On November 23, 1820, in the village of Novoselki, located near Mtsensk, the great Russian poet Afanasy Afanasyevich Fet was born in the family of Caroline Charlotte Fet and Afanasy Neofitovich Shenshin. His parents got married without an Orthodox ceremony abroad (the poet's mother was a Lutheran), because of which the marriage, legalized in Germany, was declared invalid in Russia.
Deprivation of the title of nobility
Later, when the wedding was performed according to the Orthodox rite, Afanasy Afanasyevich already lived under his mother's surname - Fet, being considered her illegitimate child. The boy was deprived, in addition to his father's surname, and the title of nobility, Russian citizenship and inheritance rights. For a young man for many years the most important life purpose began to regain the surname Shenshin and all the rights associated with it. It was only in his old age that he was able to achieve this by regaining his hereditary nobility.
Education
The future poet in 1838 entered the boarding school of Professor Pogodin in Moscow, and in August of the same year he was enrolled in the verbal department at Moscow University. In the family of his classmate and friend, he lived his student years. The friendship of young people contributed to the formation of their common ideals and views on art.
First attempts at pen
Afanasy Afanasyevich begins to compose poetry, and in 1840 a poetic collection entitled "Lyrical Pantheon" published at his own expense was published. In these poems, echoes of the poetic work of Yevgeny Baratynsky were clearly heard, and since 1842 Afanasy Afanasyevich has been constantly published in the journal Otechestvennye Zapiski. Already in 1843, Vissarion Grigorievich Belinsky wrote that of all the poets living in Moscow, Fet was “the most gifted,” and puts this author’s poems on a par with the works of Mikhail Yuryevich Lermontov.
The need for a military career
Fet strove for literary activity with all his heart, but the instability of the material and social situation forced the poet to change his fate. Afanasy Afanasyevich in 1845 entered as a non-commissioned officer in one of the regiments located in the Kherson province in order to be able to receive hereditary nobility (the right to which was given by a senior officer rank). Cut off from the literary environment and metropolitan life, he almost ceases to be published, also because, due to the fall in demand for poetry, magazines do not show interest in his poems.
A tragic event in Fet's personal life
In the Kherson years, a tragic event happened that predetermined the poet's personal life: his beloved, Maria Lazich, a dowry girl, whom he did not dare to marry because of his poverty, died in a fire. After Fet's refusal, a strange incident happened to her: a candle caught fire on Maria's dress, she ran into the garden, but could not cope with putting out the clothes and suffocated in the smoke. This could be suspected of a girl's attempt to commit suicide, and in Fet's poems, echoes of this tragedy will sound for a long time (for example, the poem "When you read the painful lines ...", 1887).
Admission to L Abe Guards Lancers Regiment
In 1853, a sharp turn took place in the fate of the poet: he managed to enter the guard, in the Ulansky regiment stationed near St. Petersburg. Now Afanasy Afanasyevich gets the opportunity to visit the capital, resumes his literary activity, begins to regularly publish poems in Sovremennik, Russkiy vestnik, Otechestvennye zapiski, and Library for Reading. He becomes close to Ivan Turgenev, Nikolai Nekrasov, Vasily Botkin, Alexander Druzhinin - the editors of Sovremennik. The name Fet, by that time already half-forgotten, reappears in reviews, articles, the chronicle of the magazine, and since 1854 his poems have been published. Ivan Sergeevich Turgenev became the poet's mentor and even prepared a new edition of his works in 1856.
The fate of the poet in 1856-1877
Fet was unlucky in the service: each time the rules for obtaining hereditary nobility were tightened. In 1856, he left the military career without having achieved his main goal. In Paris, in 1857, Afanasy Afanasyevich married the daughter of a wealthy merchant, Maria Petrovna Botkina, and acquired an estate in the Mtsensk district. At that time he wrote almost no poetry. Being a supporter of conservative views, Fet took a sharply negative view of the abolition of serfdom in Russia and, starting in 1862, began to regularly publish essays in the Russian Bulletin, denouncing the post-reform order from the position of a landowner-landowner. In 1867-1877 he served as a justice of the peace. In 1873, Afanasy Afanasyevich finally received hereditary nobility.
Fet's fate in the 1880s
The poet returned to literature only in the 1880s, having moved to Moscow and became rich. In 1881, his old dream was realized - he created a translation of his favorite philosopher, "The World as Will and Representation", created by him. In 1883, a translation of all the works of the poet Horace, begun by Fet in his student years, was published. The period from 1883 to 1991 includes the publication of four issues of the poetry collection "Evening Lights".
Fet's lyrics: general characteristics
The poetry of Afanasy Afanasyevich, romantic in its origins, is, as it were, a link between the work of Vasily Zhukovsky and Alexander Blok. The later poems of the poet gravitated towards the Tyutchev tradition. Fet's main lyrics are love and landscape.
In the 1950s and 1960s, during the formation of Afanasy Afanasyevich as a poet, Nekrasov and his supporters almost completely dominated the literary environment - apologists for poetry glorifying social, civic ideals. Therefore, Afanasy Afanasyevich with his work, one might say, spoke somewhat untimely. Features of Fet's lyrics did not allow him to join Nekrasov and his group. After all, according to representatives of civil poetry, poetry must necessarily be topical, performing a propaganda and ideological task.
Philosophical motives
Feta permeates all his work, reflected in both landscape and love poetry. Although Afanasy Afanasyevich was even friends with many poets of the Nekrasov circle, he argued that art should not be interested in anything other than beauty. Only in love, nature and art itself (painting, music, sculpture) did he find everlasting harmony. The philosophical lyrics of Fet sought to get as far away from reality as possible, contemplating beauty that was not involved in the vanity and bitterness of everyday life. This led to the adoption in the 1940s by Afanasy Afanasyevich of romantic philosophy, and in the 1960s - the so-called theory of pure art.
The prevailing mood in his works is intoxication with nature, beauty, art, memories, delight. These are the features of Fet's lyrics. Often the poet has the motive of flying away from the earth following the moonlight or enchanting music.
Metaphors and epithets
Everything that belongs to the category of the sublime and beautiful is endowed with wings, first of all, a love feeling and a song. Fet's lyrics often use such metaphors as "winged dream", "winged song", "winged hour", "winged word sound", "winged with delight", etc.
Epithets in his works usually describe not the object itself, but the impression lyrical hero from what you see. Therefore, they can be inexplicable logically and unexpected. For example, a violin might be labeled "melting". Fet's characteristic epithets are "dead dreams", "incense speeches", "silver dreams", "weeping herbs", "widowed azure", etc.
Often the picture is drawn with the help of visual associations. Poem "Singer" bright to that example. It shows the desire to embody the sensations created by the melody of the song into specific images and sensations, of which Fet's lyrics consist.
These verses are very unusual. So, "the distance rings", and the smile of love "meekly shines", "the voice burns" and fades in the distance, like a "dawn beyond the sea", in order to splash pearls again with a "loud tide". At that time, Russian poetry did not know such complex bold images. They established themselves much later, only with the advent of the symbolists.
Speaking about the creative manner of Fet, they also mention impressionism, which is based on the direct fixation of the impressions of reality.
Nature in the poet's work
Fet's landscape lyrics are a source of divine beauty in eternal renewal and diversity. Many critics mentioned that nature was described by this author as if from the window of a landowner's estate or from the perspective of a park, as if specifically to arouse admiration. Fet's landscape lyrics are a universal expression of the beauty of the world untouched by man.
Nature for Afanasy Afanasyevich is a part of his own "I", a background for his experiences and feelings, a source of inspiration. Fet's lyrics seem to blur the line between the outer and inner worlds. Therefore, human properties in his poems can be attributed to darkness, air, even color.
Very often, nature in Fet's lyrics is a night landscape, since it is at night, when the bustle of the day calms down, that it is easiest to enjoy the all-embracing, indestructible beauty. At this time of day, the poet does not have glimpses of the chaos that fascinated and frightened Tyutchev. Majestic harmony, hidden by day, reigns. Not the wind and darkness, but the stars and the moon come first. By the stars, Fet reads the "fiery book" of eternity (the poem "Among the Stars").
The themes of Fet's lyrics are not limited to the description of nature. A special section of his work is poetry dedicated to love.
Fet's love lyrics
Love for the poet is a whole sea of feelings: timid longing, and enjoyment of spiritual intimacy, and the apotheosis of passion, and the happiness of two souls. The poetic memory of this author knew no bounds, which allowed him to write poems dedicated to his first love even in his declining years, as if he was still under the impression of such a desired recent date.
Most often, the poet described the birth of a feeling, its most enlightened, romantic and reverent moments: the first contact of hands, long glances, the first evening walk in the garden, contemplation of the beauty of nature that gives rise to spiritual intimacy. The lyrical hero says that no less than happiness itself, he cherishes the steps to it.
Fet's landscape and love lyrics form an inseparable unity. Heightened perception of nature is often caused by love experiences. A vivid example of this is the miniature "Whisper, timid breathing ..." (1850). The fact that there are no verbs in the poem is not only an original technique, but also a whole philosophy. There is no action because in fact only one moment or a whole series of moments, motionless and self-sufficient, is described. The image of the beloved, described in detail, seems to dissolve in the general range of feelings of the poet. There is no complete portrait of the heroine here - it must be supplemented and recreated by the reader's imagination.
Love in Fet's lyrics is often complemented by other motives. So, in the poem "The night was shining. The garden was full of moon ..." three feelings are united in a single impulse: admiration for music, intoxicating night and inspired singing, which develops into love for the singer. The whole soul of the poet dissolves in music and at the same time in the soul of the singing heroine, who is the living embodiment of this feeling.
This poem is difficult to classify unambiguously as love lyrics or poems about art. It would be more accurate to define it as a hymn to beauty, combining the liveliness of experience, its charm with deep philosophical overtones. This worldview is called aestheticism.
Afanasy Afanasyevich, flying away on the wings of inspiration beyond the limits of earthly existence, feels himself a master, equal to the gods, overcoming the limitations of man with the power of his poetic genius.
Conclusion
The whole life and work of this poet is the search for beauty in love, nature, even death. Could he find her? This question can only be answered by someone who really understood the creative heritage of this author: he heard the music of his works, saw landscape paintings, felt the beauty of poetic lines and learned to find harmony in the world around him.
We examined the main motives of Fet's lyrics, the characteristic features of the work of this great writer. So, for example, like any poet, Afanasy Afanasyevich writes about the eternal theme of life and death. Neither death nor life frightens him equally ("Poems about death"). By physical death, the poet experiences only cold indifference, and Afanasy Afanasyevich Fet justifies earthly existence only by creative fire, commensurate in his view with "the whole universe." There are also antique motifs (for example, "Diana"), and Christian ones (" Ave Maria", "Madonna").
You can find more detailed information about Fet's work in school textbooks on Russian literature, in which the lyrics of Afanasy Afanasyevich are considered in some detail.
Afanasy Afanasyevich Fet (1820 - 1892) - poet, translator. He began to write his first poems in his youth. First published in the collection "Lyrical Pantheon" in 1840.
Poetry features:
It glorifies the beauty and uniqueness of every moment of human life, the unity of nature and man, personality and the universe
The functions of the landscape are universal: these are just sketches, and a holistic picture of the universe, and a tiny detail of the familiar world.
The world is full of rustles, sounds that a person with a less refined soul does not hear.
It is difficult to determine the addressee of the poems, the focus is on the lyrical hero himself
The images of the hero and heroine in Fet are completely devoid of everyday life, earthiness, social and everyday certainty, they are filled with love, melody, and a special tact. All the poetry of A. A. Fet is filled with melody, a special rhythm, tact, his verse flows like a song that you want to sing again and again. Relating to the poets of "pure" art, Fet devoted most of his works to love, nature and art. The close interweaving of these motives gives us the opportunity to feel all the beauty, spirituality, lyricism of the feelings of a man in love, a man who is madly in love with his country, nature, the world around him. (" The night shone”, “Learn from them”).
L. Tolstoy spoke about the “poetic audacity” of Fet, who was delighted with Fet’s poems. It is impossible not to feel in his exclamation the emotional excitement caused by Fet's poetic talent and familiar to everyone who has ever come into contact with Fet's muse. The source of Fet's lyrical audacity, purity, sincerity, freshness and unfading youth of his poetry is in the unquenchable and bright flame that omnipotent nature endowed him with.
Impressionism means an impression, that is, an image not of an object as such, but of the impression that this object makes. Fet's desire to show the phenomenon in all its variety of changeable forms brings the poet closer to impressionism. He is interested not so much in the object as in the impression made by the object. For all their truthfulness and concreteness, descriptions of nature primarily serve as a means of expressing lyrical feelings.
Fet believed that the purpose of the poet is "to embody the unembodied." He understood that the poet sees what is inaccessible to an ordinary person, sees in a way that an ordinary person cannot without a hint. Where the first sees grass, the poet contemplates diamonds. Only a poet is able to embody in words spring, autumn, wind, sunset, hope, faith, love.
An admirer of Pushkin, Tyutchev, he never imitated other authors.
The glory of A. A. Fet in Russian literature was his poetry. Moreover, in the reader's mind, it has long been perceived as central figure in the field of Russian classical lyrics. Central from a chronological point of view: between the elegiac experiences of the Romantics early XIX century and the Silver Age (in the famous annual reviews of Russian literature, which V. G. Belinsky published in the early 1840s, the name Fet is next to the name of M. Yu. Lermontov; Fet publishes his final collection “Evening Lights” in the era pre-symbolism). But it is also central in another sense - by the nature of his work: it is in the highest degree corresponds to our ideas about the very phenomenon of lyrics. One could call Fet the most "lyrical lyricist" of the 19th century.
One of the first subtle connoisseurs of Fet's poetry, critic V.P. Botkin, called the lyricism of feeling its main advantage. Another of his contemporarys, the famous writer A. V. Druzhinin, also wrote about this: “Fet senses the poetry of life, like a passionate hunter senses with an unknown instinct the place where he should hunt.”
It is not easy to immediately answer the question of how this lyricism of feeling manifests itself, where does this feeling of Fetov's "sense of poetry" come from, what, in fact, is the originality of his lyrics.
In terms of its subject matter, against the backdrop of the poetry of romanticism, Fet's lyrics, the features and themes of which we will analyze in detail, are quite traditional. These are landscape, love lyrics, anthological poems (written in the spirit of antiquity). And Fet himself in his first (published when he was still a student at Moscow University) collection "Lyrical Pantheon" (1840) openly demonstrated his loyalty to tradition, presenting a kind of "collection" of fashionable romantic genres, imitating Schiller, Byron, Zhukovsky, Lermontov. But it was a student experience. Readers heard Fet's own voice a little later - in his journal publications of the 1840s and, most importantly, in his subsequent collections of poems - 1850.1856. The publisher of the first of them, Fet's friend, the poet Apollon Grigoriev, wrote in his review about Fet's originality as a subjective poet, a poet of indefinite, unsaid, vague feelings, as he put it - "semi-feelings".
Of course, Grigoriev had in mind not the vagueness and obscurity of Fetov's emotions, but the poet's desire to express such subtle shades of feeling that cannot be unambiguously named, characterized, described. Yes, Fet does not gravitate towards descriptive characteristics, towards rationalism, on the contrary, he strives in every possible way to get away from them. The mystery of his poems is largely determined precisely by the fact that they are fundamentally not amenable to interpretation and at the same time give the impression of a surprisingly accurately conveyed state of mind, experience.
Such, for example, is one of the most famous, which has become a textbook poem “ I came to you with greetings...". The lyrical hero, captured by the beauty of a summer morning, seeks to tell his beloved about her - the poem is a monologue uttered in one breath, addressed to her. The most frequently repeated word in it is "tell". It occurs four times over the course of four stanzas - like a refrain that defines persistent desire, internal state hero. However, there is no coherent story in this monologue. There is also no consistently written picture of the morning; there are a number of small episodes, strokes, details of this picture, as if snatched at random by the enthusiastic look of the hero. But the feeling, the integral and deep experience of this morning is supremely there. It is momentary, but this minute itself is infinitely beautiful; the effect of a stopped moment is born.
In an even more pointed form, we see the same effect in another poem by Fet - “ This morning, this joy...". Here they alternate, mix in a whirlwind of sensual delight, not even episodes, details, as it was in the previous poem, but individual words. Moreover, nominative words (naming, denoting) are nouns devoid of definitions:
This morning, this joy
This power of both day and light,
This blue vault
This cry and strings
These flocks, these birds,
This voice of water...
Before us, it seems, is only a simple enumeration, free from verbs, verb forms; experiment poem. The only explanatory word that repeatedly (not four, but twenty-four (!) times) appears in the space of eighteen short lines is “this” (“these”, “this”). Let's agree: an extremely non-pictorial word! It would seem that it is so little suitable for describing such a colorful phenomenon as spring! But when reading Fetov's miniature, a bewitching, magical mood, directly penetrating the soul, arises. And in particular, we note, thanks to the non-pictorial word "this". Repeated many times, it creates the effect of direct vision, our co-presence in the world of spring.
Are the rest of the words only fragmentary, outwardly disordered? They are arranged in logically “wrong” rows, where abstractions (“power”, “joy”) and specific features of the landscape (“blue vault”) coexist, where “flocks” and “birds” are connected by the union “and”, although, obviously, flocks of birds are meant. But even this lack of system is significant: this is how a person, captured by a direct impression and deeply experiencing it, expresses his thoughts.
The keen eye of a researcher-literary critic can reveal deep logic in this seemingly chaotic enumerative series: first, a look directed upwards (sky, birds), then around (willows, birches, mountains, valleys), and finally, turned inward, into one’s feelings (darkness and heat of the bed, night without sleep) (Gasparov). But this is precisely the deep compositional logic, which the reader is not obliged to restore. His job is to survive, to feel the "spring" state of mind.
The feeling of an amazingly beautiful world is inherent in Fet's lyrics, and in many respects it arises due to such an external "accident" in the selection of material. One gets the impression that any traits and details randomly snatched from the surroundings are delightfully beautiful, but then (the reader concludes) the whole world is like that, remaining outside the attention of the poet! Fet achieves this impression. His poetic self-recommendation is eloquent: "Nature is an idle spy." In other words, the beauty of the natural world does not require any effort to reveal it, it is infinitely rich and as if it goes towards man itself.
The figurative world of Fet's lyrics is created in an unconventional way: visual details give the impression of accidentally "catching the eye", which gives reason to call Fet's method impressionistic (B. Ya. Bukhshtab). Wholeness, unity of the Fetov world is given to a greater extent not by visual, but by other types of figurative perception: auditory, olfactory, tactile.
Here is his poem, entitled " bees»:
I will disappear from melancholy and laziness,
Lonely life is not sweet
Heart aching, knees weak,
In every carnation of fragrant lilac,
Singing, a bee crawls in ...
If not for the title, then the beginning of the poem could puzzle with the indistinctness of its subject: what is it about? "Melancholy" and "laziness" in our minds are phenomena quite far from each other; here they are combined into a single complex. “Heart” echoes “longing”, but in contrast to the high elegiac tradition, here the heart “whines” (folklore-song tradition), to which is immediately added the mention of completely sublime, weakening knees ... The “fan” of these motives is focused in end of the stanza, in its 4th and 5th lines. They are prepared compositionally: the enumeration within the first phrase continues, the cross-rhyming sets the reader to expect the fourth line, which rhymes with the 2nd. But the expectation drags on, is delayed by a line that unexpectedly continues the rhyme series with the famous “lilac carnation” - the first visible detail, immediately imprinted in the consciousness of the image. Its appearance is completed in the fifth line by the appearance of the "heroine" of the poem - a bee. But here it is not the outwardly visible, but its sound characteristic that is important: “singing”. This chanting, multiplied by countless bees ("every carnation"!), And creates a single field of the poetic world: a luxurious spring hum-buzz in a riot of flowering lilac bushes. The title is remembered - and the main thing in this poem is determined: a feeling, a state of spring bliss that is difficult to convey in words, “vague spiritual impulses that do not yield even to the shadow of prosaic analysis” (A. V. Druzhinin).
The bird's cry, "tongue", "whistle", "shot" and "trills" created the spring world of the poem "This morning, this joy ...".
And here are examples of olfactory and tactile imagery:
What a night! Transparent air is bound;
Fragrance swirls over the earth.
Oh now I'm happy, I'm excited
Oh, now I'm glad to speak!
"What a night..."
Still alleys are not gloomy shelter,
Between the branches the vault of heaven turns blue,
And I'm going - fragrant cold blows
In the face - I go - and the nightingales sing.
"It's still spring..."
On the hillside it is either damp or hot,
The sighs of the day are in the breath of the night...
"Evening"
Saturated with smells, moisture, warmth, felt in the winds and breaths, the space of Fet's lyrics tangibly materializes - and cements the details of the outside world, turning it into an indivisible whole. Within this unity, nature and the human "I" are merged into one. The feelings of the hero are not so much consonant with the events of the natural world, but are fundamentally inseparable from them. This could be seen in all the texts discussed above; the ultimate (“cosmic”) manifestation of this can be found in the miniature “On a Haystack at Night...”. And here is a poem, also expressive in this regard, which no longer refers to landscape, but to love lyrics:
I'm waiting, anxious
I'm waiting here on the way:
This path through the garden
You promised to come.
A poem about a date, about an upcoming meeting; but the plot about the feelings of the hero unfolds through the demonstration of private details of the natural world: “crying, the mosquito will sing”; “a leaf will fall off smoothly”; "as if a string was broken by a Beetle, flying into a spruce." The hero's hearing is extremely sharpened, the state of intense expectation, peering and listening to the life of nature is experienced by us thanks to the smallest strokes of garden life noticed by him, the hero. They are connected, fused together in the last lines, a kind of "denouement":
Oh, how it smelled like spring!
It's probably you!
For the hero, the breath of spring (spring breeze) is inseparable from the approach of his beloved, and the world is perceived as integral, harmonious and beautiful.
Fet built this image over years of his work, consciously and consistently moving away from what he himself called "the burdens of everyday life." In the real biography of Fet, there were more than enough such hardships. In 1889, summing up his creative way in the preface to the collection "Evening Lights" (third edition), he wrote about his constant desire to "turn away" from everyday life, from sorrow, which did not contribute to inspiration, "in order to at least for a moment breathe in the pure and free air of poetry." And despite the fact that the late Fet has many poems of both a sad-elegiac and philosophical-tragedy character, he entered the literary memory of many generations of readers primarily as the creator of a beautiful world that preserves eternal human values.
He lived with ideas about this world, and therefore strove for the credibility of its appearance. And he succeeded. The special authenticity of Fetov's world - a peculiar effect of presence - arises largely due to the specific nature of the images of nature in his poems. As noted long ago, in Fet, unlike, say, Tyutchev, we almost never find generic words that generalize: “tree”, “flower”. Much more often - "spruce", "birch", "willow"; “Dahlia”, “acacia”, “rose”, etc. In the exact, loving knowledge of nature and the ability to use it in artistic creativity, perhaps only I. S. Turgenev can be placed next to Fet. And this, as we have already noted, is nature, inseparable from the spiritual world of the hero. She discovers her beauty - in his perception, and through the same perception his spiritual world is revealed.
Much of what has been noted allows us to talk about the similarity of Fet's lyrics with music. The poet himself drew attention to this; criticism has repeatedly written about the musicality of his lyrics. Particularly authoritative in this regard is the opinion of P.I. Tchaikovsky, who considered Fet a poet "unconditionally brilliant", who "in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our field."
The concept of musicality, generally speaking, can mean a lot: both the phonetic (sound) design of a poetic text, and the melodiousness of its intonation, and the richness of harmonious sounds, musical motives of the inner poetic world. All these features are inherent in Fet's poetry.
To the greatest extent, we can feel them in poems, where music becomes the subject of the image, a direct “heroine”, defining the whole atmosphere of the poetic world: for example, in one of his most famous poems “ The night shone...». Here the music forms the plot of the poem, but at the same time the poem itself sounds especially harmonious and melodious. This manifests Fet's finest sense of rhythm, verse intonation. Such texts are easy to set to music. And Fet is known as one of the most "romantic" Russian poets.
But we can talk about the musicality of Fet's lyrics in an even deeper, essential aesthetic sense. Music is the most expressive of the arts, directly affecting the sphere of feelings: musical images are formed on the basis of associative thinking. It is to this quality of associativity that Fet appeals.
Meeting repeatedly - now in one, then in another poem - the words he most loves "acquire" with additional, associative meanings, shades of experiences, thereby enriching themselves semantically, acquiring "expressive halos" (B. Ya. Bukhshtab) - additional meanings.
This is how Fet, for example, the word "garden". Fet's garden is the best, ideal place in the world, where a person meets nature organically. There is harmony there. The garden is a place of thoughts and memories of the hero (here you can see the difference between Fet and A. N. Maikov, who is close to him in spirit, whose garden is the space of human transforming labor); it is in the garden that meetings take place.
The poetic word of the poet we are interested in is predominantly a metaphorical word, and it has many meanings. On the other hand, "roaming" from poem to poem, it links them together, forming a single world of Fet's lyrics. It is no coincidence that the poet gravitated so much towards combining his lyrical works into cycles (“Snow”, “Fortune-telling”, “Melodies”, “Sea”, “Spring” and many others), in which each poem, each image was especially actively enriched thanks to associative links. with neighbors.
These features of Fet's lyrics were noticed, picked up and developed already in the next literary generation - by symbolist poets of the turn of the century.
Department of Education and Science of Primorsky Krai
Regional state budgetary
professional educational institution
"Ussuriysk Agro-Industrial College"
Structure lesson plan teacher
Lesson plan№28 by subjectLiterature
Subject: Artistic features lyrics
A.A. Feta. Analysis of poems.
Lesson type: combined
Class type:
Goals:
A) educational - to create conditions for studying material about the biography and artistic features of the lyrics of A.A. Feta.
B) developing - to help improve the skills of monologue speech, the ability to draw up abstracts, highlight the main thing, work in groups.
B) educational -promoteinstilling interest in the history and literature of the native country, in the work of A.A. Feta; development of the ability to understand and listen to each other, a responsible attitude to educational work.
Equipment
Lesson progress:
Organizing time (Recording a lesson in a journal. Preparing a workplace.) (1-5 min.)
Checking homework (10 minutes.)
Teacher's word.
Not for worldly excitement,
Not for self-interest, not for battles,
We are born to inspire
For sweet sounds and prayers, -
so wrote A.S. Pushkin in the poem "The Poet and the Crowd" about poetic creativity, proclaiming the requirements of the independence of poetry from the authorities and the people. The idea of poetry as a creator inspired by God was picked up by the romantics of the second wave under the name of art for art's sake, among whom was Afanasy Afanasyevich Fet.
Social events, the reform of 1861, and folk life were not reflected in Fet's work. Nikolai Gavrilovich Chernyshevsky, denying the idea of "pure art", spoke about the poet as follows: " good poet but writes nonsense. And the poet himself, in a letter to Yakov Polonsky about poetic creativity, wrote: "A poet is a crazy and good-for-nothing person, babbling divine nonsense." But what is the poetry of A.A. Feta: "trifles", "divine nonsense"? Or poetry, which “organically entered its era, was born by it and was connected by many threads with the art of that time”? This is the problem we are going to solve in the lesson.
poetry concert
(poems are read by prepared students)
-Let's listen to the poems of A.A. Feta to dive in art world poet.
A. The cat sings, squinting his eyes,
The boy is napping on the carpet
A storm is playing outside
The wind is whistling in the yard.
“It’s enough for you to wallow here,
Hide your toys and get up!
Come to me to say goodbye
Yes, go to sleep."
The boy got up. And the cat's eyes
Conducted and all sings;
The snow falls in tufts at the windows,
The storm whistles at the gate. 1842
B. By the fireplace
The coals are fading. In the twilight
Transparent twisted light.
So splashes on the crimson poppy
Wing azure moth.
Visions of colorful string
Attracts, tired gaze,
And unrevealed faces
They look from the gray ashes.
Gets up nice and friendly
Past happiness and sadness
And the soul lies that it does not need
All that is deeply regrettable. 1856
AT.Basic concepts covered in the lesson:
How poor is our language! I want to and I can't. -
Do not pass it on to friend or foe,
What rages in the chest with a transparent wave.
In vain is the eternal languor of hearts,
And the venerable sage bows his head
Before this fatal lie.
Only you, poet, have a winged word sound
Grabs on the fly and fixes suddenly
And the dark delirium of the soul and herbs an indistinct smell;
So for the boundless leaving the meager valley,
An eagle flies beyond the clouds of Jupiter,
A sheaf of lightning carrying instantaneous in faithful paws. 1887
D. On a haystack at southern night
I lay face to the firmament,
And the choir shone, lively and friendly,
Spread around, trembling.
Earth, like a vague dream, mute
It drifted away without a trace.
And I, as the first inhabitant of paradise,
One in the face saw the night.
I rushed in the midnight abyss,
Or hosts of stars rushed to me?
It seemed as if in a powerful hand
Above this abyss I hung.
And with fading and confusion
I measured the depth with my eyes,
In which with every moment I
Everything is irrevocable. 1857
D. How fresh it is under the thick linden -
The midday heat did not penetrate here,
And thousands hanging over me
Swing fragrant fans.
And there, in the distance, the burning air sparkles,
He hesitates, as if he is dozing.
So sharply dry hypnotic and crackling
Grasshoppers restless ringing.
Behind the haze of branches, the vaults of the sky turn blue,
Like a little haze,
And, like the dreams of a sensible nature,
Wavy pass clouds. 1854
E.Listen to the romance on record .
Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest
Brightly puffs on the pits of the cheeks.
And her pillow is hot
And a hot tiring dream
And, blackening, they run on their shoulders
Braids tape on both sides.
And yesterday at the window in the evening
She sat for a long time
And watched the game through the clouds,
What, sliding, started the moon.
And the brighter the moon played
And the louder the nightingale whistled,
She became more and more pale
My heart was beating harder and harder.
That's why on a young chest,
On the cheeks so the morning burns.
Don't wake her, don't wake her...
At dawn she sleeps so sweetly! 1842
G. If the morning pleases you,
If you believe in a magnificent omen, -
At least for a while, for a moment falling in love,
Give this rose to the poet.
Even if you love someone, even if you take down
You are not one worldly thunderstorm, -
But in a tender verse you will find
This ever-scented rose. 1887
- You listened to Fet's poems of different years. What are they about? What feelings aroused in you? Tell me.
(Fet's poems are beautiful, melodic. They evoke bright, joyful feelings. They glorify the beauty of nature, human feelings - "the charm of Russian nature" and "the inner world of the soul" go in parallel.)
Biography of A.A. Feta.
(reports of students on individual assignments, the rest are outlined in a notebook).
- There is a lot of unusual, sometimes even mysterious, in the fate of Fet, which undoubtedly played a huge role in the formation of the personality and work of the poet. Tell about it.
Birth of A.A. Feta is mysterious, because only the year is known - 1820, and the exact date is unknown: in October or November.
At the age of 14, the boy learned that he was illegitimate, since his father and mother got married after his birth.
The purpose of his life was the return of the lost title of a Russian nobleman.
He bore the German surname Fet of his mother's relatives, the townspeople, who agreed to recognize the child as their own.
In 1838, he was enrolled at Moscow University in the verbal department of the Faculty of Philosophy, where he studied for 6 years instead of 4, as he did not study well.
He spent his student years in the house of the parents of his friend, Apollon Grigoriev, the future famous critic and poet.
He began to write poetry by chance: during his stay at the Pogodin boarding school, one of the teachers needed a poetic satirical mockery of a rival in love. Fet wrote poetry and they fit the occasion. The customer told the author: "You are an undoubted poet and you need to write poetry."
The result of the young man's poetic work was the collection of poems "Lyrical Pantheon", largely imitative, but talented.
In the 40s, Fet published his poems in the magazines Muscovite and Domestic Notes.
Under the poem “I came to you with greetings,” the poet signed for the first time - A. Fet. The typesetter lost the dots above the "e", and thus the German surname turned into the pseudonym of the Russian poet - Fet.
The desire to obtain a noble rank forced him to go into military service. He served as a cavalry officer for 13 years, but did not achieve what he wanted. During these years, he was hardly engaged in literature.
During military service met a girl - Maria Lazich, an intelligent, educated, subtle connoisseur of poetry, a musician. There was a strong mutual feeling. However, he avoided marriage because of his semi-beggarly existence. They separated.
Soon Maria Lazich died a terrible death: her dress caught fire from a carelessly thrown match. Perhaps it was suicide. Fet carried a deep feeling for her through his whole life, dedicating poems to her until the end of his days.
In 1853, Fet achieved a transfer to St. Petersburg. He returned to the literary world, became close to I.S. Turgenev, N.A. Nekrasov.
He married the middle-aged daughter of a wealthy merchant, taking a good dowry, became a landowner, buying an estate in Oryol province. Turgenev recalled: “He has now become an agronomist-owner to the point of desperation, let go of his beard to his loins ...”
The public position of Fet the monarchist, the practical activities of Fet the landowner, his far from social problems poetic creativity became the subject of sharp attacks, because in verses "the extreme insignificance of content."
Finally, Fet achieved recognition of his rights to the surname of his father, the pillar nobleman Shenshin, and even the court rank of chamberlain.
In 1877, Fet moved to the old estate he bought in the Kursk province - Vorobyovka, which became the abode of lyrics until the end of the poet's life. Poems were written here, which formed 4 collections under the general title "Evening Lights".
The death of the poet is also mysterious. Having lived to the age of 72, he wanted to commit suicide, and when the servant prevented this, he died of a broken heart.
- From this angular life, from a gloomy soul, a strange system of views on poetry, a lyric arose that can be called a miracle. Cheerful, life-affirming, glowing with the happiness of life, overflowing with the joy of love, enjoyment of nature, grateful memory of the past and hope for the future, this lyric is unique and forms one of the greatest pinnacles of Russian literature.
6. The originality of A.A. Feta
- Let's turn to Fet's poems and try to conduct a little research in order to try to understand what is the originality of his poetry.
Assignment: Listen to a short poem from an early lyric, 1845:
wavy cloud
Dust rises away
Equestrian or on foot
Do not see no zgi!
I see someone jumping
On a dashing horse.
My friend, distant friend,
Remember me!
A. Answer the questions:
1. What picture is drawn in your imagination?
(A view of a frantic ride in the unimaginable distance of a road leaving somewhere.)
2. The poet, as an artist, captured one moment from the life of nature and man. But what does the 1st person singular verb “I see” complete in the picture?
(The protagonist- the person, "I", who observes this jump, and we see the picture through his eyes.)
3. What are the most important lines in the poem?
(The picture seen blinded with bright visibility, made me think, caused emotional experience, a completely different train of thought: “My friend, distant friend,
Remember me!")
-Let's compare a small poem by A.A. Feta with a poem
A.S. Pushkin "Autumn". What topics does Autumn cover?
AUTUMN
(EXCERPT)
Why does my dormant mind not enter then?Derzhavin
October has already come - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has died - the road freezes through,
The murmuring stream still runs behind the mill,
But the pond was already frozen; my neighbor is in a hurry
In the departing fields with his hunt,
And they suffer winter from mad fun,
And the barking of dogs wakes the sleeping oak forests.
Now it's my time: I don't like spring;
The thaw is boring to me; stink, dirt - I'm sick in the spring;
The blood is fermenting; feelings, the mind is constrained by melancholy.
In the harsh winter I am more satisfied,
I love her snow; in the presence of the moon
As an easy sleigh run with a friend is fast and free,
When under the sable, warm and fresh,
She shakes your hand, glowing and trembling!
III
How fun, shod with sharp iron feet,
Glide on the mirror of stagnant, smooth rivers!
And the brilliant anxieties of the winter holidays?..
But you also need to know honor; half a year snow yes snow,
After all, this is finally the inhabitant of the lair,
Bear, get bored. You can't for a century
We ride in a sleigh with the young Armides
Or sour by the stoves behind double panes.
Ox, summer is red! I would love you
If it weren't for the heat, and dust, and mosquitoes, and flies.
You, destroying all spiritual abilities,
you torment us; like fields, we suffer from drought;
Just how to drink and refresh yourself -
There is no other thought in us, and it is a pity for the winter of the old woman,
And, seeing her off with pancakes and wine,
We make a wake for her with ice cream and ice.
The days of late autumn are usually scolded,
But she is dear to me, dear reader,
Silent beauty, shining humbly.
So unloved child in the native family
It draws me to itself. To tell you frankly
Of the annual times, I am glad only for her alone,
There is a lot of good in it; lover is not vain,
I found something in her a wayward dream.
How to explain it? I like her,
Like a consumptive maiden
Sometimes I like it. Condemned to death
The poor thing bows without grumbling, without anger.
The smile on the lips of the faded is visible;
She does not hear the yawn of the grave abyss;
Still purple color plays on the face.
She is still alive today, not tomorrow.
VII
Sad time! Oh charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold,
In their canopy of the wind noise and fresh breath,
And the heavens are covered with mist,
And a rare ray of sun, and the first frosts,
And distant gray winter threats.
VIII
And every autumn I bloom again;
The Russian cold is good for my health;
I again feel love for the habits of being:
Sleep flies in succession, hunger finds in succession;
Easily and joyfully plays in the heart of blood,
Desires boil - I'm happy again, young,
I am full of life again - this is my body
(Allow me to forgive unnecessary prosaism).
And loudly under his shining hoof
But the short day goes out, and in the forgotten fireplace
The fire burns again - then a bright light pours,
It smolders slowly - and I read before it
Or I feed long thoughts in my soul.
And I forget the world - and in sweet silence
I am sweetly lulled by my imagination,
And poetry awakens in me:
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and seeks, as in a dream,
Finally pour out free manifestation -
And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.
And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper.
A minute - and the verses will flow freely.
So the ship slumbers motionless in motionless moisture,
But chu! - the sailors suddenly rush, crawl
Up, down - and the sails puffed out, the winds are full;
The mass has moved and cuts through the waves.
XII
Floats. Where are we to sail?......
..............................
.............................
The theme of freedom external and internal
Development creativity in man
The relationship of man with nature and the sensory-objective world and the arising "long thoughts".
Conclusion: poem by A.S. Pushkin is multi-dark, but Fet's poem?
Pushkin unfolds a whole panorama of natural phenomena, and Fet?
Here is an episode from "Autumn", outwardly close to Fetov's poems:
Lead me a horse; in the expanse of the open,
Waving his mane, he carries a rider,
And loudly under a shining hoof
The frozen valley rings and the ice cracks.
Conclusion: Fet, as it were, takes one episode from a whole panorama in order to show “long thoughts” in connection with it. The poet believed that the plot of a lyrical poem should not go "beyond one-centeredness."
-Pay attention to how the poem is structured. Can it be divided into parts?
Conclusion: the poem is built on the crossing of two rows: one row is a picture of the sensual-objective (natural) world, and the other is a picture of spiritual, psychological movement. THOSE. the poem is twofold. Such a construction is a characteristic feature of Fet's poetry, which he developed very early and which went through all his work.
- Fet's poetry is suggestive through and through. Suggestion - lat. - suggestion. The poet very accurately knows how to convey, inspire his mood, state, feeling. Now you will listen to a poem by the late Fet. Think about the feeling in question although it is not named.
I won't tell you anything
And I won't bother you at all
And about what I silently repeat, I will not dare to hint for anything.
Night flowers sleep all day long
But only the sun will set behind the grove,
Leaves are quietly opening
And I hear the heart bloom.
And in a sick, tired chest
It blows with moisture at night ... I'm trembling,
I won't disturb you at all
I won't tell you anything. 1885
(A declaration of love sounded.)
-Can any of the poems of A.S. Pushkin to compare with Fet's poem?
("I loved you…")
- Why does it seem to us that the confession in Fet's poem did happen?
(In musicality, in the tenderness that the poem is filled with, in the accuracy of the transfer of the state that the poet possesses.)
What did you notice about the construction of the poem?
(The repetition of the first two lines at the end in reverse order - mirroring - creates the impression of completeness.)
- In the center of the poem is a vision of night flowers that open only in silence, when the bustle of life recedes.
In the last line of the stanza, the vision parted, as it were, revealing the metaphorical image of a blossoming heart. It is no coincidence that the word “hear” is here. To hear blossoming is to love the secret. Silence in this poem becomes more important than words.
7. Research work in groups.
- The strophic and rhythmic organization of Fet's poem is diverse. Now you will receive cards with poems or excerpts from Fet's poems. Try to determine what is unusual in the construction of a stanza, verse, in rhyme. Prepare expressive reading. You will work in groups. 3 minutes for analysis.
Task 1 group
Pay attention to the construction of the stanza. What achieves the special musicality of the poem?
On the edge of the midnight distance
That spark
Under the haze of the secret of sadness
I'm lonely.
I do not draw with mighty force
your eyes,
But I will lure your gaze, dear
For a brief moment.
And a point of quivering light
my eyes -
You are a sad omen
my passions.
(It should be noted: poems different lengths enhance melodious intonation, musicality.)
Task 2 group
Pay attention to the sound of a poetic stanza, what enhances its special sound?
Wind. All around is buzzing and swaying,
Leaves swirl at your feet.
Chu, there is suddenly heard in the distance
Subtly calling horn.
(It should be noted: Fet uses alliteration: the sounds “zh”, “sh” are repeated in the poetic lines. This makes it possible to convey the sound of the forest during the wind in the melody of the poem.)
Task 3 group
Pay attention to the construction of the stanzas. How are sentences arranged in lines of poetry?
…I'm not going to the city: "a mixture of clothes and faces"
So clueless! Better by the fireplace
I'll fall asleep - and damn it to me a bunch of fables
Represent. Let the beautiful Alina
Beautiful. - Tomorrow with a late flock of birds
A web will stretch across the sky,
And I'll look up at the sky again
Eh, it's hard! At least one tear!
"Blues"
(Must note: special construction stanzas - the breakdown of phrases into poetic lines allows the poet to show interruptions of thoughts. The image of a stretched web is vividly cut into this picture of "spiritual turmoil".
Task 4 group
Pay attention to the rhyme, match the sound of 1 and 2 poetic lines. What did you notice?
Dreams and shadows
dreams
In the dusk, tremulously alluring,
All stages, Sleep
A light swarm of transient ...
"Dreams and shadows" 1859
(It should be noted: there is a cross rhyme in the stanza. The sounds in 1, 2 poetic lines coincide or are close in sound. This is a pantorhyme (panto - Greek - the whole), the rhyme covers the entire poetic line, and not its end. The musicality is enhanced.)
Task 5 group
Pay attention to the syntactic structure of the poem. What did you notice?
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,
Night light, night shadows,
Shadows without end
A series of magical changes
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears, And the dawn, the dawn! ..
(It should be noted: the whole poem is one sentence, there are no verbs, nominative sentences are used.)
-This poem caused an uproar in literary circles: delight, confusion, ridicule. First of all, contemporaries were struck by the absence of verbs. Fet used a technique that can be compared with the pointillism of the remarkable artist Paul Signac. (Pointillism - a style of painting - with strokes in the form of points, refers to neo-impressionism). The artist threw many multi-colored dots onto the canvas. Close up, they give the impression of chaos, but as soon as you move away, a harmonious picture appears before your eyes. So in a poem, at first glance, there is only a chaotic set of sounds and visual impressions. The inconspicuous poet of the Nekrasov school, Nikolai Worms, in a witty parody, showed Fet's poem as a meaningless set of chaotic phrases:
Sounds of music and trills,
trill nightingale,
And under the thick lindens
Both she and me.
And she, and I, and trills,
Sky and moon
Trill, me, she and the sky,
Heaven and her.
In fact, Fet has no chaos. And in our imagination there are pictures. Which?
(In the beginning - evening, a meeting of lovers. Then - a night spent alone in the rapture of love. Finally, morning, tears of happiness and parting.)
Fet built his poem on the reception of parallelism, strictly withstood the correspondence between the world of nature and man. And although there is not a single verb, the poem is saturated with action.
8.Result
So, we noticed that Fet's picturesqueness is special, he created his own, suggestive and impressionistic style. His poems are beautiful and harmonious. The romantic theme of "two worlds" sounds in them: "nature" and "spirit". Fet seeks to achieve their complete merger, coincidence. Hence the joyful perception of the world. In poems, Fet captured moments from the life of nature and the states of the human soul. And eternity consists of moments, of fleeting sensations - the life of the cosmos.
This cosmicity is especially noticeable in Fet's "night" poems. Almost all of his "night" poems are illuminated by starlight:
I stood still for a long time
Looking into the distant stars,
Between those stars and me
Some connection was born.
I thought... I don't remember what I thought;
And listened to the mysterious choir,
And the stars trembled softly
And the stars trembled softly
And I love the stars since then ...
Fet conveys his sense of the cosmic unity of the world and man, and it seems that a mysterious connection arises between the poet and the reader...
So can it be argued that Fet wrote "trifles"?
(Not)
L.N. Tolstoy wrote: “Fet is a one-of-a-kind poet who has no equal in any literature, and he is much higher than his time, who does not know how to appreciate him ...”
The traditions of Fet were picked up by the poets " silver age» in the twentieth century.
9. Reflection.
10. Homework.
11. Literature.
1. Maimin E.A. Afanasy Afanasyevich Fet: book. for students. - M.: Enlightenment, 1989.
2. Sukhova N.P. A story about the life and work of A.A. Feta.- M.: Det. lit., 2003.
Teacher's signature ___________________
Fetov's lyrics could be called romantic. But with one important clarification: unlike the romantics, the ideal world for Fet is not a heavenly world, unattainable in earthly existence "the distant land of the native." The idea of the ideal is still clearly dominated by signs of earthly existence. So, in the poem “Oh no, I will not call for the lost joy ...” (1857), the lyrical “I”, trying to rid myself of the “dreary life of the chain”, represents a different existence as a “quiet earthly ideal”. The “earthly ideal” for the lyrical “I” is the quiet charm of nature and the “cherishing union of friends”:
Let the sick soul, tired of the struggle,
Without a roar, the chain of a dreary life will fall,
And let me wake up in the distance, where to the nameless river
Silent steppe runs from the blue hills.
Where a plum argues with a wild apple tree,
Where the cloud creeps a little, airy and bright,
Where the drooping willow slumbers over the water
And in the evening, buzzing, a bee flies to the hive.
Perhaps ... Eyes are always looking into the distance with hope! -
A cherishing union awaits me there,
With hearts as pure as the month of midnight,
With a sensitive soul, like the songs of prophetic muses<...>
The world where the hero finds salvation from the "dreary life of the chain" is nevertheless filled with signs of earthly life - these are blossoming spring trees, bright clouds, the buzzing of bees, a willow growing over the river - endless earthly distance and heavenly space. The anaphora used in the second stanza further emphasizes the unity of the earthly and heavenly worlds, which constitute the ideal towards which the lyrical "I" aspires.
Very clearly, the internal contradiction in the perception of earthly life was reflected in the poem of 1866. “The mountain is fanned by the sparkle of evening”:
The mountains are covered with glitter in the evening.
Dampness and haze run into the valley.
With a secret prayer I lift my eyes:
- “Will I leave the cold and dusk soon?”
The mood, the experience expressed in this poem - an acute longing for a different, higher world, which is inspired by the vision of majestic mountains, allows us to recall one of the most famous poems by A.S. Pushkin "Monastery on Kazbek". But the ideals of the poets are distinctly different. If for Pushkin's lyrical hero the ideal is a "transcendental cell", in the image of which dreams of a lonely service, a break with the earthly world and an ascent to the heavenly world, perfect, are united, then the ideal of Fetov's hero is also a world far from "cold and dusk » valleys, but not requiring a break with the world of people. This is human life, but harmoniously merged with the heavenly world and therefore more beautiful, perfect:
I see on that ruddy ledge -
the cozy nests of the roofs have been moved;
Vaughn lit up under the old chestnut tree
Lovely windows, like faithful stars.
The beauty of the world for Fet also consisted in a hidden melody, which, according to the poet, all perfect objects and phenomena possess. The ability to hear and transmit the melodies of the world, the music that permeates the existence of every phenomenon, every thing, every object can be called one of the features of the worldview of the author of "Evening Lights". This feature of Fet's poetry was noted by his contemporaries. “Fet in his best moments,” wrote P.I. Tchaikovsky, - goes beyond the limits indicated by poetry, and boldly takes a step into our field ... This is not just a poet, but rather a poet-musician, as if avoiding even those topics that can easily be expressed in words.
It is known with what sympathy this review was received by Fet, who admitted that he was “always drawn from a certain area of words to an indefinite area of music”, into which he went, as far as his strength was. Even earlier, in one of the articles devoted to F.I. Tyutchev, he wrote: “Words: poetry is the language of the gods - not an empty hyperbole, but expresses a clear understanding of the essence of the matter. Poetry and music are not only related, but inseparable. "Seeking to recreate the harmonic truth, the soul of the artist, - according to Fet, - itself comes into the corresponding musical system." Therefore, the word "sing" to express the creative process seemed to him the most accurate.
Researchers write about the "exceptional susceptibility of the author of "Evening Lights" to the impressions of the musical series." But the point is not only in the melody of Fet's poems, but in the poet's ability to hear the melodies of the world, which are clearly inaccessible to the ear of a mere mortal, not a poet. In an article devoted to the lyrics of F.I. Tyutchev, Fet himself noted "harmonic singing" as a property of beauty, and the ability of only a chosen poet to hear this beauty of the world. “Beauty is poured throughout the universe,” he argued. “But it is not enough for an artist to unconsciously be under the influence of beauty, or even to bask in its rays. Until his eye sees its clear, albeit subtle-sounding forms, where we do not see it or only vaguely feel it, he is not yet a poet ... ". One of Fetov's poems - "Spring and night covered the valley ..." - clearly conveys how this connection arises between the music of the world and the soul of the poet:
Spring and night covered the valley,
The soul flees into sleepless darkness,
And she clearly hears the verb
Elemental life, detached.
And unearthly existence
He speaks with his soul
And blows right at her
With its eternal stream.
As if proving Pushkin's idea of a true poet-prophet as the owner of special vision and special hearing, Fetov's lyrical subject sees the existence of things hidden from the eyes of the uninitiated, hears what is inaccessible to the ear of an ordinary person. In Fet, one can find striking images that in another poet would probably seem like a paradox, perhaps a failure, but they are very organic in poetic world Feta: “whisper of the heart”, “and I hear how the heart blooms”, “the heart’s sonorous ardor radiance pours around”, “the language of the night rays”, “anxious murmur of the shadow of the summer night”. The hero hears “the dying call of flowers” (“Feeling the answer inspired by others ...”, 1890), “the sobbing of grasses”, the “bright silence” of twinkling stars (“Today all the stars are so magnificent ...”). The heart and hand of the lyrical subject have the ability to hear (“People are sleeping, - my friend, let's go to the shady garden ...”), the caress has the melody or speech (“The last gentle caress has resounded ...”, “Alien voices ... "). The world is perceived with the help of a melody hidden from everyone, but clearly audible by the lyrical “I”. “Chorus of lights” or “star choir” - these images are found more than once in Fetov’s works, pointing to the secret music that permeates the life of the Universe (“I stood motionless for a long time ...”, 1843; “On a haystack at southern night ... ”, 1857; “Yesterday we parted with you ...”, 1864).
Human feelings and experiences also remain in the memory as a melody (“Some sounds are carried / And cling to my headboard. / They are full of languid separation, / Tremble with unprecedented love”). It is interesting that Fet himself, explaining Tyutchev’s lines “trees sing”, wrote this: “We will not, like classical commentators, explain this expression by the fact that birds sleeping on trees sing here - this is too rational; No! It is more pleasant for us to understand that the trees sing with their melodic spring forms, sing with harmony, like celestial spheres.
Many years later, in the famous article "In Memory of Vrubel" (1910), Blok would give his definition of genius and hallmark It is precisely the ability to hear that recognizes a brilliant artist - not the sounds of earthly existence, but mysterious words coming from other worlds. A.A. was fully endowed with this talent. Fet. But, like no other poet, he had the ability to hear the "harmonic tone" and all earthly phenomena, and it is this hidden melody of things to convey in his lyrics.
Another feature of Fet's worldview can be expressed with the help of the statement of the poet himself in a letter to S.V. Engelhardt: “It is a pity that the new generation,” he wrote, “is looking for poetry in reality, when poetry is only the smell of things, and not the things themselves.” It was the fragrance of the world that Fet subtly felt and conveyed in his poetry. But here, too, one feature, which was first noted by A.K. Tolstoy, who wrote that in Fet's poems "it smells of sweet peas and clover", "the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of morning dawn pours into sound." These words truly capture the poet's ability to depict the secret life of nature, its eternal variability, without recognizing the clear boundaries between color and sound, smell and color, familiar to everyday consciousness. So, for example, in Fet’s poetry, “frost shines” (“The night is bright, the frost shines”), sounds have the ability to “burn” (“As if everything is burning and ringing at the same time”) or shine (“the heart’s sonorous ardor radiance pours around "). In the poem dedicated to Chopin ("Chopin", 1882), the melody does not stop, but rather fades away.
The idea of Fet's impressionistic manner of painting the world of natural phenomena has already become traditional. This is a correct judgment: Fet seeks to convey the life of nature in its eternal variability, he does not stop the “beautiful moment”, but shows that in the life of nature there is not even an instantaneous stop. And this internal movement, "burning fluctuations", inherent, according to Fet himself, to all objects, phenomena of being, also turn out to be a manifestation of the beauty of the world. And therefore, in his poetry, Fet, according to the exact observation of D.D. Good, "<...>even motionless objects, in accordance with their idea of their "inmost essence", sets in motion: makes them oscillate, sway, tremble, tremble.
The originality of Fet's landscape lyrics is clearly conveyed by the 1855 poem "Evening". Already the first stanza imperiously includes man in the mysterious and formidable life of nature, in its dynamics:
Sounded over a clear river,
Rang out in the faded meadow,
It swept over the mute grove,
It lit up on the other side.
The absence of natural phenomena subject to description makes it possible to convey the mystery of natural life; the dominance of verbs - enhances the feeling of its variability. Assonance (o-o-o-o), alliteration (p-r-z) clearly recreate the polyphony of the world: the rumble of distant thunder, echoes to it in the meadows and groves that have subsided in anticipation of a thunderstorm. The feeling of the rapidly changing, full of movement life of nature intensifies even more in the second stanza:
Far, in the twilight, bows
The river runs away to the west;
Burning with golden rims,
Clouds scattered like smoke.
The world, as it were, is seen by the lyrical "I" from a height, his eye covers the boundless expanses native land, the soul rushes after this impetuous movement of the river and clouds. Fet amazingly can convey not only visible beauty of the world, but also the movement of air, its fluctuations, allows the reader to feel the warmth or cold of a pre-stormy evening:
On the hillside it's damp, it's hot -
The sighs of the day are in the breath of the night...
But the lightning is already glowing brightly
Blue and green fire.
Perhaps one could say that the theme of Fetov's poems about nature is precisely variability, the mysterious life of nature in perpetual motion. But at the same time, in this variability of all natural phenomena, the poet seeks to see some kind of unity, harmony. This idea of the unity of being determines such a frequent appearance in Fet's lyrics of the image of a mirror or a reflection motif: earth and sky reflect each other, repeat each other. D.D. Blagoy very accurately noticed “Fet’s predilection for reproduction, along with a direct image of the object, its reflected, mobile “double”: the starry sky reflected in the night mirror of the sea<...>, “repeating” landscapes, “overturned” into the unsteady waters of a stream, river, bay”. This motif of reflection, which is stable in Fet’s poetry, can be explained by the idea of the unity of being, which Fet declaratively affirmed in his poems: “And as in a slightly noticeable dewdrop / You recognize the whole face of the sun, / So united in the depths of the cherished / You will find the whole universe.
Subsequently, analyzing Fetov's "Evening Lights", the famous Russian philosopher Vl. Solovyov defines Fetov's conception of the world as follows:<...>Not only is each inseparably present in everything, but everything is inseparably present in each<...>. True poetic contemplation<...>sees the absolute in an individual phenomenon, not only preserving, but also infinitely strengthening its individuality.
This consciousness of the unity of the natural world also determines the inclusiveness of Fetov's landscapes: the poet, as it were, seeks to capture the infinity of space in one moment of world life: the earth - the river, fields, meadows, forests, mountains, and the sky and show harmonious harmony in this boundless life. The gaze of the lyrical "I" instantly runs from the earthly world to the heavenly one, from near to the distance that goes infinitely into infinity. The peculiarity of Fetov's landscape is clearly visible in the poem "Evening", with the unstoppable movement of natural phenomena captured here, which is opposed only by the temporary peace of human life:
Look forward to a clear day tomorrow.
Swifts flash and ring.
purple streak of fire
Transparent illuminated sunset.
Ships slumber in the bay, -
The pennant barely flutters.
The heavens are far away
And the sea distance has gone to them.
So timidly runs a shadow
So secretly the light goes away
What don't you say: the day has passed,
Do not say: the night has come.
Fetov's landscapes seem to be seen from the top of a mountain or from a bird's eye view, they strikingly merge the vision of some insignificant detail of an earthly landscape with a river rapidly running away into the distance, or a boundless steppe, or a sea distance and an even more boundless sky space. But the small and the great, the near and the far are united into a single whole, into the harmoniously beautiful life of the universe. This harmony is manifested in the ability of one phenomenon to respond to another phenomenon, as if to mirror its movement, its sound, its aspiration. These movements are often imperceptible to the eye (the evening is blowing, the steppe is breathing), but are included in the general unstoppable movement into the distance and up:
Warm evening blows softly
The steppe breathes fresh life,
And the mounds are green
Runaway chain.
And far between the mounds
dark gray snake
To the fading mists
The native path runs.
To unaccountable fun
Rising to the sky
Throws trill after trill from the sky
Spring bird voices.
Very accurately, the originality of Fetov's landscapes can be conveyed by his own lines: "As if from a wonderful reality / You are carried away into the airy vastness." The desire to paint the constantly changing and at the same time unified life of nature in its aspirations determines the abundance of anaphoras in Fet's poems, as if connecting general mood all the numerous manifestations of natural and human life.
But the whole endless, boundless world, like the sun in a drop of dew, is reflected in the human soul, carefully preserved by it. The consonance of the world and the soul is a constant theme of Fetov's lyrics. The soul, like a mirror, reflects the instantaneous variability of the world and changes itself, obeying the inner life of the world. That is why in one of the poems Fet calls the soul "instantaneous":
My horse moves slowly
Through the spring backwaters of the meadows,
And in these creeks the fire
Spring shines clouds
And refreshing mist
Rises from the thawed fields...
Dawn, and happiness, and deceit -
How sweet you are to my soul!
How gently the chest shuddered
Above this golden shadow!
How to get close to these ghosts
I want instant soul!
One more feature of Fetov's landscapes can be noted - their humanization. In one of his poems, the poet writes: "That which is eternal is humane." In an article devoted to the poems of F.I. Tyutchev, Fet identified anthropomorphism and beauty. “There,” he wrote, “where the ordinary eye does not suspect beauty, the artist sees it,<...>puts on it a purely human stigma<...>. In this sense, all art is anthropomorphism.<...>. In embodying the ideal, a person inevitably embodies a person. "Humanization" is manifested primarily in the fact that nature, like man, is endowed by the poet with "feeling". In his memoirs, Fet stated: “It is not for nothing that Faust, explaining to Margarita the essence of the universe, says:“ Feeling is everything. This feeling, Fet wrote, is inherent in inanimate objects. Silver turns black, feeling the approach of sulfur; the magnet senses the proximity of iron, etc.” It is the recognition in natural phenomena the ability to feel determines the originality of Fet's epithets and metaphors (a meek, immaculate night; a sad birch; ardent, languid, cheerful, sad and immodest faces of flowers; the face of the night, the face of nature, the faces of lightning, the dissolute shoot of prickly snow, the air is shy, the joy of oaks, happiness weeping willow, praying stars, flower heart).
The expression of the fullness of feelings in Fet is "trembling", "trembling", "sigh" and "tears" - words that invariably appear when describing nature or human experiences. The moon is trembling (“My garden”), the stars (“The night is quiet. In the unsteady firmament”). Trembling and trembling - Fet conveys the fullness of feelings, the fullness of life. And it is precisely to the “trembling”, “trembling”, “breathing” of the world that the sensitive soul of a person responds, responding with the same “trembling” and “trembling”. Fet wrote about this consonance of the soul and the world in the poem “To a Friend”:
Understand that the heart only feels
Inexpressible by nothing
That which is imperceptible in appearance
Trembling, breathing harmony,
And in his cherished secret
Keeps the immortal soul.
Inability to "tremble" and "tremble", i.e. to feel strongly, for Fet becomes proof of lifelessness. And therefore, among the few natural phenomena negative for Fet are arrogant pines, which “do not know awe, do not whisper, do not sigh” (“Pines”).
But trembling and trembling is not so much a physical movement as, using the expression of Fet himself, “the harmonic tone of objects”, i.e. captured in physical movement, in forms, inner sounding, hidden sound, melody. This combination of “trembling” and “sounding” of the world is conveyed in many poems, for example, “On a haystack at southern night”:
On a haystack at southern night
I lay face to the firmament,
And the choir shone, lively and friendly,
Spread around, trembling.
Interestingly, in the article “Two Letters on the Significance of Ancient Languages in Our Education”, Fet asked himself how to know the essence of things, say, one of a dozen glasses. The study of form, volume, weight, density, transparency, - he argued, - alas! leave "the secret impenetrable, silent, like death." “But now,” he writes further, “our glass trembled with all its inseparable essence, trembled in the way that only it tends to tremble, due to the combination of all the qualities we studied and unexplored. She is all in this harmonic sound; and one has only to sing and reproduce this sound with free singing, so that the glass instantly trembles and answers us with the same sound. You definitely reproduced it separate sound: all other glasses like her are silent. Alone she trembles and sings. Such is the power of free creativity." And then Fet formulates his understanding of the essence of artistic creativity: "It is given to a human artist to fully master the most intimate essence of objects, their quivering harmony, their singing truth."
But for the poet, the ability not only to tremble and tremble, but also to breathe and cry becomes evidence of the fullness of the being of nature. In Fet’s poems, the wind (“The sun will sink its rays into a plumb line ...”), the night (“My day rises like a miserable worker ...”), the dawn (“Today all the stars are so magnificent ...”), the forest ( “The sun will sink with its rays into a plumb line ...”), the sea bay (“Sea Bay”), spring (“At the Crossroads”), the wave sighs (“What a night! How clean the air ...”), frost (“September Rose ”), noon (“The Nightingale and the Rose”), the night village (“This is morning, this joy ...”), the sky (“It has come - and everything around is melting ...”). In his poetry, grasses are crying (“In the moonlight ...”), birches and willows are crying (“Pines”, “Willows and birches”), lilacs are trembling in tears (“Don't ask me what I'm thinking about ...”) , “shine” with tears of delight, roses cry (“I know why you are a sick child ...”, “It’s full of sleep: you have two roses ...”), “the night is crying with dew of happiness” (Do not blame me for being embarrassed. ..”), the sun is crying (“Here the summer days are diminishing ...”), the sky (“Rainy summer”), “tears tremble in the eyes of the stars” (“The stars are praying, twinkling and glowing ...”).