The text of Fet's poem “The night shone. The garden was full of moon” one of lyrical works the poet over whom literary scholars argued long time. Some say that it lyrical heroine- Maria Lazich, and others - Tatyana Bers, whose singing inspired Afanasy Afanasievich to create a poem. The plot is a meeting of lovers under the moonlight and the hero's later memories of this years later. Compositionally, the verse includes four stanzas, but in meaning - two: in the first and second stanzas, the lyrical hero describes a date, and in the third and fourth - a memory of him. Such a romantic picture was created using images of nature (night, dawn), music (piano, strings) and feelings (trembling hearts). This goal is also supported figurative means- epithets (“tedious and boring” years, “burning flour”, “sobbing sounds”). The themes that the poet revealed are music and love, and the motive is the transforming power of art. Thanks to the flexibility of the poem, the poet was able to convey his emotions in words.
The material can be used as an addition to literature lessons or when independent work in high school.
The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are alone - love, that there is no other love,
And so I wanted to live, so that, without dropping a sound,
Love you, hug and cry over you.
And many years have passed, languid and boring,
And in the silence of the night I hear your voice again,
And blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love,
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
Later, the poem "The Night Shone" was written by A. Fet on August 2, 1877. The poet created it under the impression musical evening and dedicated to Tatyana Bers (married Kuzminskaya). The sister of Leo Tolstoy's wife and the prototype of the image of Natasha Rostova in the novel "War and Peace", Tatyana sang wonderfully at this evening, and the poet's feelings for her formed the basis of the poem. The original title of the poem was "Again". It was first published in the collection of poetry " Evening lights"(1883). The work opened the Melodies section, which included texts united by the motive of the song.
In a poem dedicated to music and singing, two main topics- love and art. Fet uses to work poetic form romance. Work, main plot which is a love date in the garden, written in the first person, in the form of a monologue-memories of love. The image of love-memories, over which time has no power, dominates the elegy.
In its compositional solution, the poem "The Night Shone" is close to Pushkin's "I remember a wonderful moment ...". The work consists of 4 stanzas-quatrains, each of which has its own sound signature. The symmetrical composition divides the poem into two semantic parts: the first two stanzas are dedicated to the heroine's first singing, the third and fourth stanzas tell of her re-performing the song many years later. The story builds up, leading to highest point plot - the last quatrain.
In the first part, a magnificent landscape sketch plays the role of an exposition to the entire poem. Fet uses image of a moonlit night as a symbol of love. He creates a picturesque and expressive image with the help of an oxymoron emphasized by inversion ( "Shining Night"), sound writing, alliteration. The repetition of the sound "l" conveys the lightness of moonlight, the tenderness and smoothness of its sliding rays. The repetition of the sounds “r” and “g” helps the poet convey to the reader all the trembling and excitement of the heart. In the second stanza, the intensity of passions increases: the repetitions of “z” and “t” create an incredible intertwining of feelings - exhaustion from love and the desire to live, love and cry. The poet affirms the identity of singing and the singer with love ( "What are you alone - love"). Love is the meaning of being, it is true faith.
In the second part of the poem, the description of the landscape is limited to the phrase "in the stillness of the night", a "hear" it is helped by the alliteration of the "sh" sound. The used scales "vz" and "zv" reproduce phonetically the breath of a person. Fet here identifies singing and the heroine not only with love, but with life itself. Art and love are eternal, they resist "tedious and boring years". Two meetings and two singing in the interpretation of Fet are variants of one eternal event. The desire to love underlines the refrain: "Love you, hug and cry over you".
Main motive and the idea of a work is the transforming power of art. Music for Fet is the basis of the universe, the quintessence of being, and the poet was able to masterfully convey his feelings in verbal form. The iambic six-foot creates the general musical background of the poem, giving amazing flexibility. poetic speech. Fet uses cross-rhyming with alternating feminine (in odd lines) and masculine (in even lines) rhymes. The poetic dictionary includes lexemes characteristic of the poet - sound, sigh, trembling, sobbing. The repetitions of the sonorous "m", "n", "p", the open vowel "a" give a special melody and musicality.
To create the figurative structure of a poem, the poet uses images from different areas– nature ( night, dawn), music and singing ( piano, strings, voice, sounds), human feelings (trembling hearts).
The poet penetrates into the element of feelings of love, uniting together and "screaming sounds", and love, and a woman. Music, art and love are phenomena of beauty, and the highest happiness for a poet is to believe in this beauty.
- Analysis of the poem by A.A. Feta "Whisper, timid breathing ..."
The romance "To love you, hug and cry over you" performed by Valery Agafonov is a diamond not only in his work, but in the entire culture of Russian romance. With full confidence it can be argued that best performance this romance does not yet exist.
This romance performed by Yevgeny Dyatlov (b. 1963), Andrey Svyatsky and Andrey Pavlov sounds very close to the masterpiece of Valery Agafonov.
In 1965, the poet and translator Anatoly Konstantinovich Peredreev (1932-1987) dedicated the following poem to his friend Vadim Valerianovich Kozhinov (1930-2001), a critic, literary critic and publicist:
How empty this night is, wherever you go,
How empty and deaf this city is at night...
It remains for us, my friend, only a song -
Tune the strings on your guitar
Tune the strings in the old way,
In which everything is in bloom and in full swing -
The night shone, the garden was full of moonlight.
And don't look that I don't sing along
That I covered my face with my hands,
I don't forget anything, my friend,
I remember everything that you have not forgotten.
Everything that is marked by fate
And so it sounds - to the heart and to the ear, -
That we can’t sing everything with you,
All is not lost, my friend!
Another string is stretched to the point of pain,
Still the soul is so unreasonably sorry
That beauty born in the open field,
The sadness of the one that breathes far ...
And dear Russian road
Still heard - do not even need words,
To disassemble from afar, far away
The familiar ringing of forgotten bells.
The feelings that the romance “The night was shining, the garden was full of moon” give rise to the soul of a Russian person, with that extraordinary beauty that can only be born on Russian Earth and can only be understood by a Russian person.
The history of this romance is quite well known, thanks to whose muse it is dedicated - Tatyana Andreevna Bers (1846 - 1925), the younger sister of Sofya Andreevna, the wife of Leo Tolstoy.
In 1867, Tatyana Andreevna married her cousin, lawyer Alexander Mikhailovich Kuzminsky, and at the end of her life she wrote her memoirs “My Life at Home and in Yasnaya Polyana”, where in chapter 16 “Eden Evening” she writes in particular:
“On one of May Sundays in Cheremoshna (Shchekinsky district of the Tula region) quite a lot of guests gathered: Maria Nikolaevna with the girls, the Solovyovs, Olga Vasilyevna, Sergey Mikhailovich Sukhotin, Dmitry Alekseevich’s brother-in-law, and Fet with his wife.
Dinner was formal. Porfiry Dementyevitch, having already placed his plate in front of Darya Alexandrovna, was busy at the table, never ceasing to speak with his eyes, since the lackeys were supposed to be mute.
Afanasy Afanasyevich enlivened the whole table with stories about how he was left alone, Maria Petrovna went to her brother, and he was hosting with a deaf, old housekeeper, a chukhonka, since the cook was on vacation, and taught her how to make spinach. And she puts her hands to her ear and repeats:
- I'm not listening.
Then I scream with all my might:
- Get out! And I make my own spinach.
All this Afanasy Afanasyevich presented with a serious look, in faces, while we all laughed.
I did not know him to have such ability to imitate. Dear Marya Petrovna looked tenderly at her husband and said: - Govubchik Fet is very lively today. Darya Alexandrovna, he likes to visit you in Cheremoshna.
After dinner, the men went to smoke in the office.
Marya Nikolaevna sat down in the drawing room to play four hands with Dolly. And we, some on the terrace, some in the living room, listened to music. When they finished, Dolly began to play my romances, and they made me sing. Since we were left alone women, I gladly fulfilled their request. As I remember now, I sang the gypsy romance "Tell me why", and suddenly I hear a second male voice- it was Dmitry Alekseevich. It was both pitiful and embarrassing to interrupt the singing. Everyone returned to the living room. We continued the duet. After graduating from it, I thought not to sing anymore and leave, but it was impossible, since everyone insistently asked me to continue.
I was afraid to sing in such a large company. I avoided it. At the same time, I was afraid of Fet's criticism.
After all, he heard so much good singing, good voices and I'm unlearned, I thought.
My voice trembled at first, and I asked Dmitry Alekseevich to sing along with me. But then he left me alone and only called one romance after another, which I had to sing. Dolly accompanied me by heart.
It was already dark, and the May moonlight lay in stripes on the half-dark living room. The nightingales, as I began to sing, shouted over me. For the first time in my life I experienced this. As I sang, my voice, as usual, grew stronger, my fear disappeared, and I sang Glinka, Dargomyzhsky and Bulakhov's "Kroshka" to the words of Fet. Afanasy Afanasyevich came up to me and asked me to repeat. The words began:
It just gets a little darker
I'll wait to see if the bell rings.
Come my sweet baby
Come sit in the evening.
Tea was served and we went into the hall. This wonderful, large hall, with large open windows in a garden illuminated full moon, disposed to singing. There was a second piano in the hall. Over tea, the conversation turned to music. Fet said that music affects him as much as beautiful nature and words win in singing.
- Here you are now singing, I don’t know whose words, the words are simple, but it came out strong. And he proclaimed:
Why are you when you meet me
Do you gently shake my hand with melancholy?
And in my eyes with involuntary longing
Are you looking and waiting for something?
Marya Petrovna fussily approached many of us and said:
- You will see that this evening is not will be in vain Govubchik Fet, he will write something that night.
The singing continued. Most of all I liked Glinka's romance: “I remember wonderful moment"And" To her "- also Glinka to the pace of the mazurka. Lev Nikolaevich usually accompanied this romance to me, and remarkably well. He said: “There is both grace and passion in this romance. Glinka wrote it when he was tipsy. You eat it well." I was very proud of this review. He so seldom praised me, and more and more read moralizing.
It was two in the morning when we parted ways. The next morning, when we were all sitting at tea round table, Fet entered, followed by Marya Petrovna with a beaming smile. They spent the night with us. Afanasy Afanasyevich, having greeted the elders, silently approached me and placed a sheet of paper covered with writing, not even white, but, as it were, a piece of gray paper, near my cup.
- This is for you in memory of yesterday's Eden evening.
The title was "Again".
It happened because in 1862, when Lev Nikolaevich was still a fiancé, he asked me to sing something to Fet. I refused, but I sang.
Then Lev Nikolaevich told me: “You didn’t want to sing, but Afanasy Afanasyevich praised you. You love to be praised."
Four years have passed since then.
“Afanasy Afanasyevich, read your poems to me—you read so well,” I said, thanking him. And he read them. This leaflet is still in my possession.
These poems were printed in 1877 - ten years after my marriage, and now music has been written on them.
The lyrics have been changed a little. Here is the text that was given to me:
"AGAIN"
The night shone. The garden was full of moonlight. lay
That you are alone - love, that there is no other love,
And so I wanted to live, so that only, dear,
And blows, as then, in these sonorous sighs,
Love you, hug and cry over you.
I rewrote these 16 lines of Tolstoy's description of the evening.
Lev Nikolaevich liked the poems, and once he read them aloud to someone in my presence. Having reached the last line: “Love you, hug and cry over you,” he made us all laugh:
“These verses are beautiful,” he said, “but why does he want to hug Tanya? Married man...
We all laughed, how unexpectedly funny he came out with this remark.
A strange man was Afanasy Afanasyevich Fet. He often annoyed me with his selfishness, but maybe I was not right with him. I always, with young years seemed to be a man of reason, not of heart. His cold, spoiled attitude towards the dearest Marya Petrovna often made me angry. She, just like a caring nanny, treated him without demanding anything from him. He always remembered himself first of all. The practical and the spiritual were equally strong in him. He liked to talk, but he also knew how to be silent. Speaking, he gave the impression of listening to himself.
What impression could the singing of twenty-year-old Tatyana Andreevna have on Fet can be read from L.N. Tolstoy in the novel "War and Peace". the main character whom, "Natasha Rostov", Lev Nikolaevich, according to his own statement, wrote, including from Tatiana Bers.
“... When this unprocessed voice sounded with incorrect aspirations and with efforts of transitions, even expert judges did not say anything and only enjoyed this unprocessed voice, and only wanted to hear it again. In her voice there was that virginity, untouchedness, that ignorance of her strengths and that still unprocessed velvety, which were so combined with the shortcomings of the art of singing that it seemed impossible to change anything in this voice without spoiling it.
What associations were born in Fet's soul, under the enchanting influence of this virginal voice untouched by academicism, one can only guess. But the fact that the lines inspired by this singing are an undoubted parallel to Pushkin's "I remember a wonderful moment ...", many researchers of Fet's work consider it unconditional.
Both poems speak of two meetings, two strong, repeated impressions. “Two singing” by Tatyana Bers, experienced by Fet, and in combination gave that poetic impulse in which the personality of the singer, her singing, which conquered the poet, turned out to be inseparable from that favorite Fetov’s romance that sounded in her performance: “And here you are again” “And in the stillness of the night I hear your voice again.” Thus was born one of the most beautiful poems Feta about love and music - "The night shone ...", in which Fet's musicality received an impulse from Pushkin's lyrical motif, experienced and "spoken" by Tolstoy's heroine.
There is another parallel of Fet's poem with Pushkin's works. We are talking about the "Egyptian Nights" and the famous improvisation about Cleopatra. It starts like this:
The hall was beaming. Thundered in chorus
Singers at the sound of flutes and lyres...
The similarity with the beginning of Fet's poem is obvious: the same verb (“shone”), the same syntactic incompleteness of the first line, both here and there we are talking about music. There is also an idea that is common to the two works. The main character of Pushkin's story is the Improviser. In a burst of inspiration, he creates magnificent masterpieces that captivate and amaze the public. It is this uniqueness, momentary inspiration that breathes life into the lines. After all, life is just as fleeting. Not a single minute is repeated twice. Each of them is unique. We see the same thing in Fet's poem, as well as in Tolstoy's description. It is the improvisation, the uniqueness of the sound that captivates the listener. This is what makes Fet even four years later remember his performance that delighted him so much. It reflected the very essence of life, which is improvisational at its core.
Fet's poem "Again" is one of the most clear examples philosophical lyrics poet. It reflected not only specific event that struck the author, but also his view of nature and man as an inseparable unity. The poem, referring to Pushkin's lines, speaks of the absolute value of every moment, of the uniqueness of every minute lived.
The fact that between the writing of the poem itself and its publication was enough long interval time, there is reason to believe that the first publication was not in 1877, but in 1883, due to the fact that Fet continued to work on the poem, which was reflected in the correspondence with Lev Nikolaevich.
Autograph-notebook options (in square brackets draft versions rejected by the author are enclosed.).
First line:
“[Reigned] night. The garden was full of the moon, - they were lying ”(the final version of the line is the same as in the printed text);
Variant of the sixth line (in a letter to Count L.N. Tolstoy):
“That you are one love and there is no other love.”
The first version of the seventh line:
“And so I wanted to live, so that forever, dear”; the second - “And so I wanted to live, so that only, dear” (this option is also contained in the autograph from the letter to Count L.N. Tolstoy”);
Eleventh line:
“And [is heard again] in these sonorous sighs” (the final version of the line is the same as in the printed text);
Fifteenth line:
“As soon as you believe in caressing sounds” (this option is contained both in the autograph-notebook and in the letter to Count Leo Tolstoy).
(See options in the publication: Fet A.A. Evening lights. S. 442).
Thus, the first version of the poem looked like this:
Night reigned. The garden was full of moon, - lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are one love and there is no other love,
And so I wanted to live, so that forever, dear
Love you, hug and cry over you.
And many years have passed, languid and boring,
And in the silence of the night I hear your voice again.
And [is heard again] in these sonorous sighs,
That you are alone - all life, that you are alone - love,
That there are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in caressing sounds,
Love you, hug and cry over you.
As you can see, it is somewhat different from the one that Tatyana Andreevna cites in her memoirs. Most likely, by the time she wrote her memoirs, Fet's note had been lost by her and she reproduced his version, edited by the author, from some printed publication.
Today there is an opinion that this poem was written on August 2, 1877, although Tatyana Andreevna unequivocally points to 1877 as the year of its first publication 11 years after her marriage.
The events she describes in The Evening of Eden took place on the eve of a letter sent by Tolstoy describing both the poem and the evening itself. According to her, Tolstoy answered him on May 25, 1866. If Tolstoy at that time was in Yasnaya Polyana, then the interval between letters could be from three to seven days. Therefore, "Eden's Evening" took place between May 18 and 22.
Tatyana Andreevna clarifies that the evening took place on Sunday. In May 1866, Sunday fell on the 6th, 13th, 20th, and 27th. Therefore, the poem "Again" was written on May 20, 1866.
Unfortunately, the composer who set Fet's wonderful words to music is less well known, and which today is considered the best musical embodiment of this romance. According to the surviving publication of 1911, only his name is known - Nikolai Shiryaev. None biographical information about him today, unfortunately not.
Other composers also wrote music for this poem: B.V. Grodzky (1891), A.N. Alferaki (1894), G.E. Konyus (1898), M.N. Ofrosimov (1901), E.B. Vilbushevich (1900s), but they could not convey the musical mood of Fetov's lines in the way that Shiryaev did, and therefore turned out to be not in demand today.
Valery Agafonov performed this romance in the musical arrangement of Nikolai Shiryaev.
In this performance miraculously the talents of three people merged, endowing us with an inexhaustible spring of a sense of beauty, sublime, enduring. This romance performed by Valery Agafonov, I think, will remain the unconquered pinnacle of RUSSIAN ROMANCE for a long time to come.
(Perception, interpretation, evaluation.)
The poem "The night shone. The garden was full of moonlight. They lay ... ”- one of the lyrical masterpieces of A. A. Fet. Created on August 2, 1877, it was inspired by the singing of T. A. Kuzminskaya (Sofya Andreevna Tolstoy's sister), who described this episode in her memoirs. The work opens a whole cycle of poems in the collection "Evening Lights", which Fet called "Melodies". Of course, this is no coincidence. The poem is really written in a romance-song vein, unusually musical. The poet believed that beauty - the main idea of the lyrics - is expressed not in lines, not in refined words, but, above all, "sounds subtly." So one of the most important characteristics poetry should be melodious.
The musicality of this work is achieved through repetitions on different levels poetic text. So, in the lyrical syntax there are anaphoras (And ... And ..., What ... What ...) parallel constructions within the stanza ("That you are one - all life, that you are one - love; But life has no end, and there is no other goal" .... ). Fet compares similar sound composition words - "sonorous sighs" - giving the poem additional semantic and emotional "overtones". Here are used phonetic tricks assonance (repeating the sounds [a], [o]), alliteration (repeating the sound [p] in the line “The piano was all open and the strings in it were trembling”).
The composition of the poem also contributes to its melodiousness. In this lyrical monologue, the author uses the ring technique. In the line “Love you, hug and cry over you”, which frames the work, Fet expresses the main feelings of the hero: delight and admiration for the power of vocal art.
Of course, the musicality of the poem is dictated by its theme. After all, this work is not only about love and nature, it is primarily about wonderful singing, about a voice that gives rise to many vivid experiences:
The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are alone - love, that there is no other love,
And so I wanted to live, so that, without dropping a sound,
Love you, hug and cry over you.
Fet does not depict a specific landscape or interior, but everything merges with him in perfect harmony. The poet creates a holistic dynamic picture, in which visual, auditory, tactile, and sensual impressions immediately appear. Generalization and combination of images of nature, love, music help the poet to express the fullness of the joy of perceiving life.
The poem is autobiographical. His lyrical hero is Fet himself.
This work tells about how the poet experiences two meetings with his beloved, between which there is a long separation. But Fet does not draw a portrait of his beloved woman with a single stroke, does not trace all the changes in their relationship and his condition. He captures only that quivering feeling that covers him under the impression of her singing:
And many years have passed, languid and boring,
And blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love.
The feeling itself is also difficult to describe in words. The lyrical hero conveys the uniqueness, depth and complexity of his experiences with the help of "global" metaphors in the last line.
This poem once again convinces us that only art can truly ennoble a person, purify the soul, liberate and enrich it. Enjoying a wonderful work, whether it be music, painting, poetry, we forget about all our problems and failures, we are distracted from everyday hustle and bustle. human soul everything opens up to beauty, dissolves in it and thus gains strength to live on: to believe, hope, love. Fet writes about this in the last stanza. The magical voice of the singer frees lyrical hero from the "grievances of fate and the heart of burning torment", presenting new horizons:
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
Speaking about the lyrical character of the poem, the author unwittingly touched upon the theme of the creator, his mission. The singer's voice, which awakened a whole range of feelings in the hero, sounds so delightful, because the heroine gives herself passionately to her occupation and is herself fascinated by the magic of music. At the time of the song, it must seem to her that there is nothing more important in the world than these beautiful sounds, than the feelings invested in the work. To forget about everything except creativity - this is the share of a true creator: a poet, an artist, a musician. This is also mentioned in the work.
The poem "The night shone. The garden was full of moonlight. They lay…” strikes with a variety of themes, depth and brightness of images, extraordinary melody, as well as its idea, which, in my opinion, lies in the author’s amazing desire to convey the beauty of art and the world in an inclusive way.
Already an old man, Fet understood what happiness he had missed in his life, chasing money. It is truly true that the love of money is the root of all evil. In the case of Fet, they took away his love. And this love was called Maria Lazich.
It was a girl from the impoverished noble family. Fet loved her, and she reciprocated. It would seem, get married and be happy. But the poet did not. He wanted to get back title of nobility and fortune, therefore rejected Mary. And it so happened that the girl tragically died in a fire. And Fet was subject to bitter moods until the end of his life. He ruined it for himself.
The poem "The night shone. The garden was full of moon" was written in 1877, and by that time the poet did not feel comfortable. Again, it's all about the love he betrayed. All that remains is to remember. Here the moon is shining in the night sky, and still young Fet is sitting with Maria in the living room flooded with silvery light. Not a single fire burns, only the moon. The girl plays the piano with the lid open and the strings tremble. And Fet listens to her.
The girl plays until dawn and cries, and tells the poet that she alone is love. And I want to hug her and cry too. Want to live. Here is such a memory. It came suddenly, after many boring and tiring years, in very old age. And as if these years did not exist, and there were no resentments and anguish of the heart. The girl is playing and I want to hug her and cry.
This is how Fet consoled himself and tried to heal the wound in his heart. But this love was not destined to be. Or maybe it was destined, but the poet ruined everything. Yes, he regained his title, his fortune, became a successful landowner, married a rich merchant's daughter. But that didn't make the loss any easier.
Maria Lazich continued to stand before Fet's eyes as a symbol of what was irretrievably lost. And many more poems were dedicated to her. Yes, it is better not to lose love, because it is - greatest treasure in life.
Briefly according to the plan
Picture to the poem The night shone with the moon, the garden was full
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