named Maria Lazich, who came from a poor but good family. However, what then could Fet give her? He was poor - this served as an obstacle to betrothal. And after a while the girl died in a fire under extremely strange circumstances; some talked about suicide. Her last words were addressed to Fet. For the poet, the death of a beloved woman was a real tragedy.
Subsequently, at the age of 37, A.A. Fet married Maria Botkina. They never had children, but they family life can be called truly happy: the spouses lived in perfect harmony, having prosperity and weight in society.
The history of the creation of the poem
The poem "Whisper, timid breathing ...", tacitly recognized as one of the most romantic works of all Russian poetry, was created by the author in 1850 during a stormy love for the already mentioned Maria Lazich. It belongs to the early period of the poet's work and marks the beginning of a real innovation in literature.The fact is that Fet, who is a representative of “pure” poetry, never raised socio-political or socially important issues in his works. The only thing he recognized and for which he was ready to create was beauty, art, love. On the altar of singing the beautiful, he was ready to put anything; the main thing for him invariably remained the desire to reflect the smallest shades human feelings and emotions.
Here, in this poem, the poet specifically refused to use verbs, since playing with the form for maximum emancipation and disclosure of content is what was generally characteristic of Fet. The action, which, it would seem, should be the engine of the plot, is rejected by Afanasy Afanasievich and forgotten. At the same time, this did not prevent him from creating a hymn to nature and love, which descendants remember and know by heart today. In fact, the syntactic construction of a poem is one compound sentence, which, in turn, consists only of nominal proposals. Did any of Fet's predecessors create something similar? No, I didn't.
Analysis of the poem and the main idea
“Whisper, timid breathing ...” is a poem consisting of only 12 lines, in which the author, nevertheless, managed to convey the whole world and not even one.
Divided into 3 quatrains, each stanza represents a certain side of the experience of the lyrical hero: in the first, the reader and main character, not mentioned, but silently present (from his face we see everything around), hears only sounds (“whisper”, “breathing”, “trills”, “swaying”); in the second, visual images are mixed in with them (“shadows”, changes in the “sweet face”); finally, in the third, culminating stanza, the end of the meeting is approaching, along with which the sensual moods of the hero and his beloved grow to the limit (“kissing”, “tears”).
In this poem, the author connected the world of “volatile moods” of a person with the world of nature, and which of them prevails remains unclear - one merges, harmoniously intertwines with the other, now coming to the fore, then stepping back. The game is based on parallelism: Fet rapidly but subtly moves from the night landscape to depicting the most important positions and moments in the relationship between two loving hearts.
In front of the reader, despite the absence of verbal forms, the whole night rushes by: the shadows and the “light of the night” are replaced by the rising dawn. As a result, the poem leaves a joyful, bright feeling, giving vigor and freshness, like dew appearing on blades of grass during the early morning.
The final exclamations "And the dawn, the dawn! .." mark the triumph of a great feeling, united with eternity. The dawn will come to earth every morning, and every morning lovers will meet her with tears in their eyes, either from the happiness of spending time together, or because of the bitterness of the imminent parting that brings with it the beginning of a new day. One thing is obvious - as long as nature and the night that favors them exist, their feeling will not subside, and no one will be able to separate them.
Features of the verse: poetics and tropes
In this poem, Afanasy Afanasyevich actively turned to sound writing and color painting. The first can be observed in the phrases “trills of a nightingale”, “sleeping of a sleepy stream”, “whisper”, “timid breathing”; the second in the lines "in smoky clouds", "purple of a rose", "reflection of amber", "light of the night", "shadows without end". It is precisely the sounds and delicate colors that replace each other, as if iridescent, and delicate colors determine the dynamism of the poem, show the movement and change of the entire surrounding space, unfold the real gradation of the hero’s feelings in front of the reader, and make the work colorful, vivid and memorable.
The author uses both metaphorization, personifications, as well as epithets (“sleepy”, “sweet”, “timid”, “magical”) and repetitions (“light of the night, night shadows, shadows without end”). The latter technique helps to balance the changes in the surrounding world that occur during the poem: despite the fact that all states actively flow into one another, these transformations are, as it were, simultaneously static, they are endless and swing open into universal eternity. This is a particularly significant moment for creating the image of a lyrical hero, for whom it is important that the time of a night meeting never stops, and that a feeling of deep love always lives.
The last duplicated words ("And the dawn, the dawn! ..") are an interesting syntactic construction. So, the exclamation mark, obviously, serves to give maximum uplift and solemnity, which should complete the chanting of nature and love between a man and a woman. However, the exclamation is also supplemented by an ellipsis, which, as it were, indicates that nothing is over yet, and this story, of course, will continue. The very repetition of words also marks the dawn of love, that is, the purest, brightest, joyful and unrestrained stage of relationships, and the dawn of the morning - a wonderful time of the day when all living things wake up, throwing off the shackles of sleep. The idea of awakening and rebirth connecting both worlds (spiritual and natural) is thus visible to the naked eye.
Features of rhythm, rhyme, size
The poem "Whisper, timid breathing ..." is written in 4-foot trochee in 1-3 lines and in 3-foot trochee in 2-4 lines. Cross rhyme in lines 1 and 3 is feminine (the emphasis falls on the penultimate syllables in rhyming words), in lines 2-4 it is masculine (the emphasis falls on the last syllables).A large number of deaf consonants leads to a slowing down of speech, its malleability, melodiousness, smoothness. A similar effect is also achieved by the fact that the author does not use dots or final punctuation marks at the end of the first two stanzas, as a result of which they and the last, third, quatrain are read as if in one breath, continuing each other and building one common, long and complete associative array.
Conclusion
The poem "Whisper, timid breathing", created by A.A. Fet, it was no coincidence that it was involved in the creation of numerous musical works by such composers as N.A. Rimsky-Korsakov (in 1897), M.A. Balakirev (in 1904), N.K. Medtner (in 1912). In 2005, the music for it was written by Alexander Matyukhin, who also performed the romance. This is not surprising, because this poem by Afanasy Afanasyevich really inspires, awakens the desire to create, live and love!“Whisper, timid breathing” is the famous poem of the poet, which caused a lot of responses, and, one might say, became calling card A.A. Feta. Speaking about the history of the creation of this miniature, we should recall the youthful love of non-commissioned officer Athanasius, Maria Lazich. Despite mutual feelings, the engagement could not take place due to the financial difficulties of the young people, so Fet left to continue his service, and Maria died tragically shortly after separation. Later, Afanasy Afanasyevich got rich, got married, but did not forget Lazich in his poems until old age. "Whisper, timid breath ..." he also dedicated to her.
Starting the analysis of the poem “Whisper, timid breathing ...”, one should point out the main feature of this poem - the lack of verbosity, which was also pointed out by L.N. Tolstoy. Despite this, we observe dynamics and gradation in the change in the paintings depicted: first, we have a languid evening with a constrained “whisper”, “timid breathing”, after nightfall, the beloved becomes braver and lyrical hero observes "A Series of Magical Changes // Dear Face", and already before dawn it's time for "kisses" and "tears" because of the upcoming parting. In addition, each “event” that occurred during a date has its own parallel, reflected in nature: whispering and breathing correspond to the “trill of a nightingale” and “swaying of a stream”; changes in facial expressions and expressions of the girl’s “sweet face” correspond to “shadows” changing with the light; a passion that has reached its peak is released like a dawn, described with the help of a skillful metaphor: a purple rose piercing the darkness.
The poem clearly traces the idea of merging with the environment, as well as an indication of the subtle relationship between the inner experiences of lovers and natural phenomena.
Features of "Whisper, timid breath ..." are also manifested in the beauty and power of expressiveness of the language of the poem. We observe here wonderfully chosen epithets: “timid” breathing suggests that these meetings are infrequent, secret and exciting for both, the “sleepy” stream, “night” light and shadows subtly indicate the late time of the day, and the “magic” changes in the face reflect the change moods. Comparisons of the sparkle of water with silver, and the dawn with the purple of a rose and amber gracefully draw the necessary colors in the imagination. The poet also uses the melody of words: assonance (repeating "o", "a") and alliteration ("p", "l") make the lines melodious, drawn out, smooth:
A whisper, a timid breath.
trill nightingale,
Silver and flutter
sleepy creek
The different lengths of the lines create the rhythm of intermittent intimate conversation.
It is easy to see that the poem "Whisper, timid breath ..." is rich not only in artistic means (parallelisms, metaphors, epithets, comparisons, sound writing (assonance, alliteration)), but also contains the idea of the unity of man with nature, which the author expresses in more than one of his poem, educating in people attention and sensitivity to the world around us.
