Material overview
Material overview
Target: to make a comparative artistic analysis of the poems of the poets of "pure art" F.I. Tyutchev and A.A. Feta.
Tasks:
Identification of figurative and expressive means; repetition of literary terminology (tropes and stylistic figures, literary trends);
Development of artistic taste;
Raising a love for the artistic word.
Equipment: projector, multimedia presentation, text of poems, musical accompaniment.
Course progress.
I. Organizing time.
II. BiographyF.I. Tyutchev and A.A. Feta. Students' messages accompanied by a multimedia presentation.
1. Fedor Ivanovich Tyutchev (1803 - 1873).teacher's wordaboutthe work of the poet.
Pmemory of Tyutchev (1873)
Not at a simple home fire,
Not in the noise of secular phrases and the bustle of the salon
We do not forget him, a gray-haired old man,
With a caustic smile, with a benevolent soul!
With a lazy tread he walked the path of life,
But thought I embraced everything that I noticed on the way,
And before the sleep of the grave to rest,
He was as pure as a dove and as bright as a baby.
Arts, knowledge, events of our days, -
All the correct response in him woke up inevitably,
And a word thrown at facts and people,
He laid eternal brands carelessly...
Do you remember him among his friends?
How thoughts poured unexpected, alive,
How we forgot to the sound of his speeches
And the evening lasted, and the years lived!
There was no malice in him. When did he say
Laughing caustically at life or age,
That very laugh of his reconciled us with life,
And his bright face reconciled us with a man!
A. N. Apukhtin
The poems of Mr. F. T. belong to a few brilliant phenomena in the field of Russian poetry. G<-н>. F. T. wrote very little; but everything written by him bears the stamp of a true and beautiful talent, often original, always graceful, full of thought and genuine feeling ...
The main advantage of Mr. F. T.'s poems lies in the lively, graceful, plastically correct depiction of nature. He passionately loves her, understands perfectly, the most subtle, elusive features and shades of her are available to him, and all this is perfectly reflected in his poems ...
N. A. Nekrasov. Russian minor poets. 1850
In our eyes, no matter how offensive it may be to the vanity of his contemporaries, Mr. Tyutchev, who belonged to the previous generation, stands decisively above all his brothers in Apollo. It is easy to point out those individual qualities that surpass him among the more gifted of our current poets: the captivating, although somewhat monotonous, grace of Fet, the energetic, often dry and harsh passion of Nekrasov, the correct, sometimes cold painting of Maykov; but Mr. Tyutchev alone bears the stamp of that great epoch to which he belongs, and which was so vividly and strongly expressed in Pushkin; in him alone one notices that proportionality of talent with itself, that correspondence with the life of the author - in a word, at least part of what, in its full development, is the hallmarks of great talents.<...>
His talent, by its very nature, is not addressed to the crowd and does not expect feedback and approval from it; In order to fully appreciate Mr. Tyutchev, the reader himself must be endowed with a certain flexibility of understanding, a certain flexibility of thought that does not remain idle for too long.<...>Mr. Tyutchev can tell himself that, in the words of one poet, he created speeches that are not destined to die, and for a true artist there is no higher reward than such consciousness.
I. S. Turgenev. A few words about the poems of F. I. Tyutchev. 1854
Passionate love for life and constant anxiety, ultimately due to the tragic perception of reality, form the basis of Tyutchev's worldview ...
Tyutchev is a poet-thinker par excellence.
K. V. Pigarev. F. I. Tyutchev and his time. 1978
Afanasy Fet, who saw in Tyutchev "one of the greatest lyricists that existed on earth," spoke with remarkable accuracy about the striking dual unity embodied in Tyutchev's work:
Yes, everyone who enters with heart and mind into the lyrical world of Tyutchev cannot but be struck by this almost supernatural fusion of the truly universal power of the spirit and the utmost refinement of the soul. The fusion of these seemingly incompatible properties determines, in particular, the indispensability and absolute value of Tyutchev's voice in world lyrics.
V. V. Kozhinov. Tyutchev. 1988
Carefully read the above statements of famous poets, critics, literary critics about Tyutchev the artist and his poetry.
What idea do you get after reading these reviews about the personality of the poet himself, his spiritual world?
2. From the biography of the poet.
After a long, long winter, when the snow is still “whitening” in the fields, and the first larks are already singing in the sky, the lines familiar from childhood and so dear to the heart are involuntarily recalled:
Spring is coming, spring is coming
And quiet, warm May days
Ruddy, bright round dance
Crowds fun for her!
These poems were written more than a hundred years ago by the poet Fyodor Ivanovich Tyutchev, and we are reading them now, and it seems to us that only with such simple, precise and sincere words can we talk about spring, about the first thunderstorms, about the transparent days of the “original autumn” - about our native Russian nature.
Tyutchev was born and raised in a village, on his father's estate near the village of Ovstug, Oryol province. Early on he learned to love nature and to "breathe one life with nature," as he later said. When the boy was ten years old, a teacher was invited to him - Semyon Yegorovich Raich. Raich became very attached to his student, and it was impossible not to love him. He was an affectionate, calm, very talented boy. Raich - a well-educated man, a poet, a translator - was the first to awaken in his student a love for poetry. He taught him to understand literature, encouraged his desire to write poetry.
At fifteen, Tyutchev was already a student at Moscow University. In his eighteenth year, he graduated from the university with honors and a few months later left to serve in the Russian embassy abroad.
For twenty-two years he lived in foreign lands, far from his homeland, but he did not stop thinking about her, dedicating his poems to her. “I loved my fatherland and poetry more than anything in the world,” Tyutchev wrote in one of his letters from a foreign land.
But Tyutchev hardly published his poems, and for a very long time his name as a poet was unknown in Russia. One day, one of Tyutchev's friends gave Pushkin a notebook of his poems. Pushkin liked the poems very much, and he published them in the Sovremennik magazine, which he then published.
This was in 1836. Since then, Tyutchev's poems began to appear in Sovremennik, which was then widely distributed throughout Russia. And they came out as a separate book only in 1854. The book was small, modest; there were only a hundred poems in it, but everyone immediately started talking about it - such beautiful poems there were.
Tyutchev left us a small literary legacy - a little more than three hundred poems. But, as the poet Afanasy Afanasyevich Fet rightly said, Tyutchev's small book of poems was "many heavier volumes."
3. The creative path of Afanasy Afanasyevich Fet (1820 - 1892).
Poems captivating Fet.
A. Zhemchuzhnikov
Afanasy Afanasyevich Fet is an outstanding lyricist of the 19th century, a talented publicist and translator. His poems were admired by N.A. Nekrasov and I.S. Turgenev, L.N. Tolstoy and M.E. Saltykov-Shchedrin; A.A. Blok considered Fet his teacher. P.I. Tchaikovsky highly appreciated the poet, who "managed to step into the field of music." On Fet's poems, the largest Russian composers wrote many magnificent romances: “The garden is all in bloom” (A. Arensky), “Your luxurious wreath is fresh and fragrant” (N. Rimsky-Korsakov), “In the invisible haze” (S. Taneev) , “I won’t tell you anything ...” (P. Tchaikovsky), “Don’t wake her up at dawn ...” (A. Varlamov) and others.
His contemporary, the poet A. Zhemchuzhnikov, very accurately said about the significance of the work of A. A. Fet:
In memory of Shenshin-Fet
He is in the world of dreams and dreams,
Loving the play of rays and shadows,
Noticed the fugitive features
elusive sensations,
Irresistible beauty.
And let him in old age
Changed capricious names
Now a publicist, then a poet -
Redeem Shenshin's prose
Poems captivating Fet.
What is the "charm" of Fet's poems? Why is his fate called both happy and sad at the same time?
The poetic world of Fet
Mr. Fet's motives sometimes contain such subtle ... one might say, ethereal shades of feeling that it is impossible to catch them in certain distinct features, and you can only feel them in that inner musical perspective that the poem leaves in the soul of the reader ... And the work itself and its content have long been forgotten, but its melody mysteriously merged with the general life of our soul, intertwined with our spiritual organism.
V. P. Botkin. Russian literature. A. A. Fet. 1857
In the family of minor Russian poets, Mr. Fet undoubtedly belongs to one of the prominent places. Most of his poems breathe the most sincere freshness, and almost all of Russia sings his romances.<...>If, with all this sincerity, with all the ease with which the poet wins the hearts of his readers, he must still be content with the modest share of a secondary poet, then the reason for this, it seems to us, lies in the fact that the world, the poetic reproduction of which Mr. Fet is rather cramped, monotonous and limited.
M. E. Saltykov-Shchedrin. Review of the collection of poems by Fet. 1863
Fet in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our area.<...>This is not just a poet, but rather a poet-musician, as if avoiding even those topics that can easily be expressed in words.
P.I. Tchaikovsky - to Konstantin] R[omanov].
Artistic creativity is the most amazing, the most incomprehensible, the most mysterious secret ... You are eager to penetrate the secret of creativity<...>into a mysterious laboratory in which a whole vital phenomenon was transformed into a completely alien sound, paint, stone. Hurry up to ask the artist, who has not yet cooled down over his inspired work. Alas! No answer! the secret of creativity for him remained an impenetrable mystery.
A. A. Fet. Two Letters on the Significance of Ancient Languages in Our Education. 1867
In Fet's lyrics - moreover, precisely in its highest samples - almost no whole "objects" of artistic vision are recreated (but only "details" of these objects). In Fet's poems, we do not see a certain natural world, relief human characters (including even the character of the lyrical hero, that is, ultimately the poet himself), significant events. In the poet's lyrics, in essence, only the states and movements of the human spirit are embodied.
V. V. Kozhinov. Poetry and the fate of Afanasy Fet. 1981
As a poet-thinker, Fet is distinguished by lyrical tenderness and lyrical courage. He is gentle, like the morning awakening of a youth, and bold, like a thought that has seen the life of a sage. Entering the realm of the most subtle and mysterious, the realm of human experiences, Fet reveals their nature, gives a sequence of motivations, he feels what is important for a lyric thinker - he anticipates.<...>
Ultimately, the main thing in Fet's poetry is its high humanity. Modern Russian lyrics have experienced the unconditional influence of Fet, as evidenced, first of all, by the work of our various poets, as well as their confessions.
L. A. Ozerov. "That which is eternal is human." 1995
What assessments are closer to your impression of acquaintance with Fet's poetry? Motivate your opinion.
The beginning of life. Afanasy Afanasyevich Fet (1820-1892). Fet's mother, Carolina Charlotte Fet, left Germany in 1820 with the Russian nobleman Afanasy Neofitovich Shenshin. Soon Athanasius was born, whom Shenshin adopted. The real father of the future poet, Johann Feth, is an official who served in the court of Darmstadt. For these reasons, the Oryol Spiritual Consistory excommunicated the future poet from the Shenshin family. The surname and the title of nobility were taken away. The short surname Fet brought her to the owner "the most severe moral torture" (the surname Fet became Russified and began to sound like Fet).
The poet sets a goal - to return to the noble bosom of the Shenshins - and achieves it with fantastic perseverance. (From 1873, with the permission of Alexander II, Fet became a nobleman Shenshin.)
Education. He studied in the German city of Verro in a boarding school, began to compose poetry.
In the autumn of 1838, Fet became a student of the verbal department of Moscow University. Eighteen-year-old Athanasius began to write poetry uncontrollably and met Apollon Grigoriev, also a student, who was burning with a passion for poetry. Friends together prepared for publication the first "student" collection of Fet's poems, which was published under the initials "A. F." Already the next collection appeared in the magazine under the name "A. Fet.
Literary critics believe that the letter "e" turned into "e" in the poet's surname through the fault of the typesetter.
Fet graduated from the University in 1844. He did not hide his poetic passion, on the contrary, he sought to gain popularity.
Creative debut- collection "Lyrical Pantheon" (1840). Poems on the pages of the magazines "Moskvityanin" and "Notes of the Fatherland". The poet, according to Fet, is a crazy and good-for-nothing person, babbling "divine nonsense." But Fet's poems, this "divine nonsense", made an indelible impression on N. V. Gogol and V. G. Belinsky.
Military service. Fet return the title of nobility and surname. The poet uses military service in the Kherson province to train the will and develop unshakable perseverance to achieve the goal in the shortest possible way. Serves firmly and consistently.
A cycle of love poems. The poet dedicated most of his love poems to his beloved Maria Lazich, whom he met in 1848. But Fet did not marry the girl, as he saw in marriage "a significant obstacle to career advancement." The poet did not suspect at all that after the death of Mary, when he reached fame and all the heights of well-being, the unforeseen would happen: he would rush from the happy present to the past, in which his beloved girl remained forever. The predominant tone of Fet's love lyrics is tragic.
Poems about nature. The collection "Evening Lights" is an extraordinary creative take-off by A. A. Fet.
A cycle of poems "about nature", "Spring", "Summer", "Autumn", "Sea". Dissolving in the natural world, plunging into its most mysterious depths, the lyrical hero Fet acquires the ability to see the beautiful soul of nature.
Fet is attracted by nature in its variability, constant change of states, and he rejoices in every small, “momentary” manifestation of life, which in a moment will turn out to be different. He is attracted by the uniqueness and trepidation of these moments.
Prose works of Fet. From 1862 to 1871 in the journals "Russian Messenger", "Dawn" and others, two of the largest prose cycles of Fet were published: "From the Village", "Notes on Free Labor". This is "village prose": the cycles consist of stories, essays, short stories. The main meaning of prose is the "protection" of one's landlord economy and the assertion of the idea of the advantage of free hired labor.
Fet's poetry and prose are artistic antipodes. According to Fet, prose is the language of everyday life, and poetry is the life of the human soul and nature.
The final stage of Fet's poetic work (1870-1892). If earlier the poet in his poems found "peace of mind and delight, now she worries and torments him."
Four collections "Evening Lights" (1883, 1885, 1888, 1891). All the lyrics of these collections are permeated with the feeling that the world is, as it were, “breaking into pieces”, having lost its “sharpness”. More and more anxiety, pain and confusion appears in Fet's poems.
“In the evening so golden and clear” (1886), “Bending the living boat with one push” (1887), “Never” (1879), “The azure night looks at the mowed meadow ...” (1892).
Translation activity. Fet translates ancient poets, as well as the works of Goethe, Schiller, Heine, Byron, Shakespeare's tragedies and others. In translation strives for accuracy. “Of course, I translate literally,” Fet writes in a letter to V.S. Solovyov.
A. A. Fet is a poet of "pure art". Fet constantly emphasized that poetry should not be connected with life, and the poet should not "argue", interfere in everyday affairs, in his words, "the poor world."
Thus, he did not touch upon issues of public life in his poems. Fet “never could understand that art was interested in anything other than beauty,” and acted as a defender of “pure art” (like his like-minded people in their views on art: V. P. Botkin, A. V. Druzhinin, Ya. P Polonsky, A. N. Maikov and others). The poet sought to oppose art to reality. Turning away from the tragic sides of reality, from those questions that painfully worried his contemporaries, Fet limited his poetry to themes:
a) homeland; b) nature; c) love; d) poet and poetry (art).
The themes of homeland and nature are "inseparable". Fet knew how to "humanize" Russian nature, to find in it an echo of his moods.
Love in the image of Fet is the personification of sadness, anxiety, and light joy. Love lyrics are rich in shades, tenderness and warmth.
Fet has many poems about art, about the role of a poet and poetry: “With one push to drive a living boat ...”, “On a haystack at southern night ...” and others. Art, according to the poet, should not be connected with life. The poet wrote:
Inevitably,
To the world of aspirations
Passionately, tenderly
worship
hope
And prayers;
Easily
I feel joy
With a splash of wings
I do not want
fly in
your battles.
Indeed, Fet's poetry is the poetry of allusions, conjectures, silences. Poems are lyrical miniatures, with the help of which the poet conveys "the barely perceptible experiences of a person who is organically connected with nature."
What struck contemporaries in the actions and character of Fet?
Duality: Fet is a heartfelt lyricist and admirer of beauty in all its manifestations, and Fet is a cruel and prudent owner, a fierce defender of landlord interests.
III. Comparative analysis of F.I. Tyutchev and A.A. Feta. Landscape poetry.
1.
F. Tyutchev
Autumn evening
There is in the light of autumn evenings
Sweet, mysterious charm;
Sinister brilliance and variegation of trees,
Bagryanykh leaves heavy, light rustle,
Foggy and quiet azure
Above the sad orphan earth,
And, like a premonition of descending storms,
gusty, cold sometimes the wind
Damage, exhaustion - and on everything
That meek fading smile,
What in a rational being do we call
divine the shame of suffering. 1830
A. Fet
* * *
I came greetings to you
Tell that the sun got up,
What is it hot light
By sheets fluttered;
Tell that forest woke up,
Whole woke up, branch of each,
Every bird startled
And full of spring thirst;
Tell that with the same passion
Like yesterday, came me again
That the soul is still the same happiness
And you serve ready;
Tell that from everywhere
fun on me blows,
What Don't know himself that I will
Sing- but only a song ripens.
1843
What do these poems have in common (theme, main idea, pathos, main artistic device)?
These poems are connected by a common artistic device - psychological parallelism. Both works include landscape sketches, but they are very different, and not only because Tyutchev writes about autumn, and Fet about spring or summer.
Each of these poems has one sentence. For Tyutchev, this is a single, holistic picture of the withering of nature. The description of nature is enriched with many epithets. It is the epithets that create the solemn and tragic image of autumn. The lyrical hero of Tyutchev, admiring the beauty of autumn withering, likens it to human suffering. In the last line, the bashfulness of human suffering is called divine. The suffering of man is as majestic as the sad changes in God's world. The lyrical hero looks at the world from the outside, he observes, analyzes and compares the phenomena of life.
One poem is replete with epithets (highlight them), the other - with verbs (what are these verbs? Why is one verb repeated several times?). What effect does this create?
It is interesting that in Tyutchev's poem there are only two verbs, one of which is inconspicuous, insignificant - there is. The second - we call - sums up, names, fixes the meaning of what was said. The poem is written in the form of an elegy - it is always sad to think about autumn and suffering, but an interlocutor is not needed for reflection.
In which poem does the lyrical hero participate in the common life on earth, and in which - as if looking from the side?
Try to color the verses, paying attention to the words that have their own color. Which of the poems is more colorful and why? How does this relate to the content of the text?
Which poem is written in the form of a message (address to another person), and which is in the form of an elegy (sad reflection)? Why was this form chosen?
Comparing these poems, we see the amazing poetic skill of the two Russian poets. Using psychological parallelism as the main technique, referring to the pictures of nature, Fet creates a picture of the state of the lyrical hero in unity with the state of nature. His lyrical hero is part of God's world. Tyutchev, on the other hand, uses pictures of nature to compare with the human condition in general. It is no coincidence that the pronoun I is not in the poem. We are, that is, people in general. The lyrical hero of Tyutchev is an observer, analyst, thinker.
2. Comparative analysis of poems F. Tyutchev and A. Fet. Love lyrics.
Here are the texts of two poems. Read them carefully, compare, then write down your observations.
What do these poems have in common? To answer this question, color-code: words denoting time; descriptions (landscape, portrait); feelings, sensations of the lyrical hero, condition, feelings of the girl.
What images and how are created in Tyutchev's poem (female image, image of a lyrical hero, landscape, time)?
What relationship connects the lyrical hero and the girl? Does it matter?
For what purpose does the poet persistently pay attention to the signs of the fading day?
Compare the epithets used in the first two lines of the third stanza.
What is this antithesis used for?
What lines express the main idea of the poem?
What mood (pathos) is it imbued with?
What can be said about the lyrical hero of the poem?
What image in the poem is dominant (most important)?
What images and how are Fet created (female image, image of a lyrical hero, landscape, time)?
Which one is dominant (dominant)?
What pathos is imbued with a poem?
Compare the results of the analysis of poems and draw a conclusion about the features of the lyrics of the two poets.
F. Tyutchev
* * *
I remember the golden time
I remember a dear edge to my heart.
The day was evening; we were two
Below, in the shadows, the Danube rustled.
And on the hill, where, whitening,
The ruin of the castle looks into the distance,
You stood, young fairy,
Leaning on mossy granite,
Infant foot touching
The wreckage of a pile of centuries;
And the sun lingered, saying goodbye
With the hill and the castle and you.
And the evening is quiet in passing
Played with your clothes
And from wild apple trees color by color
He hung on the shoulders of the young.
You looked carelessly into the distance ...
The edge of the sky is smoky extinguished in the rays;
The day was fading; sang louder
River in the faded banks.
And you with carefree gaiety
Happy seeing off the day;
And sweet fleeting life
A shadow passed over us.
1836
A. Fet
* * *
When my dreams are beyond the past days
They will find you again behind the foggy haze,
I cry sweetly like a Jew
On the edge of the promised land.
I don’t feel sorry for children’s games, I don’t feel sorry for quiet dreams,
By you so sweetly and painfully indignant
In those days when I comprehended the first love
By the revolt of restless feelings,
By the grip of the hand, by the reflection of the eyes,
Accompanied by sighs, then laughter,
By the murmur of simple meaningless speeches,
Only us sounding passions echo.
1844
Both of these poems are memories of a happy past, associated with the image of a girl. And that's probably the only thing they have in common.
In Tyutchev's poem, a large place (four and a half out of six stanzas) is devoted to description: landscape and portrait. The place, time of year and time of day are clearly indicated. The picture is picturesque, but the lyrical hero seems to be admiring it from the outside, and we don’t know what kind of relationship connects him with his young companion, but this, apparently, doesn’t matter: the hero’s feelings are not named, and the girl is carelessly cheerful not because she is in love or flirting with the hero - she's just very young.
The whole poem is built on antitheses: a high bank - a river below, the sun is still above - the banks have already faded below, a century-old pile of stones - an infant girl's foot. The river, the stones, the sky - all this exists for a long time. Human life is short and fleeting, its joys go away as quickly as the sun goes below the horizon, as apple trees fade and crumble.
There are three planes of time in the poem: the motionless "golden time" of this meeting on the banks of the Danube, the motionless present ("I remember") - the time of recollection and imperceptibly flying time, the transience of which the lyrical hero feels.
The main idea of the poem is formulated in the last two lines. Remembering the events of a distant fading day on the banks of the Danube, the lyrical hero sadly thinks about the transience of human life. The image of time dominates the poem. The motives of love, nature are necessary for Tyutchev for philosophical reflections on life in general.
In the first stanza of Fet's poem, there are two planes of time: past and present. The gap between them is strengthened by the biblical motif in comparison. Everything else is memories of feelings given to the lyrical hero by first love. Fet is an impressionist, a poet of sensation.
3. Aboutfeatures of the love lyrics of Nekrasov, Pushkin, Tyutchev, Fet.
“Clip Consciousness” is a frantic pace, changing bright frames, fixing individual pictures to create a general impression. Let's make several poems “speak” with the help of color at once.
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Compare four poems by different authors. |
Artistic analysis of poems |
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A. S. Pushkin BURNED LETTER Goodbye love letter! goodbye: she said... How long have I lingered! how long did not want The hand to set fire to all my joys! .. But enough, the time has come. Burn, love letter. I'm ready; my soul does not listen to anything. Already the greedy flame accepts your sheets ... Just a minute!.. flared up! blaze - light smoke, Waving, lost with my prayer. Having lost the impression of the faithful ring, The melted sealing wax boils... O providence! It's done! Dark curled sheets; On light ashes their cherished features They turn white ... My chest was shy. Ash dear, A poor joy in my sad fate, Stay a century with me on a woeful chest... 1825 |
1. Retell the poem. What event is the author conveying? 2. How many characters are there in it? Through what words and images are they conveyed? 3. What mood accompanies the poem? |
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F.I. Tyutchev She was sitting on the floor And sorted through a pile of letters, And, like cooled ashes, Picked them up and threw them away. I took familiar sheets And it was wonderful to look at them, How souls look from above On their abandoned body... Oh, how much life was here Irrevocably experienced! Oh, how many sad minutes Love and joy killed!.. I stood silently aside And the mouth was ready to kneel, And I became terribly sad As from an inherent sweet shadow. 1858 |
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ON THE. Nekrasov O letters of a woman, dear to us! There is no number of delights from you, But in the future, a sad soul Prepare more evil. When the flame of passion goes out Or will you listen Prudence of Strict Authority And you will say to the feeling: alas! Give her her messages |
Lesson Objectives:
- to systematize knowledge on the lyrics of F.I. Tyutchev and A.A. Fet;
- to teach children to find common ground in the work of poets;
- instill a love for Russian poetry.
Equipment:
- reproductions "Winter Landscape", "Thunderstorm";
- portraits of F.I. Tyutchev<Рисунок 1>and A.A. Fet<Рисунок 2>;
- a tape recorder, cassettes with romances, an exhibition of books about F.I. Tyutchev and A.A. Fet; each student has printouts of poems on the table that will be heard in the lesson.
During the classes
Hello guys!
Today we will consider the artistic world of the lyrics of F.I. Tyutchev and A.A. Fet.
Our task- to systematize the knowledge that you received while studying the works of these poets.
In addition, today's lesson will help you prepare for writing.
We'll talk to you about lesson plan On the desk):
- landscape poetry of Tyutchev and Fet;
- philosophical lyrics;
- lyrics of love.
Write down the points of the plan in a notebook!
1. Landscape lyrics.
Where were Tyutchev and Fet from?
(both from the Oryol province: Fet - Novoselki of the Mtsensk district, Tyutchev - Ovstug in the Bryansk region)
What other poets and writers, natives of the Oryol province, do you know?
(Koltsov, Turgenev, Leskov)
What topic did both poets pay a lot of attention to?
(nature theme)
Tyutchev and Fet - nature singers central Russia.
And Voskresensk (the city in which the lesson takes place) is the middle lane? (Yes)
This means that Fet and Tyutchev could observe approximately the same landscape that we see outside the window and on the reproduction (a reproduction depicting winter is attached to the board).
Let's listen to Tyutchev's poem "Winter is angry for a reason."
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.And everything got busy
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
What surprised you about this poem? What are its features?
(Nature comes alive, personifications)
Now listen to A.A. Fet's poem.
She came - and melts everything around,
Everything wants to give life
And the heart, a prisoner of winter blizzards,
All of a sudden forgot how to shrink. (froze with delight)Spoke, bloomed
All that yesterday languished dumbly,
And the sighs of heaven brought
From the dissolved gates edema. (Paradise)
What is the poem about? (About the coming of spring)
What unites the poems of Tyutchev and Fet? (one topic)
Please note that very often Tyutchev and Fet are interested in transitional moments: both are waiting for spring.
What do you associate spring with? (Approaching spring rains, spring thunderstorms)
What is the image of a thunderstorm associated with? What is its meaning?
(Thunderstorm as a cleansing force, nature comes to life after a thunderstorm)
Prove it to me.
Let's see how Tyutchev's image of a thunderstorm is revealed.
(The student reads the poem “Spring Thunderstorm” by heart)
Spring thunderstorm.
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbles in the blue sky.The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung,
And the sun gilds the threads.An agile stream runs from the mountain,
In the forest, the din of birds does not stop,
And the noise of the forest and the noise of the mountains -
Everything echoes cheerfully with thunder.You say: windy Hebe,
Feeding Zeus' eagle
A thundering cup from the sky
Laughing, she spilled it on the ground.
What artistic medium helps to convey the beauty of nature? (personification)
Find epithets in this poem.
And now I will read Fet's most famous poem:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!
What is special about this poem?
(Many name sentences)
L.N. Tolstoy remarked: “There is not a single verb in it. Each expression is a picture…”
2. Philosophical lyrics.
Tyutchev and Fet are often called singers of nature. But think, are they looking at nature in isolation or is it related to something else?
(Tyutchev and Fet are singers of nature, but they do not consider it separately, the harmony of the human soul and nature, the interaction of nature with the human soul is important for them.)
Nature often makes the poet think, reflect on life. What are the names of the poems in which the poet reflects on life and death, on the place of man in the world, on beauty and ugliness? (Philosophical lyrics)
So Tyutchev:
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open,
The same eternal surf and rebound,
The same ghost is disturbingly empty. (“Wave and Thoughts”)
Between what does Tyutchev draw a parallel in this poem?
(Movements in nature coincide with the excitement of the human soul, thought)
And Fet's description of nature conveys the state of man. For example, in the poem “What sadness! End of the alley…” (1862)
There is not a shred of azure in the sky,
In the steppe everything is smooth, everything is white,
One raven against the storm
Wings flap heavily.And the soul does not dawn
It is the same cold that is around,
Lazily the thought falls asleep
Over dying labor.
We also see a parallel of the nature and state of the human soul.
Every poet has to sum up to your creativity. Fet glorifies death at the end of life, hoping for peace after it. This is due contradictions in his life.
What contradictions do you remember in Fet's life, what did he spend a lot of effort on?
(Fet put a lot of strength to prove that he is a nobleman Shenshin)
Fet gets tired of this, seeks peace in the other world in the poem "Death" (1878)
The blind seek in vain where the road is,
Trusting feelings to blind guides;
And if life is a noisy god's bazaar,
Only death is his immortal temple.
Tyutchev has a different perception of life and death.
When decrepit forces
We are starting to change
And we must, as old-timers,
Give newcomers a place, -
Save us then, good genius,
From cowardly reproaches,
From slander, from anger
For a life changing...
(Tyutchev does not regret what he has lived, although his life was full of suffering. He perceives death not as a salvation from life, but as a natural, natural phenomenon)
3. Lyrics of love.
Guys, what contradictions do you remember in the life of Tyutchev and Fet, reflected in the lyrics of love? What unites the personal life of Fet and Tyutchev?
(Both survived the tragedy. Tyutchev's first wife, Eleanor Peterson, died early; late love for Elena Alexandrovna Denisyeva, condemned by society, led to the poor woman also dying.
The suicide of Maria Lazich, a girl who loved Fet and was abandoned by him because of her poverty, left an indelible mark on the poet's soul)
Therefore, this feeling is carried in the lyrics tragic character.
Listen to Tyutchev's recollection of the last hours of E.A. Denisyeva:
All day she lay in oblivion,
And shadows covered her all,
Lil warm summer rain - its jets
The leaves sounded merry.And slowly she came to her senses
And I started listening to the noise
And listened for a long time - passionate,
Immersed in conscious thought...And so, as if talking to myself,
Consciously she spoke
(I was with her, killed, but alive): (Why?)
“Oh, how I loved it all”You loved, and the way you love -
No, nobody has succeeded yet!
Oh my God! .. and survive it ...
And the heart was not torn to shreds ...
1864, Nice
There is almost no joy in love.
Listen to an excerpt from the romance. Whose poem is it based on?<Приложение 1>
(The romance “I met you - And all the past ...” sounds on Tyutchev’s verses.)
The romance is dedicated to Amalia Lerchenfeld (Baroness Krüdener).
What is the feeling when listening to it?
(Light sadness, sadness for bygone youth)
Listen to one more romance (to Fet's verses “Don't wake her up at dawn”).
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.
We see that the image of a beloved can evoke in a poet not only tragic memories, but also bright feelings.
Our lesson is coming to an end.
Today we learned even more about the work of great poets. Proof of their greatness and talent are the prophetic words of Tyutchev himself about Russia:
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.
Even Pushkin said that a poet must be a prophet. And we are increasingly convinced of how prophetic Tyutchev's poems about Russia were.
The significance of A.A. Fet was well said by his contemporary Alexei Mikhailovich Zhemchuzhnikov in his poem:
He is in the world of dreams and dreams,
Loving the play of rays and shadows,
Noticed the fugitive features
elusive sensations,
Irresistible beauty.
And let him in old age
Changed capricious names
Now a publicist, then a poet -
Redeem Shenshin's prose
Poems captivating Fet.
Now write down home essay topics :
1. The lyrics of F.I. Tyutchev in my perception.
2. Lyrics by A.A. Fet in my perception.
3. Free theme based on the work of F.I. Tyutchev and A.A. Fet (the topic is formulated by the student himself).
The results of the lesson, grading.
Additional questions for the lesson. Poets and Politics.
Fet and Tyutchev in their work were far from political life, social issues.
But we can still find an attitude to grandiose historical events in their poems.
Remember Pushkin's lines:
And on the ruins of autocracy
Write our names! (“To Chaadaev”, 1818)
You have been corrupted by self-rule,
And his sword struck you.
What does it mean?
(Tyutchev believes that without a deep knowledge of Russia, any political action will turn into violence, autocracy. But at the same time, he highly appreciates Pushkin!)
There is an inscription on the stand: “You, as the first love, the heart of Russia will not forget.” Tyutchev about Pushkin.
A.A. Fet does not want to interfere in public battles at all. For him, joy is in poetry, in creativity, and not in society:
I feel joy
I do not want
your battles.
And even turns away from the suffering person:
For the sake of your torment I will not change
Freedom to an eternal calling.
This distinguishes him from Nekrasov: “Do not believe that the one who does not have bread / / Is not worth your prophetic strings” (“Poet and Citizen”), “I dedicated the lyre to my people”, etc.
Fet in his work tries to close himself from politics, social topics, to withdraw into himself.
Afanasy Afanasyevich Fet and Fyodor Ivanovich Tyutchev were among the outstanding poets of the second half of the 19th century. Their work differs markedly from other figures of the pen of that time.
The works of both these poets are easy to understand. Both Fet and Tyutchev sang of nature, like no one else knew how to do it that way. And the world of nature was inseparable, in their perception, from the spiritual world of man. In many poems questions of a philosophical and psychological nature are raised. And, both poets could look into the soul so deeply, or show so much in just a few quatrains. Below are comparative analyzes of the famous poems by Fet and Tyutchev.
Lyrics of Tyutchev and Fet
The two greatest poets of their era - and. The contribution of these writers to the system of Russian versification is invaluable. In the work of both of them, one can find features inherent in many literary figures of that time. Perhaps that is why the two poets are so often compared.
Meanwhile, both Tyutchev and Fet have special, unique details and moods that you will not find in the work of the other. Among the similarities in the work of the two poets, one can note the way the inner world of lyrical heroes is described. Both Tyutchev and Fet pay more attention to the deepest emotional experiences of a person, the portraits of their lyrical heroes are very psychological.
In addition to psychologism, both poets use the technique of parallelism: the inner world, the mood of a person, his deep feelings and feelings are often reflected in nature. The descriptions of nature itself by poets are also similar. Their nature is two-dimensional: it has a landscape and a psychological side. This just explains the use of parallelism: the description of the external world, as it were, turns into a description of the emotions of the lyrical hero. Another similarity is the motives of love lyrics.
Tyutchev and Fet experienced a terrible tragedy: they lost a loved one, and this loss was reflected in the nature of their love lyrics. Despite such a large number of similarities described above, there are quite a lot of differences in their work. Fet's lyrics gravitate more toward descriptive landscape themes, while Tyutchev's poems have a philosophical character (although he also has enough landscape poems). The attitude to life in the poems of poets also varies: Fet admires life, and Tyutchev perceives it as being.
Poets perceive nature and man in different ways: for - this is a huge world, in the face of which a person becomes powerless, and Fet perceives it as a living being living in absolute harmony with man. The "technical" side of the poems is also different. Fet uses a lot of syntactic means of expression, especially often he has a compositional repetition.
Tyutchev, on the other hand, more often uses allegorical tropes, especially metaphor and its varieties. So, despite the large number of similarities found, one should not lose sight of the huge layer of differences between the lyrics of Fet and Tyutchev. The poets lived in the same era, they were influenced by the same society, and even some facts of their biography are similar, so do not be surprised that there are some similar motives in their work. But at the same time, Fet and Tyutchev are independent creative personalities, capable of creating something original and unique, putting a piece of their soul into it.
Analysis of poems by A. A. Fet and F. I. Tyutchev
In Russian poetry there were many poets who wrote sensually and penetratingly about love, nature, and the homeland. But it was most profound and touching for Afanasy Fet and Fyodor Tyutchev, who, although they were similar in the diversity of the spectrum of feelings they revealed, had colossal differences in the presentation of their works and worldview, understanding their inner world and the place of man in the world.
A striking example of the differences between the lyrics of Tyutchev and Fet is the description of autumn in the poems “Autumn Evening” and “”. Despite the general theme of the poems, the authors reveal the essence of autumn in different ways, present it in a different light, talk about different, sometimes opposite, emotions.
Fyodor Tyutchev in the poetry "Autumn Evening" spiritualizes this time of year, endows with divinity and grandeur. His autumn appears before the reader in unimaginable beauty and reverence. The poet openly admires the autumn evening, is inspired by its beauty and enjoys the bliss into which the surrounding splendor plunges him.
At the same time, Tyutchev feels a sense of sadness, because the beauty of autumn is fleeting and after it comes a more prosaic winter time, catching up sadness and despair. At the same time, Fedor Tyutchev shows, through the image of autumn, a period of human life that is close to withering, but still full of strength and opportunity, when a second youth opens before the feeling of imminent old age.
Autumn in the poem by Athanasius Fet is revealed from a different side. The author spiritualizes it, but shows it in an inextricable connection with a human being, catching up sadness and confusion. Fetov's autumn is unshakable in its sadness, it does not inspire to write poetry, it only depresses, with an unimaginable burden to fall on the state of mind. But, despite the coldness of autumn, the poet speaks of the existence of ardent love, which is not subject to the formidable season.
Thus, in the verses of the classics, the autumn time is revealed in different ways. If Tyutchev represents autumn as a spiritualized deity, then Fet speaks only of its oppressive coldness, which fills the being with apathy and sad thoughts.
Comparative analysis of F.I. Tyutchev "Autumn Evening" and A.A. Feta "Autumn"
What is autumn like?.. What is hidden behind the shadow of sadness, melancholy, cold? Secret warmth, fire, not yet discovered explosion of emotions and feelings? Not everyone can comprehend you, discover the undiscovered and forever preserve the charm of what you have learned.
Poems by F.I. Tyutchev “Autumn Evening” and A.A. Feta “Autumn” is two different visions, understandings of autumn.
What is the emotional assessment of autumn by F.I. Tyutchev? The poet seems to revive it, figuratively endows autumn with traits and properties inherent only in man. Telling us about his autumn, he draws attention to the mysterious beauty of the autumn evening. It is in the evening that autumn is perceived by him as a divine, touching, bottomless creation:
…on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
A deep, unusually saturated in its coloring poem by F.I. Tyutchev is overwhelmed with a sense of hopeless sadness, sincere suffering, regret ... We feel the author's "I" in a beautiful description of nature, in the experiences of a lyrical hero who seems to regret something, reluctantly parted with every note of the rustle of "crimson leaves", with every little particle his autumn.
He does not want to part with even the smallest, completely imperceptible, but sweet for him detail: the “touching, mysterious charm” of autumn evenings, the “sadly orphaned” earth, “foggy and quiet azure” - everything is expensive, everything is unusual, everything is mysterious! .According to the principle of mosaic, one complements the other. Having lost at least one particle, the picture of Tyutchev's autumn no longer looks, it loses its former attractiveness.
In the autumn of Fet we hear the echoes of the human soul. The poem consists of three parts - these are three steps, three stages, three ages. Autumn, like a person, is able to live (“... in the blood of golden-leafed garments”), love (“... Autumn looks for burning eyes // And the sultry whims of love”), grow old and die (“... And, fading so magnificently, // Her nothing is a pity anymore”)… The leitmotif of the poem by A.A. Feta is the spirituality of nature, intertwined with the complexity and uniqueness of life sensations associated with man.
In the first part (the first quatrain) of the poem, with the help of unusually well-chosen epithets and metaphors (“gloomy days ... of silent autumn and cold”, “languishing bleak”), the author creates the impression of loneliness, complete silence, intimacy.
In the second part (the second quatrain) autumn revives, blossoms, is filled with light and warmth. To enhance the semantic and poetic significance of this part, A.A. Fet uses the technique of gradation (“...golden-leaved headdresses... burning eyes... and sultry whims of love...”). These metaphors are contextual synonyms in the poem, and the compositional union here also marks the end of the author’s emotional search: the words “sultry whims of love” hide all the richness of the color and semantic gamut of autumn, its bewitching charm.
In the third part (third quatrain) emotions subside and acquire a moderate, sedate rhythm. There are no more bright colors, no more movement, there is only the “shameful sadness” of a magnificently fading autumn.
In the poem "Autumn Evening" F.I. Tyutchev is difficult to distinguish parts. And is it necessary? For Tyutchev, all the Fetovsky flavor merged into one phrase, into one sentence - and this is only one evening, one sigh, one memory ... There is no “silent” and “cold”, burning and sultry, bashful and magnificently fading autumn - there is only one autumn evening , "mysterious" and "divine".
Tyutchev's representation of autumn is based on the technique of syntactic condensation. Various means of artistic expression merge together in the text: epithets - synthetic (“ominous brilliance and variegation of trees”), complex (“sadly orphan earth”), color (“crimson leaves”); metaphors (“divine bashfulness of suffering”); personifications (“languid” rustle of leaves); gradation (“damage, exhaustion”). Especially strongly reflects the state of nature and the lyrical hero empathizing with her, used by F.I. Tyutchev's technique of alliteration. We hear the song of falling leaves:
Crimson leaves languid, light rustle, -
penetrating breath of the wind:
And, like a premonition of descending storms,
A gusty, cold wind at times ... -
and - most importantly - silence (listen! Can't you hear it?):
Is in the lordship of autumn evenings
A touching, mysterious beauty…
We can achieve a deeper understanding of poems by referring to their structural features. Both works are written in iambic (for A.A. Fet - four-foot, for Tyutchev - five-foot), but how different moods they convey! The rhyme of “Autumn Evening” is cross (in the poem there really is a constant struggle, the crossing of heaven and earth, darkness and light, storm and silence), closed (isn’t it, it gives the impression of completeness of thought, calm, the end of some long and tedious path ?). Fet's rhyme is circular, open (it corresponds to the eternal, endless natural cycle: birth - life - death).
The deep, inexhaustible problems of poems allow us to plunge again and again, look into the bright and gloomy, cold and sultry, fading and burning world of autumn, again and again try to unravel its secret.
What is autumn like?.. What is hidden behind the shadow of sadness, melancholy, cold? Secret warmth, fire, not yet discovered explosion of emotions and feelings?
Autumn! Unsolved, incomprehensible, infinitely beautiful autumn, enveloping the whole world with its secret, magical power ...
A. Fet verse "Autumn"
How sad are the dark days
Silent autumn and cold!
What languor desolate
They are asking for our souls!
But there are days when in the blood
Golden-leaved headwear
Burning autumn is looking for eyes
And the sultry whims of love.
The bashful sadness is silent,
Only the defiant is heard
And, fading so magnificently,
She no longer regrets anything.
F. I. Tyutchev verse "Autumn Evening"
Is in the lordship of autumn evenings
A touching, mysterious charm! ..
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle,
Foggy and quiet azure
Over the sad orphan land
And, like a premonition of descending storms,
A gusty, cold wind at times,
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering!
Comparative analysis of Tyutchev's love poem "K.B." and Fet "Old Letters"
It can be said without exaggeration that Afanasy Afanasyevich Fet and Fedor Ivanovich Tyutchev are one of the greatest poets who have enriched not only Russian, but also foreign literature. Both creators glorify the concept of “true beauty”, they write about eternal things that always excite a person. The main themes of their poems are philosophical, love and landscape lyrics. And today I want to compare two of their works of love: “K.B.” Tyutchev and "Old Letters" by Fet.
A poem by Fyodor Ivanovich, entitled with enigmatic initials, was written on July 26, 1870. It is dedicated to his first love - Amalia Lerchenfeld. They met in 1822 in Munich. Tyutchev was so in love that he wanted to marry a girl, but Amalia's parents married her to a colleague Fyodor Ivanovich. Now the girl was called Baroness Krüdener, which explains the title of the poem.
Many years later, the poet met with Lerchenfeld again, about which he wrote to his daughter: “Yesterday I experienced minutes of burning excitement as a result of my meeting with my ... kind Amalia Krudener, who will see me in this world for the last time ...” This meeting awakened in the lyrical the hero's spiritual fullness of "those years". The hero is grateful to Amalia for this, he is elated: “There is more than one memory ... And the same love in my soul”
“I met you - and all the past ...” - the spiritual confession of the poet. The meeting with the former love made the “obsolete heart”, which became “so warm”, start up. This meeting is like spring, which awakens everything.
Like Tyutchev, Fet in his poem recalls the past, moments of old love:
“Long forgotten, under a light layer of dust,
Cherished traits, you are again in front of me ... "
But, unlike Fyodor Ivanovich, whose work is saturated with notes of sweet nostalgia and exciting sadness, but, however, “refreshing” the soul, Afanasy Afanasyevich in his poem shows much more gloomy pictures. We see guilt tormenting him, longing, even some anger at the fact that nothing can be changed. This creation of his, like the vast majority of his love poems, is dedicated to his first and, perhaps, only love - Maria Lazich.
They met in 1848, but since both were poor, Fet understood that he could not provide the girl with a happy future and decided to part with her. Shortly thereafter, the girl dies a terrible death. She was burned alive by a candle that fell on her dress. Although there is no evidence that it was suicide, Afanasy Afanasyevich considered himself the culprit of what happened until the end of his life.
So, the theme of both poems are memories of past love, but if Tyutchev’s main idea can be called the return of the heart to the beautiful time of the past and the “revival” of the soul (“I remembered the golden time - and my heart felt so warm ...”), then Fet’s work shows pangs of conscience and burning regret. The poet considers himself unworthy of such love:
A burning tear will not wash away these lines”
I have these creations caused quite conflicting emotions. Fyodor Ivanovich's poem penetrates the soul, bringing with it a warm, soft, joyful light that gives hope for something better:
“There are days, there are times,
When it suddenly blows in the spring
And something stirs in us…”
You want to dissolve in this blissful peace, forget all the hardships and just sincerely smile at all the good things that happened in your life.
The work of Afanasy Afanasyevich, on the contrary, kills all hope for a turn for the better. And the poet considers himself guilty of everything that happened:
“And I trusted the treacherous sound, -
And with a cold in his chest, he set off on a long journey.
The poem evokes dark, oppressive, dark emotions. It is like a merciless thunderstorm, a cruel tornado that leaves behind only a deserted, ugly land scorched by rage and guilt, on which the green grass of hope and joy can never again break through. But at the same time, the work makes you think, look back at your actions and, perhaps, change your behavior somewhere. The author says: “As if there is anything in the world outside of love,” he seems to urge the reader not to make his mistakes, showing how terrible and bleak the result can be.
When you read these creations, all the images flash in your imagination, as if you are immersed in that world and see everything “in reality”. The authors achieve such brilliance through the skillful use of various artistic and expressive means that help them most vividly and accurately reflect everything that they feel, see and want to convey to the reader. Let's look at some of them.
Many different epithets of Tyutchev (“in the obsolete heart”, “golden time”, “spiritual fullness”, “forgotten rapture”, “cute features”, “secular separation”, etc.) and Fet (“cherished features”, “ mental anguish”, “we will instantly resurrect”, “faded patterns”, “heartfelt words”, “mute witnesses”, “gloomy winter”, “brazenly pushed away”, “eternal separation”, “burning tear”, etc.) help give a certain mood to the works. Beautiful metaphors and personifications of the poems “K.B.” (“everything that was ... came to life”, “the heart became so warm”, “the sounds that did not stop in me became more audible”, “life spoke again”, etc.) and “ Old letters” (“cherished features ... instantly resurrected”, “lost by the soul”, “meet the eyes”, “faded patterns ... drive blood”, “the voice of forgiveness will not resurrect the soul”, “the burning tear will not wash away these lines”, etc. .d.) give imagery to poems, make them “alive”.
Both works have an exact, cross, predominantly female rhyme. Strophic - quatrain. “K.B.” written in iambic tetrameter, and “Old Letters” in iambic six-meter.
Both poets dedicated their poems to the real women they loved. But if Tyutchev does not regret that his relationship with Amalia is now only a pleasant memory, then Fet is executing himself for the mistakes of the past and, I think, he would like to turn back time and correct what he has done.
Love for Tyutchev and Fet is the main motive of creativity, a source of inspiration and enrichment of the soul, a way of communication with the world, with all living things.
Fedor Ivanovich loved several women throughout his life. The poet's feelings for each beloved were deep, sublime, sincere and genuine. They were often accompanied by suffering, but they brought extraordinary depth, passion, selflessness into the life of the creator. If there weren't these girls, there would be no such wonderful poems as “K.B.”, in which the poet seems to bare his soul. Tyutchev's poetry is the poetry of deep and fearless thought, invariably merged with the image conveyed by precise, bold, unusually expressive colors. In the works of Fyodor Ivanovich there is a lot of grace, plasticity, they have, according to Dobrolyubov, both “sultry passion” and “severe energy”. They are very solid, complete: when reading, one gets the impression that they were created instantly, with a single impulse.
For Fet, love, in my opinion, is a burning fire, like his poetry is a flame in which the soul burns. The works of the poet are the fruit of his love experiences and memories, to which he gave everything that he experienced, experienced, lost. The lyrics of Afanasy Afanasyevich become the embodiment of the memory of Mary, a monument, a "living statue" of the poet's love.
Undoubtedly, both Tyutchev and Fet suffered many hardships and terrible losses. Both of them had a chance to survive the death of a beloved woman, however, in my opinion, Fyodor Ivanovich's love story is still happier. He was lucky to experience the strongest feelings for several girls. Almost throughout his life, one of his lovers was next to him. Perhaps that is why, despite the skeptical notes in the poetry of Tyutchev, who sometimes claims that all human activity is a “useless feat”, most of his works are filled with youth and indestructible love of life. Fet, who lost his love in his youth, remains only memories and the bitterness of guilt and resentment. However, each of the poets in his poem was able to reveal his thoughts, convey his mood to the reader, “bare” his soul before him.
The text of A. Fet's verse "Old Letters"
Long forgotten, under a light layer of dust,
Cherished features, you are again in front of me
And in the hour of mental anguish instantly resurrected
All that has long since been lost by the soul.
Burning with the fire of shame, again meet the eyes
One trust, hope and love,
And sincere words faded patterns
From my heart to the cheeks they drive blood.
I am condemned by you, dumb witnesses
Spring of my soul and gloomy winter.
You are the same bright, holy, young,
As in that terrible hour when we said goodbye.
And I trusted the treacherous sound, -
As if there is anything in the world outside of love! -
I boldly pushed away the hand that wrote you,
I condemned myself to eternal separation
And with a cold in his chest, he set off on a long journey.
Why, with the same smile of tenderness
Whisper to me about love, look into my eyes?
A burning tear will not wash away these lines.
The text of the verse by F. I. Tyutchev “K. B."
I met you - and all the past
In the obsolete heart came to life;
I remembered the golden time -
And my heart felt so warm...
Like late autumn sometimes
There are days, there are hours
When it suddenly blows in the spring
And something stirs in us, -
So, the whole is covered with a breath
Those years of spiritual fullness,
With a long forgotten rapture
I look at the cute features ...
Like after a century of separation
I look at you, as if in a dream, -
And now - the sounds became more audible,
Not silenced in me...
There's not just one memory
Then life spoke again,
And the same charm in you,
And the same love in my soul! ..
Comparative analysis of the poems by F. Tyutchev "How good you are, O night sea ..." and A. Fet "The Sea and the Stars"
The poems of F. Tyutchev “How good you are, O night sea ...” and A. Fet “The Sea and the Stars” are “philosophical landscapes”. Admiring the night sea makes the heroes of both works not only admire the beauty of nature, but also think about themselves, about their souls.
However, despite many similar moments (admiration for the night sea, the beauty of nature, awareness of the grandeur of the universe, the restless state of the heroes themselves), these poems differ greatly in tone and ideological message.
The hero of Tyutchev opposes himself to the world of nature, of which the “night sea” is a part. He would be glad to merge with the Universe:
Oh, how willingly in their charm
I would drown my whole soul ...
However, he realizes that this is impossible for him. The hero is jealous of the harmony and peace that emanates from the seascape:
The sea drenched in a dull radiance,
How good, you are in the wilderness of the night!
He realizes that he is a witness to some huge, very important life that exists without human participation. The lyrical hero is stunned by both this picture and this thought that illuminated him:
In this excitement, in this radiance,
All, as in a dream, I'm lost standing ...
He wants to become part of the "world movement", but the final lines of the poem sound tragic - he understands that this is impossible for him.
The hero of Fet's poem, as well as his mental interlocutor, to whom the work is addressed, also observes the "night sea": "We both looked at the night sea." Just like Tyutchev's lyrical hero, Fet's characters are delighted with the picture that has opened before them:
In the distance, the calming waves turned white,
And backward clouds flew from the sky,
And the night was dressed with starry beauty.
However, already from the second stanza, we understand that the heroes of Fet managed to find a “common language” with nature, to feel the rhythms of her life, to merge with her. That is why the seascape has such a healing effect on their souls:
And from the night sea and from the night sky,
As if from a distant native land,
Healing power blew into the soul.
Merging with nature, immersion in it brings cleansing and calming to the heroes of this poem. That merger took place, which the hero of Tyutchev dreamed about, but could not achieve:
As if I was lulled by the sea
As if your grief was quenched,
As if the stars had defeated you.
Thus, Fet's poem is optimistic, light, filled with the harmony of the fusion of man with the world of nature, the universe. Tyutchev's poems are distinguished by a tragic breakdown from the realization of the impossibility of unity with the "higher world" of beauty and harmony, from the realization of the limitations and separation of man.
The text of A. Fet's poem "The Sea and the Stars"
We both looked at the sea at night.
Beneath us, the rock ended in an abyss;
In the distance, the calming waves turned white,
And backward clouds flew from the sky,
And the night was dressed with starry beauty.
Admiring the expanse of double movement,
The dream has forgotten the deadly land,
And from the night sea and from the night sky,
As if from a distant native land,
Healing power blew into the soul.
All earthly malice, oppressive, soon,
In our own way, we both forgot
As if I was lulled by the sea
As if your grief was quenched,
As if the stars had defeated you.
The text of the poem by F. Tyutchev "How good you are, O night sea ..."
How good are you, O night sea, -
Here it is radiant, there it is gray-dark ...
In the moonlight, as if alive,
It walks and breathes and it shines...
In the endless, in the free space
Shine and movement, roar and thunder ...
The sea drenched in a dull radiance,
How good you are in the emptiness of the night!
You are a great swell, you are a sea swell,
Whose holiday are you celebrating like this?
Waves are rushing, thundering and sparkling,
Sensitive stars look from above.
In this excitement, in this radiance,
All, as in a dream, I'm lost standing -
Oh, how willingly in their charm
I would drown my whole soul ...
The poetic image of spring in the lyrics of F. Tyutchev and A. Fet
The lyrical works of F. Tyutchev and A. Fet reflect the originality of the perception of spring nature, its influence on the spiritual world, thoughts, feelings, moods of each of the authors. Spring is the time when nature comes to life, awakens after a long winter hibernation, this is the time of flowering and transformation of everything around.
The lyrics of nature became the greatest artistic achievement of F. Tyutchev. The landscape is given by the poet in motion, and natural phenomena reflect the mysterious movements of the human soul. Nature is like a living organism that can feel, feel, and show its character.
In addition to depth, his creations are distinguished by elusive subtlety and grace.
Nature for Tyutchev is always young. The poet expressed in his poems the triumph of Spring as youth. In the 1930s, he dedicated seven poems to spring: “Spring Thunderstorm”, “Napoleon’s Grave”, “Spring Waters”, “Winter is angry for a reason”, “Even the earth looks sad, but the air already breathes in spring”, “Spring”, “ No, my addiction to you ... ".
Spring for him is a beautiful child, full of life, all manifestations of which are filled with high poetry. The poet loves the young peals of the first thunder in early May, he is fascinated by the noisy spring waters - the messengers of a young spring, the spring breath of air.
Tyutchev's poetry is optimistic. The whole worldview of the poet reflects the love and thirst for life, embodied in the jubilant lines of "Spring Waters" ("Snow is still whitening in the fields ...") and "Spring Thunderstorm". Consider the poem "Spring Waters":
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say ...
They say all over the place:
Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm, May days
Ruddy, bright round dance
Crowds merrily after her.
Spring is perceived by the poet not only as a wonderful time of the year, but also as a victory of life over death, as a hymn to youth and human renewal.
In this poem, dynamics is achieved in two ways: firstly, these are verbal repetitions (“running”, “going”), creating the illusion of water movement and a spring flood of feelings, and, secondly, this is a sound recording system that imitates the gurgling and overflow of streams.
The poem "Spring Waters" contains a voluminous and panoramic picture of the awakening of the vast world, its changes in time.
In the poem “Spring Thunderstorm”, not only a person merges with nature, but nature is animated, humanized: “spring, the first thunder, as if frolicking and playing, rumbles in the blue sky.” Tyutchev's thunderstorm is at the same time an image of youth, excitement, renewal, cheerfulness of the creative spirit, an illumined, new world.
“I love a thunderstorm at the beginning of May” is an extremely cheerful, unclouded, cheerful poem. Naughty, sparkling, young. Thunder here does not frighten, but pleases, its peals are not thunderous, not frightening with their gloom and inner strength, but “young”, liberated, promising. And the first word of the poem - the most powerful, affectionate, enveloping the soul with hope and faith, the most intimate and desirable - "I love." “I love a thunderstorm” and the clarifying one - “at the beginning of May” - does not sound like a calendar, but unintentionally festive, invitingly, promising, green, light, young. ”We see such a reading of Tyutchev’s poem in Lev Ozerov.
In Tyutchev's cycle of poems about spring there is one, so called "Spring", surprising in the depth and strength of the feeling invested in it:
No matter how the hand of fate oppresses,
No matter how deceit torments people,
No matter how wrinkles roam the forehead
And the heart, no matter how full of wounds,
No matter how severe tests
You were not subject, -
What can resist breathing
And the first meeting of spring!
Spring: She doesn't know about you
About you, about grief and about evil;
Her gaze shines with immortality,
And not a wrinkle on the forehead.
Only obedient to its laws,
At a conventional hour flies to you,
Light, blissfully indifferent,
As befits the deities.
Flowers pour over the earth,
Fresh as the first spring;
Was there another before her -
She does not know about it;
There are many clouds in the sky,
But these clouds are hers,
She can't find a trace
Faded springs of being.
Roses sigh not about the past
And the nightingale sings in the night
Fragrant Tears
Aurora pours not about the past, -
And the fear of inevitable death
Not a leaf shines from the tree:
Their life is like a boundless ocean,
All in the present spilled.
The game and the sacrifice of privacy!
Come, reject the feelings of deceit
And rush, cheerful, autocratic,
Into this life-giving ocean!
Come, with its ethereal jet
Wash the suffering chest -
And the life of the Divine-universal
Although for a moment be involved!
Based on the text of this poem, we can say that for a young poet the world is full of secrets, mysteries that can only be comprehended by an inspired singer. And this world, full of secrets and animated, according to Tyutchev, is revealed to a person only in short moments when a person is ready to merge with nature:
And the life of the divine world
Although for a moment be involved!
It is said about spring that it is bright, blissfully indifferent, fresh.
Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative beginning of being, he now enthusiastically accepts her charms, but remembers that she is alien to human grief, evil, for “blissfully indifferent,
Tyutchev's brilliant lyrics combine earthly signs with the anxieties and aspirations of the soul. We see this in the example of the poem “Even the earth looks sad…”:
Still the earth looks sad
And the air is already breathing in spring,
And the dead stalk sways in the field,
And the oil stirs the branches.
Nature has not woken up yet
But through thinning sleep
She heard spring
And she involuntarily smiled ....
Soul, soul, slept and you ...
But what are you suddenly concerned about?
Your dream caresses and kisses
And gilds your dreams?..
Glittering and melting chunks of snow
Shines azure, blood plays ...
Or spring bliss?..
Or is it female love?
In an essay about Tyutchev, Lev Ozerov made the following very subtle remark: “He does not decorate nature, on the contrary, he tears off from her” the cover thrown over the abyss. And he does it with the same decisiveness with which other Russian writers took off the masks from social phenomena.
The images of nature for Tyutchev are not only objects of admiration, but also forms of manifestation of the mysteries of being. His relationship with nature is active, he wants to tear out her secrets, and the delight in front of her beauty is combined in him with doubts and rebellion.
In the poem "Winter is angry for a reason..." the poet shows the last fight between the outgoing winter and spring:
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
This fight is depicted as a quarrel between an old witch - winter and a young, cheerful, mischievous girl - spring.
The leaf turns green young
See how young leaves
Birches are covered with
Aerial greenery through,
Translucent, like smoke ...
For a long time they dreamed of spring,
In spring and summer golden, -
And these living dreams
Under the first blue sky
Suddenly broke into the light of day ...
Oh, beauty of the first leaves,
Bathed in sunshine
With their newborn shadow!
And we hear from their movement,
What is in these thousands and darkness
You will not meet a dead leaf.
In the poem "The First Leaf" leaves are the main object of attention, all other realities - birches, spring, summer, blue sky, the rays of the sun - this is the necessary background with which their appearance is associated.
The author speaks of their lightness, transparency, the suddenness of their appearance, their mass-quantity, their light noise-movement.
You need to be able to capture variability, movement. Any phenomenon must be grasped in an absolutely instantaneous aspect.
The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, inner tension and drama. Beautiful pictures of nature open up before the reader, because Tyutchev, like no one else, knew how to convey the colors, smells, sounds of the world around him.
A.A. Fet.
"Nature's idle spy" - so Fet himself semi-ironically defined his attitude to one of the main themes of his work.
Fet's landscape lyrics showed his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes; their own individual perception.
Fet expanded the possibilities of a poetic depiction of reality, showing the internal connection between the natural world and the human world; spiritualized nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry.
Fet's landscapes are not just spring, summer, autumn or winter: he depicts more private, shorter and thus more specific segments of the seasons.
This precision and clarity makes Fet's landscapes strictly local: as a rule, these are landscapes of the central regions of Russia.
Fet likes to describe a precisely defined time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in the poem "Spring Rain").
In Fet's admiration for nature, one can note the constant use of such epithets as "magical", "gentle", "sweet", "wonderful", "affectionate", etc.
With all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing a lyrical feeling.
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...
There is not a single verb in the narrator's monologue - Fet's favorite trick, but there is also not a single defining word here, except for the pronominal adjective "this" ("these", "this"), repeated eighteen times! Refusing epithets, the author seems to admit to the impotence of words.
The lyrical plot of this short poem is based on the movement of the narrator's eyes from the vault of heaven to the earth, from nature to the dwelling of man. In the last lines, the gaze of the lyrical hero is turned inward, into his feelings (“darkness and heat of the bed”, “night without sleep”).
For a person, spring is associated with the dream of love. At this time, creative forces awaken in him, allowing him to “soar” above nature, to consciously feel the unity of all things:
These dawns are without eclipse.
This sigh of the night village,
This night without sleep
This haze and the heat of the bed,
This fraction and these trills,
It's all spring.
In the poetic world of Fet, not only visual, but also auditory, olfactory, and tactile images are important.
Fetovsky's lyrical hero does not want to know suffering and sorrow, to think about death, to see social evil. He lives in his harmonious and bright world, created from exciting and endlessly diverse pictures of nature, refined experiences and aesthetic shocks.
The "spring" cycles are dominated by light paintings and motifs of flowering, love, and youth. "Human" and "natural" in these paintings are either merged into one, or, developing in parallel, tend to unity.
The jubilant beauty of the world is an eternal source of inspiration for the poet, who, in spite of all life's troubles, inspires him with optimism, a quivering thirst for life, and a freshness of perception of the world.
When Tyutchev's trees rave and sing, the shadow frowns, the azure laughs, the vault of heaven looks languidly, and the carnations look slyly - these predicates can no longer be understood as metaphors.
Fet goes further than Tyutchev in this. He has “flowers looking with longing in love”, a rose “strangely smiled”, a willow “friendly with painful dreams”, the stars pray, “and the pond is dreaming, and the sleepy poplar is dozing”, Human feelings are attributed to natural phenomena without a direct connection with their properties.
Let's look at the poem "I'm waiting, embraced by anxiety ...":
I'm waiting, anxious
I'm waiting here on the way:
This path through the garden
You promised to come.
Crying, the mosquito will sing,
The leaf will fall off...
The rumor, opening up, grows,
Like a midnight flower
Like a broken string
A beetle flying into a spruce;
He hoarsely called a friend
Right there at the feet of a corncrake.
Quiet under the shadow of the forest
Sleeping young bushes ...
Oh, how it smelled like spring!
It's probably you!
“The poem is extremely tense, 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 very path.” But in this "self" there is also a limit, finiteness. 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.
Quiet under the shadow of the forest
Sleeping young bushes ...
Oh, how it smelled like spring!
It's probably you!
This is not an allegory, not a comparison with spring. She is spring itself, nature itself too, organically living in this world.
A.A. Fet keenly feels the beauty and harmony of nature in its transience and variability. In his landscape lyrics there are a lot of the smallest details of the real life of nature, which correspond to the most diverse manifestations of the emotional experiences of the lyrical hero. For example, in the poem “Another May Night,” the charm of a spring night gives rise to a state of excitement, expectation, languor, and involuntary expression of feelings in the hero:
What a night! All the stars to one
Warmly and meekly look into the soul again,
And in the air behind the song of the nightingale
Anxiety and love spread.
Yu. Aikhenvald noticed that Fet's poetry is characterized not by transitions, but by breakthroughs. Here is such a "breakthrough" in the epic and presented a poem in 1844:
The willow is all fluffy
Spread around;
Spring is fragrant again
She waved her wings.
The clouds are rushing about,
warmly illuminated,
And again they ask to the soul
Captivating dreams.
Everywhere diverse
The eye is busy with the picture,
Noisy crowd idle
The people are happy about something ...
Some secret longing
The dream is inflamed
And over every soul
Spring is passing by.
Here we see in Fet an extremely successful example, when a personal mood merges with the general mood of other people, the masses, the people, expresses it and dissolves in it.
Later, Fetov's poems are close to Tyutchev's. Fet is generally close to Tyutchev as a representative of the "melodic" line in Russian poetry. The symbolism of nature, the construction of the poem on the comparison of nature and man, philosophical thought - all this especially brings the late Fet closer to Tyutchev.
Here is the poem “I am glad when from the earthly womb ...” (1879):
I am glad when from the earthly womb,
Spring thirst is inherent,
To the fence of the stone balcony
In the morning, curly ivy climbs.
And nearby, a native bush embarrassing,
And striving and afraid to fly,
Young bird family
Calling a caring mother.
I don't move, I don't worry.
Don't I envy you?
Here, here she is, at hand,
Squeaks on a stone pillar.
I'm glad she doesn't distinguish
Me from a stone in the light
Fluttering wings, fluttering
And catch midges on the fly.
“The poem conveys the joy of joining the life of nature in the days of “spring thirst”, as Fet says here, repeating the expression from the early poem “I came to you with greetings ...” (“And full of spring thirst”). The theme is traditional in poetry.
On the one we are considering (one of Fet's favorite themes - the theme of the arrival of spring), it is convenient to trace the evolution of Fet from impressionistically colored images to the creation of symbols. “In the 40s, the arrival of spring is drawn mainly by the spread of the spring feelings of the lyricist to nature:
Lilac bush in new leaves
Clearly enjoying the fun of the day.
Spring laziness, subtle laziness
My members are full.
("Spring in the South")
In the 50s, the arrival of spring is usually shown by a selection of signs, as in the already quoted poem “Still fragrant bliss of spring ...” or in the poem “Again invisible efforts ...”:
... Already the sun in black circles
Trees circled in the forest.
The dawn shines through with a shade of scarlet.
Wrapped in unparalleled brilliance
Snow-covered hillside…
In the 60s, due to the philosophical deepening of the topic, the approach to it changed again. Fet again moves away from detailed descriptions, the specific manifestations of spring are replaced by its symbolic attributes:
I was waiting. bride-queen
You landed on the ground again.
And the morning shines with purple,
And you pay back everything,
What autumn took meager.
You swept, you won
The deity whispers about secrets,
A recent grave blooms
And the unconscious force
His triumph rejoices.
The theme is given in such a generalized form that meager autumn and victorious spring are opposed to each other; and that spring replaces not autumn, but winter - this, apparently, with such a degree of generalization does not play a role.
The poem “Still fragrant bliss of spring ...” captures such a moment in nature when spring has not yet arrived, but the feeling of spring has already arisen. It would seem that nothing has changed in nature: the snow has not melted, the roads are frozen, the trees are without leaves, but according to some small signs and simply intuitively, a person is already waiting for spring and rejoices at its arrival.
Let's pay attention to the initial line "Still fragrant bliss of spring ...". Fet resorts to one of his favorite figurative expressions - “bliss”
The picture is refined with some details that depict winter: it is snow, a frozen path. Speaking of winter, Fet introduces bright spring colors into the poem: “dawn”, “blushes”, “turns yellow”. Denying that spring has already come, he seems to bring her arrival closer, mentioning that “the sun is warming”, that the nightingale sings in a currant bush.
This poem, as it were, echoes Tyutchev's "Even the earth looks sad ...", written much earlier.
The images of nature in Fet's poems are varied. Among them there are stable symbols, for example: morning, dawn and spring. Many flowers (rose, lily of the valley, lilac) and trees (willow, birch, oak). As already mentioned, the arrival of spring is one of Fet's favorite motives. The spring renewal of nature, the flourishing of life causes the poet a surge of strength, high spirits. In his poems, a lilac bush, a fluffy willow, a fragrant lily of the valley asking for sunlight, cranes screaming in the steppe appear as characters - they primarily serve as a means of expressing lyrical feelings. The motive of spring helps the poet convey his most important feeling - the joyful acceptance of the world around him, the desire to run "towards the spring days." Wonderful lines about spring rain, about the flight of a butterfly, about bees crawling into fragrant flowers, awaken warm feelings in the soul of every person. As spring warms all living things, so Fet's poems about spring caress the ear, elevate the soul.
The image of dawn is closely connected with the motive of spring in Fet's lyrics. Dawn identifies the fire of the sun. At the beginning of the day, all the colors of nature are transparent and pure, the rays of the sun illuminate the earth with a gentle light. The mysterious world shines in the reflections of dawn, giving rise to the magical power of inspiration. Spring is a source of quivering delight, it gives you the opportunity to touch the Beautiful with your heart.
The combination of these two names - Tyutchev and Fet - has become common: some bring them together, others oppose them. Yielding to Tyutchev in the cosmic scale of poetic feeling, Fet in some of his poems touched on eternal topics directly related to human existence. Fetovsky man is in constant and varied communication and conversation with nature. Fet finds poetry in the most ordinary objects. The two artists naturally have different results. Where Tyutchev has a single picture, Fet has a great many sketches
What Tyutchev and Fet have in common is a 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.
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. 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 the experiences, the psychological mood of a person.
In the lyrics of Fet, like Tyutchev, the poetic image of spring is inseparable from the human personality, his dreams, aspirations and impulses.
List of used literature:
1. Grigorieva A.D. Word in Tyutchev's poetry. – M.: Nauka, 1980.
2. Kasatkina V.N. The poetic worldview of F.I. Tyutchev. - Saratov, Ed. Sarat. un-ta, 1969.
3. Lagunov A.I. Afanasy Fet. – Kh.: Ranok; Vesta, 2002.
4. Ozerov L. Tyutchev's poetry. M.: Artist. lit., 1975.
5. Ozerov L.A.A. Fet (On the skill of the poet). – M.: Knowledge, 1970.
6. Skatov N.N. Lyrica A.A. Feta (origins, method, evolution). - M., 1972.
Wrote not so many works. Possessing a gift for writing, he did not consider literary creativity his profession and wrote involuntarily. At the same time, many of his works remained on a sheet of paper, and only at the insistence of friends, some of them got into print and became available to the general public. But even these few creations become a worthy legacy and a kind of contribution that F.I. Tyutchev.
Features of Tyutchev's lyrics
To understand the features of Tyutchev's lyrics, it is enough to plunge into the world of his poetry. Tyutchev writes his poems only under the influence of a certain insight, when he feels the need to express his thoughts on paper. So it turns out that Tyutchev's lyrics are filled with the intimacy of personal inner experiences and are more like a diary, where he captures his thoughts and reflections.
The value of the poet's poems is that in these small works the author creates sincere and original images. In addition, the artistic feature of Tyutchev's poetry is that they are filled with deep philosophical content.
Features of love lyrics
Revealing the theme of the artistic features of Tyutchev's poetry, it is worth talking about the features of the poet's love lyrics. It is represented by a few works that were dedicated to different women. In life, Tyutchev was a loving, passionate and enthusiastic person. So, his early poems were dedicated to his first love, a woman he met in Munich. It was Amalia. The poems were called or I met you. But fate separated them, and a year later he falls in love with Eleanor Peterson, who became his wife. However, here fate was cruel to the poet. Death takes his beloved. Already posthumously, the writer dedicated poems to Eleanor Peterson In the hours when it happens and I still yearn for longing desires. The next will be a meeting with Ernestine Dernberg and marriage. This woman became the Muse for Tyutchev, under the influence of which the poem appears She was sitting on the floor.
But the most famous poems of the poet were the works that were included in the Denisyev cycle. Elena Denisyeva became the last hobby of the writer. Their connection was illegal, and the most famous verse of that period was the work Last Love.
If the first poems of Tyutchev's love lyrics depict love as a passion. In them, the poet shares his emotions and describes the emotions of his beloved. Then in the later works of the poet one can feel the motives of the transience of happiness, his guilt before his beloved. Now love is associated with hopelessness, and romance is dying under the influence of a society that rejected everything beautiful with its misunderstanding. The writer's love is not only passion, but also hopelessness, suffering and struggle. A feature of Tyutchev's lyrics was that in his works he displayed real, not invented feelings.
Features of the image of nature
Fedor Tyutchev is rightfully considered a singer of nature. As he said, the advantage of Tyutchev's landscape lyrics was that his nature was different, lively and graceful. The writer especially liked the spring and autumn nature. During these periods of revival and decay, the author had unique images. At the same time, nature could be calm, as in the poem Autumn Evening, and violent, as in the work Spring Thunderstorm.
Tyutchev loved to humanize nature, endow it with human characters and traits. And this is the peculiarity of Tyutchev's nature. The writer compares every natural phenomenon with the human mood.
