勃留索夫作为俄国象征派领袖，诗学风格历经从象征主义到现实主义的嬗变。本文以其两首同名诗作《春天》为对象，结合丘特切夫、勃洛克、阿赫玛托娃等人的春主题诗作进行对照，从核心意象、诗歌结构与创作理念三方面探析其演变轨迹。1896年《春天》作于早期象征主义阶段，以白玫瑰、鸽子等朦胧意象构建抒情闭环，秉持“纯艺术”与自我中心主义，聚焦个体隐秘痛苦与理想幻灭，本质是逃避现实。1920年《春天》则在十月革命后转向现实主义，以黑土地、白桦、矢车菊等本土意象将自然生机与革命新生绑定，拥抱现实，歌颂劳动神圣与民族复苏，践行“首先与人民在一起，然后才是诗人”的理念。两诗一避世一入世，一聚焦个体一关切民族的对比，既是诗人创作转型的写照，也是理解俄国白银时代文学向革命文学演进的重要文本。

Bryusov, as a leader of the Russian Symbolist movement, underwent a poetic evolution from Symbolism to Realism. This paper takes his two poems of the same title, “Spring,” as its objects of analysis and compares them with spring-themed poems by Tyutchev, Blok, Akhmatova, and others, exploring the trajectory of this evolution through three aspects: core imagery, poetic structure, and creative principles. The 1896 “Spring,” written during his early Symbolist phase, employs hazy images such as the white rose and doves to construct a lyrical closure, adhering to “pure art” and egocentrism while focusing on private, concealed anguish and idealistic disillusionment—essentially an escape from reality. The 1920 “Spring,” by contrast, turns toward Realism after the October Revolution. It uses native images—the black earth, birch trees, and cornflowers—to bind the vitality of nature to revolutionary renewal, embracing reality, celebrating the sanctity of labor and national revival, and practicing the creed “first with the people, then a poet.” The contrast between these two poems—one withdrawing from the world and the other engaging with it, one focusing on the individual and the other on the nation—is both a reflection of the poet’s creative transformation and an important text for understanding the evolution from Symbolism to revolutionary literature during Russia’s Silver Age.