One of the central themes of A. Fet's poetry is the theme of nature. Fet's landscape functions can be said to be universal. Many poems are devoted to sketches of various states of Russian nature, ordinary and imperceptible, but as if seen for the first time. Preparing his poems for publication, Fet arranged them, subordinating the change of seasons (the cycles "Spring", "Summer", "Autumn", "Snow", "Evenings and Nights"). Nature gives birth to his inspiration in its most diverse manifestations - this is both a holistic picture of the universe (“Quiet starry night” (1842), “On a haystack ...”, and a tiny detail of the familiar and familiar world surrounding the poet (“Rye ripens over a hot field "(late 50s), "The swallows are gone ..." (1854), "The cat sings, squinting his eyes" (1842), "Bell" (1859), "The First Lily of the Valley" (1854), etc.).
In addition, nature is a fulcrum, a starting point, from
which begins both philosophical reflections on life and death, and the assertion of the immortal power of art, and a feeling of the regenerating power of love.
The world in Fet's lyrics is full of rustles, sounds that a person with
a less refined soul will not hear. Even "the breath of flowers has a clear language." He hears how “crying, the mosquito will sing, / The leaf will fall off smoothly”, as the buzzing of the cockchafer, which suddenly flew into the spruce, interrupts the buzz:
The rumor, opening up, grows,
Like a midnight flower
("I'm waiting, I'm filled with anxiety...")
(1886)
Say that the sun has risen
What is hot light
The leaves fluttered
Tell that the forest woke up
All woke up, each branch,
Startled by every bird
And full of spring thirst...
("I came to you with greetings...")
(1843)
world: juniper, firs standing on the edge. Warm and lively, the earthly light of a bonfire is closer and brighter for a suffering traveler than a distant and insensible luminary, indifferently illuminating everything around:
I forgot to think about the cold night, -
Warm to the bones and to the heart.
What was embarrassing, hesitating, rushed away,
Like sparks in smoke, flew away ...
The vast majority of Fet's poems have such ambiguity, expressiveness and depth, no matter what they say.
Sunbeams, with translucent leaves of blossoming birches, with bees crawling "into every carnation of fragrant lilac", with cranes screaming in the steppe. Let's look at the poem "I'm waiting, I'm surrounded by anxiety ...": I'm waiting, I'm surrounded by anxiety, I'm waiting here on the very path: You promised to come along this path through the garden. Crying, the mosquito will sing, A leaf will fall off smoothly ... Rumor, opening up, grows, Like a midnight flower. As if a string was broken by a Beetle, flying into a spruce; He hoarsely called his girlfriend Right there at the feet of a corncrake. Quietly under the canopy of the forest Young bushes are sleeping ... Oh, how it smelled of spring! .. It must be you! “The poem, as is often the case with Fet, is extremely tense, excited at once, not only because it is said about anxiety: this anxiety comes from the tension-inducing repetition at the very beginning (“I’m waiting ... I’m waiting ...”), and from a strange, seemingly meaningless definition - "on the way." But in this “self” there is also a limit, finiteness, as, for example, in the poem “The night was shining ...” - “The piano was all open ...”, where the word “all” brings bestowal to the end and the open piano here is like an open soul. The simple path "through the garden" has become the "way itself" with an already infinite ambiguity of meanings: fateful, first, last, the path of burned bridges, etc. In this maximally stressed state, a person sharply perceives nature, and, surrendering to it, begins to live like nature. “Hearing, opening up, grows Like a midnight flower” - in such a comparison with a flower there is not only a bold and surprisingly visual objectification of human hearing, a materialization that reveals its naturalness. Here the process of this very adaptation to the world of nature is conveyed (“Hearing, opening up, grows ...”). That is why the verses “He called his girlfriend hoarsely / Right there at the feet of a corncrake” already cease to be a simple parallel from the life of nature. This “hoarse” refers not only to the bird, but also to the person standing here, on the “very path”, already, perhaps, with an intercepted, parched throat. And it also turns out to be organically included in the world of nature: Quietly under the canopy of the forest Young bushes sleep ... Oh, how it smelled of spring! .. It must be you! This is not an allegory, not a comparison with spring. She is spring itself, nature itself too, organically living in this world. “Oh, how it smelled of spring!” - this middle line refers as much to her, young, as to young bushes, but this same line unites her and nature, so that she is like the whole natural world, and the whole natural world is like her "- such a reading of the poem in question we find at N.N. Skatova. In "Evening Lights" - a late collection of poems by Fet - the principle of organizing texts based on
Fet has a great variety of sketches, fractional and persistent development of the same theme in an endless chain of variants.
Following Tyutchev, together with him, Fet perfected and infinitely diversified the finest art of lyrical composition, building miniatures. Behind their seeming repetitiveness stands an infinite variety and diversity, an incessant lyrical counterpoint that captures the complexity of a person's spiritual life.
The first lily of the valley Feta consists of three stanzas. The first two quatrains are about the lily of the valley, which from under the snow asks for the sun's rays, which is pure and bright, the gift of a flaming spring. Further, the poet does not speak about the lily of the valley. But its qualities are overturned on the person:
So the maiden sighs for the first time
What is unclear to her,
And a timid sigh is fragrant
The excess of life is young.
This is Tyutchev's construction, subtly and cleverly perceived by Fet and mastered by him.
Of course, this is not imitation or borrowing. The common tasks of Russian philosophical lyrics, the spirit of the era, the affinity of creative manners play a decisive role here.
Not a thought, not a philosophical or social trend, Fet appreciates in Tyutchev's poetry, but the clairvoyance of beauty: So much beauty, depth, strength, in one word poetry! Fet defined the main scope of Tyutchev's aesthetic clairvoyance. If Nekrasov emphasized Tyutchev's deep understanding of nature, then Fet's work of the poet evoked an association with the night starry sky.
For Nekrasov, Tyutchev is connected with the earth, he knows how to convey its forms in plastic images. For Fet Tyutchev, the most airy embodiment of romanticism, he is a singer of midnight unearthly.
Tyutchev's entry into Fet's poetry, Fet's artistic comprehension of the beloved poet are expressed in his dedication in 1866. Spring has passed, the forest is darkening. Three out of four stanzas (first, third, fourth) are woven from Tyutchev's images and motifs: spring, spring streams, sad willows, fields, spring singer, midnight alien, spring call, smiled through a dream.
Conclusion
Together with Tyutchev, Fet is the most daring experimenter in Russian poetry of the 19th century, paving the way for the achievements of the 20th century in the field of rhythm.
Let's highlight their common features: the unity of aesthetic views; commonality of themes (love, nature, philosophical understanding of life); warehouse of lyrical talent (psychological depth, subtlety of feeling, elegance of style, polished language, super-sensitive artistic perception of nature).
Common for Tyutchev and Fet philosophical understanding of the unity of man and nature. However, in Tyutchev, especially in early lyrics, images associated with nature tend to be abstract, generalized, conventional. Unlike Tyutchev, in Fet they are more specific at the level of details, often substantive. This can be seen from the thematic similarity of the poems, the features of their construction, the coincidence of individual words, the features of the imagery of both poets, the symbolism of details in Tyutchev and their concreteness in Fet.
Comparing the lyrical works of Fet and Tyutchev, we can conclude that Tyutchev's poem always involves the reader's acquaintance with the poet's previous work, giving a synthesis of the author's figurative searches at the moment, however, it is open to associative links with new poems that can be created by the poet ; Fet's poem is like a record of one instantaneous experience or impression in a chain of experiences, it is a link in this chain that does not have a mutual beginning and end, but this piece of life is independent. Those. Fet does not have such obligatory associations with other poems as Tyutchev's.
So, let us summarize once again what signs, or qualities, of nature Tyutchev highlights, creating a poetic image of spring in his work. Colors interest him only to a small extent. Color epithets are laconic and, as a rule, unoriginal. They usually lack the main semantic load. On the other hand, verbs of motion usually play a big role in him, conveying the state of objects of nature. Auditory and tactile, tactile signs of the landscape come to the fore. Before Tyutchev, auditory images did not play such a role in any of the Russian poets.
For Fet, nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the connection of nature with human needs and human labor. He values the moment very much, strives to fix changes in nature and loves to describe a precisely defined time of day. In his work, the poetic image of spring is compared with experiences, the psychological mood of a person; in the spring cycle, Fet showed the ability to convey natural sensations in their organic unity.
In the lyrics of Fet, like Tyutchev, the poetic image of spring is inseparable from the human personality, his dreams, aspirations and impulses.
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