Everything that is not you is so vain and false,
everything that is not you is colorless and dead.
Alexey Tolstoy
In snow-covered Petersburg, in an almost snow-covered apartment (oh, those acquaintances to the resident post-Soviet space signs like the one that “if it’s badly heated, then spring is coming!”) An elderly woman lives married couple. Grigory Petrovich positions himself as a person with poor health and writing talent, therefore he sleeps under two woolen blankets and composes memoirs about his stay in the camp - regularly, four pages a day. Vera Andreevna is a teacher in the past who does not think of herself as anyone, but faithfully endures the whims of her husband and part-time jobs, because her son and grandchildren are in America, if he can help, then not immediately, but live, that is, live out like she herself is expressed, it is necessary today. The cold pushes to go to the market for a heater, and this event gives the unexpected joy of a chance meeting: Vera Andreevna finds there first exact copy a broken figurine of the border guard Karatsupa with a dog, and then - his first love, Alexei. Extremely ascetic scenery, interiors, costumes, nothing supernatural in the script, and meanwhile the prose of life, meanwhile, rhyming with the strength and sincerity of experiences, under the onslaught of the latter turns into poetry and is knocked out from under the snow of everyday life with a fragile white flower
From such a seemingly simple, uncomplicated melodramatic plot, Vitaly Melnikov builds the film history of an entire era from a frame-brick. The painting “The garden was full of the moon” is about those who survived military childhood in the evacuation, who will proudly keep his head in a hat with earflaps in the midst of haute couture design and decorate a modest room with decommissioned fabric, who is able to buy flowers for a penny pension. The linearity of the narrative is torn apart by memories, and they give the key to comprehending the love of two people carried through the years - just like in Simonov's play "Wait for me" they once played on stage. Shaded by men so different but equally dear to her, central figure in the film is Vera Andreevna. All her life, by her own admission, she lived for her husband, for her son, for students, for the public. “I am a case dative, a non-essential name, a passive participle, an urgent one, a sensitive name ...” Even now, when at the age of a little over seventy she surrenders to the will of her feelings and hears from a former student Nastya reproachfully: “This is my time to love,” she has to defend their right to be a man, a woman, to use the heart not only as a fibromuscular organ. And at the same time implement rare skill do not fall into selfishness and do not hurt loved ones, even for a minute thinking about yourself.
On trifles to be able not to exchange,
do not forget about feelings in the hustle and bustle,
to say goodbye forever, but not to part,
and wholeheartedly forgive and accept!
(Marina Tsvetaeva)
“The garden was full of the moon” was awarded the Special Silver “St. George” of the MIFF for the acting ensemble, and this is not a benevolent nod from the jury: Zinaida Sharko, Nikolai Volkov (junior) and Lev Durov played their heroes, as if they sang a romance in three voices, a line from which taken out in the name - romantic, light, elegiac. Durov, who usually reveals all facets to the maximum professional excellence in roles of an eccentric plan, and here it is inimitably organic, especially in the scene of a marital rebellion on a bench in the yard, reinforced by threats in the spirit of Tsvetaeva's "Rival", sprinkling snow on the head and eating it in order to quickly move to the best of worlds. Zinaida Sharko managed to show equal love for both men of her life, retaining both charm, warmth, and female coquetry in any situation: like a girl, fearful and delighted, she enters the arena of the night circus; accepts the bouquet on the first date, timid as a young girl. Nikolai Volkov, tall, awkward and restless, in a stand-up coat with a “specific smell”, is remarkable already when meeting Grigory Petrovich, taken out for the sake of a guest from behind a typewriter (“I am behind a typewriter” every time sounds no less emphatically significant than “ I'm driving" or "I'm driving a drawing board"), and even more so in lyrical episodes
So few films present us with stories of true love of those who are young by the internal fuse, and not by passport: "Next - silence", "Old-fashioned comedy", "Ginger and Fred", "One more year" - as if avoiding an awkward topic or taking as an axiom the statement: “No more dreaming of tenderness, of glory, everything has passed, youth has passed!” But neither poverty nor old age can be counted among the vices - much more immoral is indifference, misunderstanding, mental callousness or insincerity. I, you, him, her - a generation that chooses Pepsi and plastic surgery, mobile and living in a high-speed age - do not have time to stop, take hold of the wrinkled hand of a grandfather or grandmother, look into their eyes, listen. But tomorrow this opportunity may not present itself. A generation of noble old men is not necessary blue blood, intelligent and educated, unpretentious and delicate, who live next to us, gradually disappears, leaving black and white photographs, front-line songs, books, children, but, unfortunately, taking something forever with them forever. This is what the film is about - piercing, unfeigned, like memories of a landmark night in Fetov's poem. However, the heroes of the painting by Vitaly Melnikov do not go on a journey along the lunar road, like Pontius Pilate and Yeshua. The three of them skipping along the green field - to where "no sadness, no anxiety, no pain in the chest, as if whole life behind and only half an hour ahead”, where “there is no end to the sky; but there is no end to love.
The poem "The night shone ..." was created by A Fet under the impression of one musical evening in a circle of friends and is dedicated to Tatyana Andreevna Bers, in the marriage of Kuzminskaya, with whom Fet was at one time infatuated. The girl sang at this evening, as she was a wonderful singer, professionally engaged in music. Kuzminskaya - the sister of Leo Tolstoy's wife - became the prototype of Natasha Rostova in the novel War and Peace. Fet, hearing Bers singing one evening, told her: "When you sing, words fly on wings."
Below is an excerpt from the memoirs of T. Kuzminskaya "My life at home and in Yasnaya Polyana" about how the poems appeared.
“It was already dark, and the May moonlight fell in stripes on the dim living room. The nightingales, as I began to sing, shouted over me. For the first time in my life, I experienced this. As I sang, my voice, as usual, grew stronger, fear disappeared , and I sang Glinka, Dargomyzhsky and Bulakhov's "Kroshka" to the words of Fet. Afanasy Afanasyevich came up to me and asked me to repeat. The words began:
It just gets a little darker
I'll wait to see if the bell rings.
Come my sweet baby
Come sit in the evening.
Tea was served and we went into the hall. This wonderful, large hall, with large open windows in a garden illuminated full moon, disposed to singing. There was a second piano in the hall. Over tea, the conversation turned to music. Fet said that music affects him as much as beautiful nature and words win in singing.
Here you are now singing, I don’t know whose words, the words are simple, but it came out strong. 
And he proclaimed:
Why are you when you meet me
Do you gently shake my hand with melancholy?
And in my eyes with involuntary longing
Are you looking and waiting for something?
Marya Petrovna fussily approached many of us and said:
You will see that this evening is not will be in vain Govubchik Fet, he will write something that night.
The singing continued. Most of all I liked Glinka's romance: "I remember wonderful moment" and "To her" - also Glinka at the pace of a mazurka. Usually this romance was accompanied by Lev Nikolayevich and remarkably well. He said: "There is both grace and passion in this romance. Glinka wrote it when he was tipsy. You eat it well."
I was very proud of this review. He so seldom praised me, and more and more read moralizing. 
It was two in the morning when we parted ways. The next morning, when we were all sitting at tea round table, Fet entered, followed by Marya Petrovna with a beaming smile. They spent the night with us. Afanasy Afanasyevich, having greeted the elders, silently approached me and placed a piece of paper with writing on it, not even white, but, as it were, a piece of gray paper, near my cup.
This is for you in memory of yesterday's Eden evening.
The title was - "Again". It happened because in 1862, when Lev Nikolaevich was still a fiancé, he asked me to sing something to Fet. I refused, but I sang. Then Lev Nikolaevich told me: “You didn’t want to sing, but Afanasy Afanasyevich praised you. You love it when you are praised.”
Four years have passed since then.
Afanasy Afanasyevich, read your poems to me - you read so well, - I said, thanking him.
And he read them. This leaflet is still in my possession. These poems were printed in 1877 - ten years after my marriage, and now music has been written on them. The lyrics have been changed a little. Here is the text that was given to me:
AGAIN
The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are alone - love, that there is no other love,
And so I wanted to live, so that only, dear,
And many years have passed, languid and boring,
And in the silence of the night I hear your voice again.
And blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love,
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in caressing sounds,
Love you, hug and cry over you.
The writing
The poetry of Afanasy Afanasyevich Fet (Shenshin) is one of the recognized pinnacles of Russian lyrics. Fet is one of the most read poets. In the personality of the poet miraculously the two fit perfectly different person: coarse, lived hard life practitioner and inspirational, tireless singer of love and beauty. Fet's poetry is musical. Many of his poems are written in the tradition of romance. And the poem that will be discussed in this work is no exception. “The night shone. The garden was full of moonlight. They lay ... ”- a romance popular in the time of the poet, set to music. Thematically, Fet's lyrics are limited by the beauty of nature and female love, but the themes in his works do not play. significant role. Fet's poems are collections of incredibly expressive images.
The poem “The night shone, the garden was full of the moon. They lay...” is written about Tatyana Bers (married Kuzminskaya), sister of Sofya Andreevna Tolstaya. Fet heard Tatyana Bers singing one evening and told her: "When you sing, words fly on wings." Fascinated by inspired singing, the poet created his own poem, very lyrical, expressive and tender:
The night was shining, the garden was full of moonlight. Rays lay at our feet in a living room without lights. The piano was all open, and the strings in it were trembling, Like our hearts for your song.
This poem is remarkable for its surprisingly gentle rhythm and inspirational, subtle and precise images. Fet's accuracy and attention to detail is his undoubted talent. This poem, like all of Fet's poetry, is characterized by sound writing. Let's look at the first stanza. Soft, iridescent and as if flowing “l” prevail here: “the night shone”, “the garden was full of the moon”, “beams lay ...”, after which there is a transition to the rolls of “r”: “the piano ... is open” , "strings..., trembled". You can feel the transition from smooth to rising emotional stress. Amazing Ability write with sounds and gives Fet's poems such a musical sound.
The poem is based on images of the night, the moon and the piano. Darkness, light and music - this is the basis of this work. The image of the singer, her voice comes to the background. In this poem, one feels the unity of man with the world around him.
A moonlit night, a garden are inconceivable without a piano and the singer's voice. Just as in other conditions, that Tatyana Bers, whom the poet admired, would no longer exist. Fet's amazingly figurative poems fascinate with their game, their colors and precisely chosen words.
In Fet, in this poem, nature coexists with feelings: “Love you, hug and cry over you.” The quiet picture of the night garden is replaced by a contrasting image - a storm in the poet's soul: "The piano was all open ...". The poem is built on opposition. "Tedious and boring" life is opposed to "burning flour of the heart." The purpose of life for the poet is in a single impulse of the soul. In this work, the impetus for a spiritual storm was the singing of Tatyana Bers. In this poem, as in all lyrics, Fet creates his own world - a world of love, beauty and contrast - a quiet clear nature with mental anguish.
I would like to say that the poem “The night shone. The garden was full of moonlight, They lay...” strikes with its purity and penetration. His lines are permeated with admiration, admiration and the poet's passion for his world, the world of creativity, and everything that contributes to the fusion of creativity with reality, the birth of new poems. It seems to me that this poem will not leave anyone indifferent, it is able to penetrate the heart and touch the most hidden strings in the soul.
The romance “To love you, hug and cry over you” performed by Valery Agafonov is a diamond not only in his work, but in the entire culture of Russian romance. FROM full confidence it can be argued that best performance this romance does not yet exist.
This romance performed by Yevgeny Dyatlov (b. 1963), Andrey Svyatsky and Andrey Pavlov sounds very close to the masterpiece of Valery Agafonov.
In 1965, the poet and translator Anatoly Konstantinovich Peredreev (1932-1987) dedicated the following poem to his friend Vadim Valerianovich Kozhinov (1930-2001), a critic, literary critic and publicist:
How empty this night is, wherever you go,
How empty and deaf this city is at night...
It remains for us, my friend, only a song -
Tune the strings on your guitar
Tune the strings in the old way,
In which everything is in bloom and in full swing -
The night shone, the garden was full of moonlight.
And don't look that I don't sing along
That I covered my face with my hands,
I don't forget anything, my friend,
I remember everything that you have not forgotten.
Everything that is marked by fate
And so it sounds - to the heart and to the ear, -
That we can’t sing everything with you,
All is not lost, my friend!
Another string is stretched to the point of pain,
Still the soul is so unreasonably sorry
That beauty born in the open field,
The sadness of the one that breathes far ...
And dear Russian road
Still heard - do not even need words,
To disassemble from afar, far away
The familiar ringing of forgotten bells.
The feelings that the romance “The night was shining, the garden was full of moon” give rise to the soul of a Russian person, with that extraordinary beauty that can only be born on Russian Earth and can only be understood by a Russian person.
The history of this romance is quite well known, thanks to whose muse it is dedicated - Tatyana Andreevna Bers (1846 - 1925), the younger sister of Sofya Andreevna, the wife of Leo Tolstoy.
In 1867, Tatyana Andreevna married her cousin, lawyer Alexander Mikhailovich Kuzminsky, and at the end of her life she wrote her memoirs “My Life at Home and in Yasnaya Polyana”, where in chapter 16 “Eden Evening” she writes in particular:
“On one of May Sundays in Cheremoshna (Shchekinsky district of the Tula region) quite a lot of guests gathered: Maria Nikolaevna with the girls, the Solovyovs, Olga Vasilyevna, Sergey Mikhailovich Sukhotin, Dmitry Alekseevich’s brother-in-law, and Fet with his wife.
Dinner was formal. Porfiry Dementyevitch, having already placed his plate in front of Darya Alexandrovna, was busy at the table, never ceasing to speak with his eyes, since the lackeys were supposed to be mute.
Afanasy Afanasyevich enlivened the whole table with stories about how he was left alone, Maria Petrovna went to her brother, and he was hosting with a deaf, old housekeeper, a chukhonka, since the cook was on vacation, and taught her how to make spinach. And she puts her hands to her ear and repeats:
- I'm not listening.
Then I scream with all my might:
- Get out! And I make my own spinach.
All this Afanasy Afanasyevich presented with a serious look, in faces, while we all laughed.
I did not know him to have such ability to imitate. Dear Marya Petrovna looked tenderly at her husband and said: - Govubchik Fet is very lively today. Darya Alexandrovna, he likes to visit you in Cheremoshna.
After dinner, the men went to smoke in the office.
Marya Nikolaevna sat down in the drawing room to play four hands with Dolly. And we, some on the terrace, some in the living room, listened to music. When they finished, Dolly began to play my romances, and they made me sing. Since we were left alone women, I gladly fulfilled their request. As I remember now, I sang the gypsy romance "Tell me why", and suddenly I hear a second male voice- it was Dmitry Alekseevich. It was both pitiful and embarrassing to interrupt the singing. Everyone returned to the living room. We continued the duet. After graduating from it, I thought not to sing anymore and leave, but it was impossible, since everyone insistently asked me to continue.
I was afraid to sing in such a large company. I avoided it. At the same time, I was afraid of Fet's criticism.
After all, he heard so much good singing, good voices and I'm unlearned, I thought.
My voice trembled at first, and I asked Dmitry Alekseevich to sing along with me. But then he left me alone and only called one romance after another, which I had to sing. Dolly accompanied me by heart.
It was already dark, and the May moonlight lay in stripes on the half-dark living room. The nightingales, as I began to sing, shouted over me. For the first time in my life I experienced this. As I sang, my voice, as usual, grew stronger, my fear disappeared, and I sang Glinka, Dargomyzhsky and Bulakhov's "Kroshka" to the words of Fet. Afanasy Afanasyevich came up to me and asked me to repeat. The words began:
It just gets a little darker
I'll wait to see if the bell rings.
Come my sweet baby
Come sit in the evening.
Tea was served and we went into the hall. This marvelous, large hall, with large open windows overlooking the garden, illuminated by the full moon, was conducive to singing. There was a second piano in the hall. Over tea, the conversation turned to music. Fet said that music affects him as much as beautiful nature, and words win in singing.
- Here you are now singing, I don’t know whose words, the words are simple, but it came out strong. And he proclaimed:
Why are you when you meet me
Do you gently shake my hand with melancholy?
And in my eyes with involuntary longing
Are you looking and waiting for something?
Marya Petrovna fussily approached many of us and said:
- You will see that this evening will not be in vain for Fet, he will write something that night.
The singing continued. Most of all I liked Glinka's romance: "I remember a wonderful moment" and "To her" - also Glinka at the pace of a mazurka. Lev Nikolaevich usually accompanied this romance to me, and remarkably well. He said: “There is both grace and passion in this romance. Glinka wrote it when he was tipsy. You eat it well." I was very proud of this review. He so seldom praised me, and more and more read moralizing.
It was two in the morning when we parted ways. The next morning, when we were all sitting at the round tea table, Fet came in, followed by Marya Petrovna with a beaming smile. They spent the night with us. Afanasy Afanasyevich, having greeted the elders, silently approached me and placed a sheet of paper covered with writing, not even white, but, as it were, a piece of gray paper, near my cup.
- This is for you in memory of yesterday's Eden evening.
The title was "Again".
It happened because in 1862, when Lev Nikolaevich was still a fiancé, he asked me to sing something to Fet. I refused, but I sang.
Then Lev Nikolaevich told me: “You didn’t want to sing, but Afanasy Afanasyevich praised you. You love to be praised."
Four years have passed since then.
“Afanasy Afanasyevich, read your poems to me—you read so well,” I said, thanking him. And he read them. This leaflet is still in my possession.
These poems were printed in 1877 - ten years after my marriage, and now music has been written on them.
The lyrics have been changed a little. Here is the text that was given to me:
"AGAIN"
The night shone. The garden was full of moonlight. lay
That you are alone - love, that there is no other love,
And so I wanted to live, so that only, dear,
And blows, as then, in these sonorous sighs,
Love you, hug and cry over you.
I rewrote these 16 lines of Tolstoy's description of the evening.
Lev Nikolaevich liked the poems, and once he read them aloud to someone in my presence. Having reached the last line: “Love you, hug and cry over you,” he made us all laugh:
“These verses are beautiful,” he said, “but why does he want to hug Tanya? Married man...
We all laughed, how unexpectedly funny he came out with this remark.
A strange man was Afanasy Afanasyevich Fet. He often annoyed me with his selfishness, but maybe I was not right with him. I always, with young years seemed to be a man of reason, not of heart. His cold, spoiled attitude towards the dearest Marya Petrovna often made me angry. She, just like a caring nanny, treated him without demanding anything from him. He always remembered himself first of all. The practical and the spiritual were equally strong in him. He liked to talk, but he also knew how to be silent. Speaking, he gave the impression of listening to himself.
What impression could the singing of twenty-year-old Tatyana Andreevna have on Fet can be read from L.N. Tolstoy in the novel "War and Peace". the main character whom, "Natasha Rostov", Lev Nikolaevich, according to his own statement, wrote, including from Tatyana Bers.
“... When this unprocessed voice sounded with incorrect aspirations and with efforts of transitions, even expert judges did not say anything and only enjoyed this unprocessed voice, and only wanted to hear it again. In her voice there was that virginity, untouchedness, that ignorance of her strengths and that still unprocessed velvety, which were so combined with the shortcomings of the art of singing that it seemed impossible to change anything in this voice without spoiling it.
What associations were born in Fet's soul, under the enchanting influence of this virginal voice untouched by academicism, one can only guess. But the fact that the lines inspired by this singing are an undoubted parallel to Pushkin's "I remember a wonderful moment ...", many researchers of Fet's work consider it unconditional.
Both poems speak of two meetings, two strong, repeated impressions. “Two singing” by Tatyana Bers, experienced by Fet, and in combination gave that poetic impulse in which the personality of the singer, her singing, which conquered the poet, turned out to be inseparable from that favorite Fetov’s romance that sounded in her performance: “And here you are again” “And in the stillness of the night I hear your voice again.” Thus was born one of the most beautiful poems Feta about love and music - "The night shone ...", in which Fet's musicality received an impulse from Pushkin's lyrical motif, experienced and "spoken" by Tolstoy's heroine.
There is another parallel of Fet's poem with Pushkin's works. We are talking about the "Egyptian Nights" and the famous improvisation about Cleopatra. It starts like this:
The hall was beaming. Thundered in chorus
Singers at the sound of flutes and lyres...
The similarity with the beginning of Fet's poem is obvious: the same verb (“shone”), the same syntactic incompleteness of the first line, both here and there we are talking about music. There is also an idea that is common to the two works. The main character of Pushkin's story is the Improviser. In a burst of inspiration, he creates magnificent masterpieces that captivate and amaze the public. It is this uniqueness, momentary inspiration that breathes life into the lines. After all, life is just as fleeting. Not a single minute is repeated twice. Each of them is unique. We see the same thing in Fet's poem, as well as in Tolstoy's description. It is the improvisation, the uniqueness of the sound that captivates the listener. This is what makes Fet even four years later remember his performance that delighted him so much. It reflected the very essence of life, which is improvisational at its core.
Fet's poem "Again" is one of the most clear examples philosophical lyrics poet. It reflected not only specific event that struck the author, but also his view of nature and man as an inseparable unity. The poem, referring to Pushkin's lines, speaks of the absolute value of every moment, of the uniqueness of every minute lived.
The fact that between the writing of the poem itself and its publication was enough long interval time, there is reason to believe that the first publication was not in 1877, but in 1883, due to the fact that Fet continued to work on the poem, which was reflected in the correspondence with Lev Nikolaevich.
Autograph-notebook options (in square brackets draft versions rejected by the author are enclosed.).
First line:
“[Reigned] night. The garden was full of the moon, - they were lying ”(the final version of the line is the same as in the printed text);
Variant of the sixth line (in a letter to Count L.N. Tolstoy):
“That you are one love and there is no other love.”
The first version of the seventh line:
“And so I wanted to live, so that forever, dear”; the second - “And so I wanted to live, so that only, dear” (this option is also contained in the autograph from the letter to Count L.N. Tolstoy”);
Eleventh line:
“And [is heard again] in these sonorous sighs” (the final version of the line is the same as in the printed text);
Fifteenth line:
“As soon as you believe in caressing sounds” (this option is contained both in the autograph-notebook and in the letter to Count Leo Tolstoy).
(See options in the edition: Fet A.A. Evening lights. S. 442).
Thus, the first version of the poem looked like this:
Night reigned. The garden was full of moon, - lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are one love and there is no other love,
And so I wanted to live, so that forever, dear
Love you, hug and cry over you.
And many years have passed, languid and boring,
And in the silence of the night I hear your voice again.
And [is heard again] in these sonorous sighs,
That you are alone - all life, that you are alone - love,
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in caressing sounds,
Love you, hug and cry over you.
As you can see, it is somewhat different from the one that Tatyana Andreevna cites in her memoirs. Most likely, by the time she wrote her memoirs, Fet's note had been lost by her and she reproduced his version, edited by the author, from some printed publication.
Today there is an opinion that this poem was written on August 2, 1877, although Tatyana Andreevna unequivocally points to 1877 as the year of its first publication 11 years after her marriage.
The events she describes in The Evening of Eden took place on the eve of a letter sent by Tolstoy describing both the poem and the evening itself. According to her, Tolstoy answered him on May 25, 1866. If Tolstoy at that time was in Yasnaya Polyana, then the interval between letters could be from three to seven days. Therefore, "Eden's Evening" took place between May 18 and 22.
Tatyana Andreevna clarifies that the evening took place on Sunday. In May 1866, Sunday fell on the 6th, 13th, 20th, and 27th. Therefore, the poem "Again" was written on May 20, 1866.
Unfortunately, the composer who set Fet's wonderful words to music is less well known, and which today is considered the best musical embodiment of this romance. According to the surviving publication of 1911, only his name is known - Nikolai Shiryaev. None biographical information about him today, unfortunately not.
Other composers also wrote music for this poem: B.V. Grodzky (1891), A.N. Alferaki (1894), G.E. Konyus (1898), M.N. Ofrosimov (1901), E.B. Vilbushevich (1900s), but they could not convey the musical mood of Fetov's lines in the way that Shiryaev did, and therefore turned out to be not in demand today.
Valery Agafonov performed this romance in the musical arrangement of Nikolai Shiryaev.
In this performance, the talents of three people miraculously merged, endowing us with an inexhaustible source of a sense of beauty, sublime, and enduring. This romance performed by Valery Agafonov, I think, for a long time will remain the unconquered pinnacle of RUSSIAN ROMANCE.
The theme of love sounded bright in the poem related to Fet’s late lyrics “The night shone. The garden was full of moonlight. They lay down…”. This poem was written on August 2, 1877. It is dedicated directly to music and singing, and therefore the author refers it to the Melodies cycle.
The poem “The night was shining ...” was created by the poet under the impression of one musical evening with friends and is dedicated to Tatyana Andreevna Bers, in the marriage of Kuzminskaya, whom Fet was at one time infatuated with. The girl sang at this evening, as she was a wonderful singer, professionally engaged in music. Kuzminskaya - the sister of Leo Tolstoy's wife - became the prototype of Natasha Rostova in the novel War and Peace. In episodes of Tolstoy's novel and in Fet's poems, we can hear the sounds of her singing:
For Fet lyrical heroine- the earthly embodiment of the beauty of life, its high "sound".
AT this poem the image of love dominates - memories to which time is not subject:
And many years have passed, languid and boring,
And in the silence of the night I hear your voice again ...
A.A. Fet uses past tense verbs (“sang”, “many years have passed”, “strings trembled”), because old love- this is just a memory that left a bright mark on his life. The poem is overflowing with the feelings of the author. It has power lyrical experience, and to some extent the author even reproaches himself for the fact that for a long time he could not find a place for himself, could not think of anything other than T. A. Bers:
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal ...
For Fet, love is the only content human being, the only faith. A rush of passion is felt in the poem “The night shone. The garden was full of moonlight. They lay down…”.
At the beginning of the poem quiet picture night garden contrasts with the storm in the soul of the poet: The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
Nature and love are interconnected in Fet's poems. These concepts are related, and they express the essence of being. When these concepts merge into a single whole, primordial beauty is born.
The beginning of the poem is very expressive: "The night was shining." This is an oxymoron, because the night is dark, black, given stylistic device underlined by inversion: the predicate precedes the subject.
This is an extraordinary night, festive, bright from the moon. A. A. Fet is the singer of the night, illuminated from the inside, harmonic, trembling with myriads of lights. “The night shone” is a typical Fetov phrase.
The living room in the poem is a continuation of the garden: "The rays lay at our feet in the living room without lights." The first stanza does not so clearly define the motive for remembering a long-past feeling.
The poem "The night shone ..." is filled sound repetitions. They are perceived by Fet as a phenomenon of beauty in poetry. Sonorants in Russian, in particular "r" and "l", are the most sonorous, melodious consonants. It is on repeated sonorants that the sound image is built in the poem, and it supports, emphasizes the pictorial image. The poem “The Night Shone,” like many other poems by Fet, is distinguished by its harmony of tone and harmony of composition. One follows from the other, the next continues and develops the previous one. The lyrical narration goes on growing: the feeling for the semantic outcome grows. This kind of verse composition makes a particularly strong impression.
survived true love Nevertheless, Fet is not devastated, and all his life he kept in his memory the freshness of his feelings and the image of his beloved. And the motive of suffering, tears, crying, sobbing sharpens the sense of life and beauty:
You sang until dawn, exhausted in tears,
That you are alone - love, that there is no other love,
And so I wanted to live, so that, without dropping a sound,
Love you, hug and cry over you.
The poem often repeats the word "love" and "love", which speaks of main topic works. Love is life, and there is nothing more important in the world than this feeling. The desire to love is emphasized by the refrain: "Love you, hug and cry over you." Time in the poem is psychologized: the moments of true being are highlighted, there are few of them, in contrast to the “tedious and boring” years.
The final stanzas of the poem are meaningful and compositionally significant. The last stanza is compositionally parallel to the second, containing a poetic idea: That there are no offenses of fate and hearts of burning torment,
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
The stanza, built on negation, ends with a verbatim repetition of the second stanza. Only the punctuation mark has changed: the period gives way to an exclamation.
An open piano, trembling strings, open hearts– the metaphorical meaning of words clearly replaces the nominative one. The author uses the personification: "rays flew." He animates nature.
The poem "The night shone. The garden was full of moonlight. They lay…” written in iambic six-foot, quatrains with alternating female (“lying - trembling”) and male (“fires - yours”) rhymes. The poem is written in long lines, with an abundance of vocalisms: "You sang until dawn, exhausted in tears ...". These long lines sound drawn out, as if they are being sung.
The lyrics are very melodic. It is no coincidence that many of Fet's poems have become wonderful romances, in particular, “The night shone. The garden was full of moonlight. They lay down…”. A. A. Fet's poem served as excellent material for the romances of many Russian composers: Tchaikovsky, Rachmaninov ... According to Saltykov-Shchedrin, Fet's romances "are sung by almost all of Russia." The modern performer, bard Alexander Sukhanov, in one of his songs, quotes Fetov's beautiful lines: “The night shone. The garden was full of moonlight.
poetic world poems are romantic and original. This work is an extraordinary power of penetration into the element of feelings of love.
love lyrics A. A. Feta makes it possible to better understand his general philosophical, as well as aesthetic views, look into the world of his soul and experiences. I want to turn to his melodic poems again and again, to be filled with them, to let this simple beauty into my soul, to become better, richer and spiritually purer from high fellowship with the creations of the master.
