Work by Zabolotsky: spring in the forest. Integrated Reading Lesson

Nikolai Alekseevich Zabolotsky

Every day I'm on the slope
I'm lost, dear friend.
Spring days laboratory
Located around.

In every little plant,
As if alive in a cone,
The sun's moisture foams
And it boils by itself.
Having examined these cones,
Like a chemist or a doctor
In long purple feathers
A rook walks along the road.
He studies carefully
Your lesson from your notebook
And big worms are nutritious
Collects for children for future use.
And in the depths of the mysterious forests,
Unsociable, like a savage,
Song of the warlike great-grandfathers
The capercaillie begins to sing.
Like an ancient idol,
Maddened by sin,
It rumbles beyond the village
And the offal sways.
And on the hummocks under the aspen trees,
Celebrating the sunrise,
With ancient lamentations
The hares lead a round dance.
Pressing paws to paws,
Like little guys
About your rabbit grievances
They speak monotonously.
And over songs, over dances
At this time, every moment
Populating the earth with fairy tales,
The face of the sun is flaming.
And probably bends down
To our ancient forests,
And involuntarily smiles
To the wonders of the forest.

The figurative structure of Zabolotsky’s works is characterized by allegorical constructions that establish connections between natural objects and scientific and technical achievements. In the text of “Autumn”, spacious groves are likened to “large rooms” or “clean houses”, dried foliage is called “matter”, and sunlight is called “mass”.

In a poem from 1935 scientific topic precedes a lyrical introduction addressed to a “dear friend” - an addressee familiar to the Russian tradition. Pictures of awakening nature do not leave the subject of speech indifferent: his passion is indicated by the personal form of the verb “to disappear.” The opening concretizes the position of the lyrical “I,” who observes the fascinating changes from the hillside.

The image of the many-sided image of nature opens with a vivid metaphor that identifies the spring forest with a laboratory. The poet develops an original trope: each plant is compared to a cone in which “solar moisture” bubbles. Scientific experiments conducted by Rook, a neat and attentive specialist. At the end of the fragment, the structure of the image of the bird undergoes a semantic shift: the rook acts not only as a meticulous scientist, but also as a caring parent.

Folklore motifs determine the ideological and figurative content of the scenes that make up the content of the rest of the text. The central place in each of the miniature fragments is given to personified images of birds and animals. The series begins with a description of the current capercaillie, which is compared to a savage and a pagan idol. Freedom-loving, warlike, passionate - this is the portrait of an inhabitant of the wilderness. His sensual song resembles a rumble, and the power of a love impulse is conveyed with the help of an expressive naturalistic detail - “the swaying of the offal.” In this example, the reader is faced with a semantic transformation of a noun, the meaning of which moves away from the general linguistic one.

The next scene is dedicated to the hare round dance. Like pagans, the animals gathered in a circle to celebrate the sunrise. Smooth movements are accompanied by ritual songs, “old lamentations.” Touching and defenseless characters remind the lyrical subject of babies, and this comparison reveals the artless, childishly enthusiastic look of the subject of speech. The description ends with the classic motif of complaints about the hare’s unfair share, which is characteristic of the Russian fairy tale tradition.

The elegant picture of “forest wonders” is completed by the image of the sun, whose flaming face reigns over space and looks favorably on its charges, who greet the warmth with sincere joy.

“Spring in the Forest” Nikolai Zabolotsky

Every day I'm on the slope
I'm lost, dear friend.
Spring days laboratory
Located around.
In every little plant,
As if alive in a cone,
The sun's moisture foams
And it boils by itself.
Having examined these cones,
Like a chemist or a doctor
In long purple feathers
A rook walks along the road.
He studies carefully
Your lesson from your notebook
And big worms are nutritious
Collects for children for future use.
And in the depths of the mysterious forests,
Unsociable, like a savage,
Song of the warlike great-grandfathers
The capercaillie begins to sing.
Like an ancient idol,
Maddened by sin,
It rumbles beyond the village
And the offal sways.
And on the hummocks under the aspen trees,
Celebrating the sunrise,
With ancient lamentations
The hares lead a round dance.
Pressing paws to paws,
Like little guys
About your rabbit grievances
They speak monotonously.
And over songs, over dances
At this time, every moment
Populating the earth with fairy tales,
The face of the sun is flaming.
And probably bends down
To our ancient forests,
And involuntarily smiles
To the wonders of the forest.

Analysis of Zabolotsky’s poem “Spring in the Forest”

In the 1935 poem, the scientific theme is preceded by a lyrical introduction addressed to a “dear friend” - an addressee familiar to the Russian tradition. Pictures of awakening nature do not leave the subject of speech indifferent: his passion is indicated by the personal form of the verb “to disappear.” The opening concretizes the position of the lyrical “I,” who observes the fascinating changes from the hillside.

The image of the many-sided image of nature opens with a vivid metaphor that identifies the spring forest with a laboratory. The poet develops an original trope: each plant is compared to a cone in which “solar moisture” bubbles. Scientific experiments are carried out by rook, a neat and attentive specialist. At the end of the fragment, the structure of the image of the bird undergoes a semantic shift: the rook acts not only as a meticulous scientist, but also as a caring parent.

The elegant picture of “forest wonders” is completed by the image of the sun, whose flaming face reigns over space and looks favorably on its charges, who greet the warmth with sincere joy.

The combination of visual precision and elements of fabulousness is revealed in Zabolotsky’s poem “Spring in the Forest” (1935).

Analysis of the poem “Spring in the Forest”

The lyrical description of the spring landscape, in the form of an address to a dear friend, an unknown addressee, begins with a comparison of the work of spring with a laboratory and each “little plant” with a “living cone”, respectively scientific ideas, and relies on an accurate visual image, the moisture itself becomes “solar”, as if absorbing the sun.

Then the laboratory becomes fabulous, a fabulous chemist, doctor, family man - a rook - appears. Then a semantic leap occurs. Instead of an attentive rook, similar to a doctor, a capercaillie appears, “unsociable, like a savage,” and is compared with an “idol”; instead of a laboratory there are mysterious forests with mythological images. These images, however, are contrasted by the “strange” prosaism inherent specifically to Zabolotsky: the wood grouse is “swaying its offal.” Prosaism that contains a metonymic detail with a somewhat shifted, defamiliarized meaning.

In the next quatrain - already inside these mysterious forests the third face of the spring landscape appears, again sharply contrasting with the previous one: “... celebrating the sunrise, / With ancient lamentations / The hares lead a round dance.”

In one spring landscape, four faces of nature are described, very different, but within the framework of a single chronotope, a single descriptive-lyrical song-conversational intonation. Each face of nature is given exactly two stanzas. In the last two stanzas there is a commentary, a conclusion, a generalization. Here there is already the intonation of a direct author’s statement and at the same time a generalizing final description, in which another, fifth face of nature appears - the face of the sun itself. And the “miracles” of real spring are emphasized.

Analysis of the poem “The Beginning of Winter” by Zabolotsky

A little earlier - in the poem “The Beginning of Winter” - the landscape is also depicted by a system of metaphors-personifications, even more saturated with both objective and psychological specificity, but much more complex. The process of freezing the river turns into the process of dying of a huge living creature, its torment, agony, described with the precision of a poet, as if a doctor and as if a landscape specialist. In a clear time sequence, but in two intertwined planes - natural and quasi-psychological.

And this sequence again includes the presence of the lyrical “I” as an observer and partly a commentator, somewhat more active than in “Spring in the Forest,” moving along with the movement of the lyrical event not only in time, but also in space.

The river as a personified being becomes a subject-psychological image-symbol of the dialectic of all life, death and the “consciousness” of nature and human empathy. In the final stanza the image of the dying river is compared with the image surrounding nature and with the movement of the person himself.

“I” appears on the stage again, the observer-narrator, with whose appearance the poem begins:

And I stood at the stone eye socket,

I caught the last light of the day on it...

But here this observer is already leaving, not coming. Like the passing away of a dying river. The contrast-parallel between leaving and coming expresses the dissymmetrical structure of the composition of the entire poem. The period of time with which the lyrical event is associated is also specified. And the appearance of some “huge attentive birds” again reveals a feeling of mystery, reticence, hidden symbolism of the dying of an animated river. Hence, for example, the wonderful image: “the passing trembling of reflection.” The image has a double force: materialization, objectification of the psychological process and, conversely, hidden parallelism of objective and psychological phenomena; the passing thrill is similar to the passing thrill of the excitement and flow of a river when it freezes.

Every day on the slope I

I'm lost, dear friend.

Spring days laboratory

Located around.

In every little plant

As if alive in a cone,

The sun's moisture foams

And it boils by itself.

Having examined these cones,

Like a chemist or a doctor

In long purple feathers

A rook walks along the road.

He studies carefully

Your lesson from your notebook

And big worms are nutritious

Collects for children for future use.

And in the depths of the mysterious forests,

Unsociable, like a savage,

Song of the warlike great-grandfathers

The capercaillie begins to sing.

Like an ancient idol,

Maddened by sin,

It rumbles beyond the village

And the offal sways.

And on the hummocks under the aspen trees,

Celebrating the sunrise,

With ancient lamentations

The hares lead a round dance.

Pressing paws to paws,

Like little guys

About your rabbit grievances

They speak monotonously.

And over songs, over dances

At this time, every moment

Populating the earth with fairy tales,

The face of the sun is flaming.

And probably bends down

To our ancient forests,

And involuntarily smiles

To the wonders of the forest.

N. A. Zabolotsky

You read N. A. Zabolotsky’s poem about spring. If you were asked to describe him in one word, which one would you choose: good? Kind? fun? warm? And let's add, crafty. Because behind the visible, almost childish simplicity and smile, the author’s quite serious and very important thoughts are hidden.

Read the first quatrain carefully. Despite the simplicity of its content, everything in it is not simple, everything has a twist: words are connected by rhyme that, perhaps, you will never see nearby in another text: slope- from the dictionary of a non-urban, village resident, and laboratory- this is from the field of science, from “scientific” vocabulary. But look how naturally they coexist in rhyme woe is me - atorium , the rhyme is also complex, compound, rich, with long consonance of vowels. And even after slope- book and even poetic appeal dear friend, and next to strict words located wife, laboratory folk poetic definition " spring days" For a reader who is at least a little attentive to language, this play with words is clearly visible and funny. But he also understands that this is not just a game, that the poet’s soft irony is akin to the feeling that we experience when talking about something important and dear, while being afraid to fall into pomp and pathos. In other words, the first quatrain tunes our perception to the desired wave, forcing us to read the entire poem with a smile, but also with double attention.

And then - more. Words different styles not only mix, but also “exchange” their properties. That's a completely unpoetic word plant(in Pushkin, for example, it is not found even once), it is rather scientific - but in Zabolotsky it is not plant, A plants- it becomes cute, small, dear thanks to the suffix. And chemical flask- Not flask, A flask, and also live; not in it liquid, Not water, A moisture- which foams And boils(they never said that about moisture!), and it’s still boiling by itself- like in a fairy tale.

And then an absolutely wonderful rook appears. He is drawn by the poet quite realistically: you can see how he walks, bowing his head to the ground, sparkling with feathers - so black and shiny that they shimmer purple. But at the same time, it looks like he’s really studying something, studying, that he knows how to distinguish worms nutritious from everyone else. He knows something. It turns out that this series: chemist - doctor - rook- built not entirely as a joke, but a little seriously.

But who is funny is the capercaillie, even though he is described in words from scary fairy tales ( wilderness of forests, ancient idol): singing his spring love songs, he completely lost his mind - he sees and hears nothing around (it’s not for nothing that they say: like a capercaillie on a lek). The author doesn’t like him very much - otherwise where would such a reduced “ jiggles the offal»?!

Cute and cute hares, similar to little guys, are very timid: their place is poor (bumps under the aspen trees), and they rejoice quietly and timidly, dancing in a round dance “with ancient lamentations” (do they have their own history?).

And at the end, the author makes us raise our eyes, look at the sky and from there, from above, see the whole spring holiday - along with the sun. For him, the poet finds in his inexhaustible reserves the most lofty and solemn words: face, flaming. The sun is the source of heat, light, life itself. It is also alive: it not only rises and leans over- it rejoices and smiling spring earthly wonders. It is alive, like everything in this poem. Alive and intelligent - and this is no longer a joke. Zabolotsky believed in the possibility of the development of intelligence in all living beings - in plants and animals; he felt the unity of man and nature. Without understanding this, you will never understand Zabolotsky’s poetry, you will not understand where his “School of Beetles” and the Horse Institute came from, you will not appreciate his metaphors in, for example, a passage:

And on the edge of nature, on the border

Living with dead, smart with stupid,

Small faces of plants are blooming,

Grass grows that looks like smoke.

Read his poems “Childhood”, “Night Garden”, “Everything that was in the soul.”, “Swan in the Zoo” and you will understand that without contact with Zabolotsky’s thoughts, his poetry, your life would not be complete.

Goals:

educational:
introduce N. Zabolotsky into the world of poetry;
analyze work of art, draw conclusions;
express your own attitude to what you read;
developing:
development of emotions, feelings, observation skills;
oral speech, creative imagination;
work on expressiveness and awareness of reading;
educational:
to cultivate an aesthetic culture, love for native nature, and a caring attitude toward it.

Lesson progress

I. Organizational moment

(Tchaikovsky’s music “April” is playing, the photo “April” is on the screen, the teacher is reading a poem). (slide 1)

Teacher:

A magnificent spring day
All the floods had subsided.
The forests are illuminated by a ray,
Life began again.
The firmament shines with azure,
The valleys are full of noise,
And a round dance emerged from the clouds,
Like canoes in the blue sea.
Rodimov

II. Updating knowledge.

– What mood do these works of art express?

– Did it coincide with your mood?

– Which one of you had the same match?

Hold up the cards and show what mood you are in?

Yellow is the color of joy. Someone is in an excited mood. Why?

What is art? (slide 2)

Art is a creative reflection, the reproduction of reality in artistic images.

– What types of art help us see the beauty of nature? ( Poetry, Painting, Music)

– Who are the creators of this art? (Poets, artists, composers)

– Many composers dedicated their works to spring?

– Which of them can you name? Tchaikovsky, Vivaldi.

– For which artist do you think spring was the favorite time of year? Prove it, name the artists and their works? (Venetsianov, Levitan, Savrasov.)

Let's see which other artists dedicated their canvases to spring? (slides 3-9)

– What kind of spring is depicted in the piece of music you listened to and in the paintings you saw?

Teacher: Pictures and piece of music filled with sun, light, warmth and joyful spring mood.

– What is it like for you?

(Children read poems of their own composition). ( Application)

Our poets imagine spring like this.

We will find out what kind of spring other poets saw by playing the game.

Game "Remember and name"

"Pours out bird cherry with snow,
Greenery in bloom and dew.
In the field, leaning towards escape,
Rooks walk in the strip.
Silk herbs will disappear,
Smells like resinous pine.
Oh, meadows and oak groves, -
I'm besotted with spring"
(S. Yesenin “The bird cherry is pouring snow”

“As if drenched in milk,
There are cherry orchards,
They make a quiet noise;
Warmed by the warm sun,
Happy people making noise
Pine forests..."
N.A. Nekrasov "Green Noise"

– What poems about spring do you know?

Teacher: In spring, nature can be very beautiful. For many poets, it has become their favorite time of year. We live with you in such a natural region where you can observe Pushkin’s autumn, Tyutchev’s spring, Yesenin’s winter, hear the sounds of Tchaikovsky’s music, watch Levitan’s paintings. This means that every day we touch the great creation of great poets, writers, artists and composers .

Today we will walk through the spring forest together with the poet and author of the work “Spring in the Forest” and, perhaps, we will discover something new for ourselves, see nature through the eyes of a poet.

– When can we talk about a poet? (getting acquainted with the lyrics, with poems)

III. Work on the topic of the lesson.

Brief introduction with biography of N.A. Zabolotsky, his portrait.(slide 10)

– What can you say about Zabolotsky, looking at the portrait? (Kind)

– What do you know about Zabolotsky?

Teacher. Nikolai Alekseevich Zabolotsky is a singer of beauty. He tried to see beauty in everything, in the most ordinary life. His poetry reveals to us the secrets of our kinship with nature.

IV. Analysis of the work.

1. Reading a poem by the teacher.

– What feelings arose in your heart while listening to the poem? (amazement, delight, astonishment, joy, sadness, admiration, tenderness)

2. Independent reading of the poem

(Textbook by L.A. Efrosinin “ Literary reading" 4th grade, p.94.)

3. Task.

– Read the poem, try to imagine the images about which we're talking about. Underline the words you don't understand.

4. Vocabulary work before the initial reading of the poem.

What words are unclear? (slope, spring, laboratory, cones, chemist, studies, lamentations, savage). (slide 11)

5. Work on content.

What vivid images (pictures) does the poet create in this poem? (rook, capercaillie, hares, sunbeam) (slides 12-15)

Read it.

– What artistic means does the author use to create these images?

What is comparison? personification? (Rook - chemist, doctor; capercaillie - savage; hares - little guys; laboratory - nature; plant - living cone; notebook - field) (The sun smiles, the rook studies)

V. Fizminutka

VI. Group work.

You have cards with words from this poem on your tables, try to combine them into 2 groups. The text of the work will help you.

Two groups of words:

laboratory, cones, chemist, doctor, notebook, lesson, studying;
mysterious, savage, lamentations, ancient, round dance, fairy tales, ancient, miracles.

Read the first group of words, the second. (slide 16)

– What image of nature is depicted at the beginning of the poem? (nature - laboratory)

Prove with words from the text.

– What kind of nature is shown in the second part? (The author tries to reveal the secrets of life, personifies the heroes, presents them in the form of intelligent living beings.) (Nature is a fairy tale.)

Prove with words from the text.

Teacher: Nikolai Zabolotsky wrote in his poem “Evening on the Oka”:

In the charm of the Russian landscape
There is genuine joy, but it
Not open to everyone and even
Not every artist can see it.

– Who do you think sees the true joy of the Russian landscape, to whom does nature reveal its secrets?

Conclusion: nature reveals its secrets only to those who know how to peer and listen the world around us who knows how to love and take care of her.

– What is the feature of the poem? (There is a certain mystery in it, there are 2 images of nature in it)

Conclusion.

Teacher: N. Zabolotsky is a poet who sees nature both as a modern laboratory, all processes in which are carried out right before our eyes, and as an old fairy tale, in which all its children are the characters.

VII. Expressive reading of a poem.

Working in pairs

Choose a passage you like and learn to read it expressively.

– What feelings of the poet need to be conveyed? (Admiration, surprise, tenderness)

Work on the score of the poem.

Place pauses, determine the tone, pace of reading, and place logical emphasis.

1-2 people

VIII. Lesson summary.

“5” – questions were answered, the poem was read expressively;
“4” - questions were answered, but the poem was not read very expressively;
“(.)” – I didn’t really like my work in class: I didn’t answer questions, I didn’t read the poem expressively.

Stand up, those who put "4" and "5" You deserve applause. Give each other a round of applause.

IX. Homework.

(slide 18) optional: can be prepared expressive reading poems, learn by heart a passage you like, one of the images or the entire poem, someone wants to depict some moment in a drawing.

Teacher: N. Zabolotsky is a poet who wrote not just one poem, but many. Let's listen to the guys read excerpts from N. Zabolotsky's poems.

The more common a simple plant ,
The more it excites me
The first leaves appear
At dawn of a spring day.

SWAN IN THE ZOO
Through the summer twilight of the park
Along the edge of artificial waters
Beauty, maiden, savage -
A tall swan is swimming.

GREEN BEAM
Golden glowing frame
On par with the blue sea,
The white-headed city slumbers,
Reflected in the depths.

Teacher. In one of his poems N.A. Zabolotsky wrote the following lines:

What is beauty
and why do people deify her?
She is a vessel in which there is emptiness,
Or a fire flickering in a vessel?..

This question haunted him throughout his life. The answer to this can be found in his poems. You can read all these and other works of Zabolotsky in these books by borrowing them from the library.