One of the central themes of A. Fet's poetry is the theme of nature. Fet's landscape functions can be said to be universal. Many poems are devoted to sketches of various states of Russian nature, ordinary and imperceptible, but as if seen for the first time. Preparing his poems for publication, Fet arranged them, subordinating the change of seasons (the cycles "Spring", "Summer", "Autumn", "Snow", "Evenings and Nights"). Nature gives birth to his inspiration in its most diverse manifestations - this is both a holistic picture of the universe (“Quiet starry night” (1842), “On a haystack ...”, and a tiny detail of the familiar and familiar world surrounding the poet (“Rye ripens over a hot field "(late 50s), "The swallows are gone ..." (1854), "The cat sings, squinting his eyes" (1842), "Bell" (1859), "The First Lily of the Valley" (1854), etc.).
In addition, nature is a fulcrum, a starting point, from
which begins both philosophical reflections on life and death, and the assertion of the immortal power of art, and a feeling of the regenerating power of love.
The world in Fet's lyrics is full of rustles, sounds that a person with
a less refined soul will not hear. Even "the breath of flowers has a clear language." He hears how “crying, the mosquito will sing, / The leaf will fall off smoothly”, as the buzzing of the cockchafer, which suddenly flew into the spruce, interrupts the buzz:
The rumor, opening up, grows,
Like a midnight flower
("I'm waiting, I'm filled with anxiety...")
(1886)
Say that the sun has risen
What is hot light
The leaves fluttered
Tell that the forest woke up
All woke up, each branch,
Startled by every bird
And full of spring thirst...
("I came to you with greetings...")
(1843)
world: juniper, firs standing on the edge. Warm and lively, the earthly light of a bonfire is closer and brighter for a suffering traveler than a distant and insensible luminary, indifferently illuminating everything around:
I forgot to think about the cold night, -
Warm to the bones and to the heart.
What was embarrassing, hesitating, rushed away,
Like sparks in smoke, flew away ...
The vast majority of Fet's poems have such ambiguity, expressiveness and depth, no matter what they say.
Fet expanded the possibilities of a poetic depiction of reality, showing the inner connection between the natural world and the human world, spiritualizing nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry.
“Fet strives to fix changes in nature. Observations in his poems are constantly grouped and perceived as phenological signs. Landscapes of Fet are not just spring, summer, autumn or winter. Fet 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").
S.Ya. is right. Marshak, in his admiration for the “freshness, immediacy and acuteness of Fet’s perception of nature”, “wonderful lines about spring rain, about the flight of a butterfly”, “penetrating landscapes”, is right when he talks about Fet’s poems: “His poems entered Russian nature, became an integral part of it."
But then Marshak notices: “Nature with him is exactly on the first day of creation: bushes of trees, a bright ribbon of a river, a nightingale’s peace, a sweetly murmuring spring ... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and acquires a decorative character.
Fetov's aestheticism, "admiration for pure beauty", sometimes leads the poet to deliberate prettiness, even banality. One can note the constant use of such epithets as "magical", "gentle", "sweet", "wonderful", "affectionate", etc. This narrow circle of conditionally poetic epithets is applied to a wide range of phenomena of reality. In general, Fet's epithets and comparisons sometimes suffer from some sweetness: the girl is “a meek seraphim”, her eyes are “like the flowers of a fairy tale”, dahlias are “like living odalisques”, the skies are “imperishable like paradise”, etc. " .
“Of course, Fet's poems about nature are strong not only in concreteness and detail. Their charm is primarily in their emotionality. The concreteness of observations is combined in Fet with the freedom of metaphorical transformations of the word, with a bold flight of associations.
“Impressionism at that first stage, to which Fet’s work can only be attributed, enriched the possibilities and refined the techniques of realistic writing. The poet vigilantly peers into the outside world and shows it as it appeared to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet says so: “For an artist, the impression that caused the work is more precious than the thing itself that caused this impression.”
“Fet depicts the outside world in the form in which the mood of the poet gave it. With all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing a lyrical feeling.
“Fet values \u200b\u200bthe moment very much. He has long been called the poet of the moment. "... He captures only one moment of feeling or passion, he is all in the present ... Each Fet song refers to one point of being ..." - noted Nikolai Strakhov. Fet himself wrote:
Only you, poet, have a winged word sound
Grabs on the fly and fixes suddenly
And the dark delirium of the soul and herbs an indistinct smell;
So, for the boundless, leaving the meager valley,
An eagle flies beyond the clouds of Jupiter,
A sheaf of lightning carrying instantaneous in faithful paws.
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. First we see the blue of the sky and flocks of birds, then the sounding and blooming spring land - willows and birches covered with delicate foliage (“This fluff is not a leaf ...”), mountains and valleys. Finally, words about a person are heard (“... a sigh of a night village”). 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 recognize and 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 images are important, but also auditory, olfactory, and tactile ones. In the poem "This is morning, this joy..." the narrator hears the "talk of the waters", the cry and effervescent singing of birds ("shot" and "trills", "sound" and "whistling"), the buzzing of bees and midges. Particular attention to the "music of the world" can be found in most of the poet's works. Fet is generally one of the most "musical" Russian poets. The poet saturates his works with harmonious sounds, melodic intonations. The author skillfully uses onomatopoeia - for example, a lot of whistling and hissing sounds in the last lines of the second stanza (“These midges, these bees, / This tongue and whistle ...”) allows not only to imagine, but also to some extent “hear” live music of the meadows, and the penultimate line of the poem (“This fraction and these trills ...”), thanks to the accumulation of sounds “dr”, “tr”, as it were, reproduces the sound of bird flocks.
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.
Fet achieves the wide and generalized content of the “spring” landscapes (paintings) solely due to the fact that the emotions and experiences of the lyrical “I” seem to penetrate into the world around us, spill into it, they are “recognized” through nature. The landscape is not valuable in itself, it reveals the life of the soul, lives in unison with it. “The originality of Fet,” concludes one of the researchers of his poetry N.N. Skatov, “consists in the fact that the humanization of nature meets in him the naturalness of man.”
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. For Fet, this is a fundamental philosophical and aesthetic attitude, expressed by him repeatedly, and most clearly formulated in an article about the poems of F. Tyutchev (1859): she is here, the secret relationship of nature and spirit, or even their identity, vouches for this. It is in this, one of Fet’s most sincere convictions, strictly realized in his lyrics, especially in the 40-50s, that the inexhaustible “source of optimism, bright feeling, “freshness”, “unbrokenness” is contained - such definitions were generously awarded by his critics » .
The many-sidedness of the beauty of the external world every time leads the poet into joyful amazement: beauty lies in every, the smallest and seemingly insignificant particle of this world:
Look around - and the world is everyday
Multicolored and wonderful.
The jubilant beauty of the world, in front of which it is impossible “not to sing, not to glorify, not to pray”, is the poet’s eternal source of inspiration; in spite of all life’s troubles, it instills in him optimism, a quivering thirst for life, and a freshness of perception of the world.
“The outside world is, as it were, colored by the moods of the lyrical “I”, enlivened, animated by them. Associated with this is anthropomorphism, the characteristic humanization of nature in Fet's poetry.
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 for a lover”, a rose “smiled strangely”, a willow is “friendly with painful dreams”, the stars pray, “and the pond dreams, and the sleepy poplar slumbers”, and in another poem the poplar “does not utter a sigh or trills." Human feelings are attributed to natural phenomena without a direct connection with their properties. Lyrical emotion, as it were, spills over into nature, infecting it with feelings of the lyrical "I", uniting the world with the mood of the poet.
Here is how B.Ya. Bukhshtab about the “spring” lyrics of the poet: “Fet is without a doubt one of the most remarkable Russian landscape poets. In his poems, the Russian spring appears before us - with fluffy willows, with the first lily of the valley asking for sunlight, with translucent leaves of blossoming birches, with bees crawling "into every carnation of fragrant lilac", with cranes screaming in the steppe.
Let's look at the poem "I'm waiting, 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, as is often the case with Fet, is extremely tense, excited at once, not only because it is said about anxiety: this anxiety comes from the tension-inducing repetition at the very beginning (“I’m waiting ... I’m waiting ...”), and from a strange, seemingly meaningless definition - "on the way." But in this “self” there is also a limit, finiteness, as, for example, in the poem “The night was shining ...” - “The piano was all open ...”, where the word “all” brings bestowal to the end and the open piano here is like an open soul. The simple path "through the garden" has become the "way itself" with an already infinite ambiguity of meanings: fateful, first, last, the path of burned bridges, etc. In this maximally stressed state, a person sharply perceives nature, and, surrendering to it, begins to live like nature. “Hearing, opening up, grows Like a midnight flower” - in such a comparison with a flower there is not only a bold and surprisingly visual objectification of human hearing, a materialization that reveals its naturalness. Here the process of this very adaptation to the world of nature is conveyed (“Hearing, opening up, grows ...”). That is why the verses “He hoarsely called his girlfriend / Right there at the feet of a corncrake” already cease to be a simple parallel from the life of nature. This “hoarse” refers not only to the bird, but also to the person standing here, on the “very path”, already, perhaps, with an intercepted, parched throat. And it also turns out to be organically included in the world of nature:
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. “Oh, how it smelled of spring!” - this middle line refers as much to her, young, as to young bushes, but this same line unites her and nature, so that she is like the whole natural world, and the whole natural world is like her "- such a reading of the poem in question we find at N.N. Skatova.
In "Evening Lights" - Fet's late collection of poems - the principle of organizing texts on the basis of combining the "details" chosen by the author that excites the imagination of readers is used in its most diverse versions. And this is natural, since the presence of "details" and their logically unjustified selection in a closed text still remains an effective means of exciting associations that expand the semantic and emotional possibilities of the text.
An example of a text that pushes the reader to guess what the author has not said is the poem “May Night” (1870), about which L. Tolstoy wrote: “... a poem is one of the rarest, in which not a word can be added, subtracted or changed: it itself and charming ... "You, tender!", And everything is charming. I don't know what's best for you."
Retarded clouds are flying over us
Last crowd.
Their transparent segment melts gently
At the moon crescent.
Mysterious power reigns in spring
With stars on my forehead. -
You gentle! You promised me happiness
On a vain land.
Where is happiness? Not here, in a miserable environment,
And there it is - like smoke.
Follow him! after him! air way -
And fly away to eternity!
“The poem is thematically divided into two equal parts: scrapped in the middle of the second stanza. The first half of the text draws the spring night sky. A dynamic picture of the movement of clouds. It is conveyed not only by changing their name - backward clouds and then a segment of them, but is also reflected in rhyming verbs that emphasize the theme of "dissolution" - flies - melts, as well as by referring to the word crowd (clouds), placed between two rhyming verbs, and as a result this, as it were, characterizing the plastic appearance of moving clouds and the swiftness of their movement (a crowd is something crowding, moving in a continuous mass).
The first two verses of the first stanza are distinguished from the second two not only by the noted nature of the cloud cover - their segment melts gently - but also by the appearance in the sky of a new object - a crescent moon, a combination that closes the stanza.
The first half of the next stanza continues the theme of the first, but does not logically follow from it, although it is connected with it. The leap from a specific description of the spring sky to a generalizing conclusion is determined, on the one hand, by a further change in the picture of the sky (it cleared of clouds and shone with stars), on the other hand, by the poet’s conclusion, caused by the beauty of the spring night, its imperious exciting power.
These verses draw attention to themselves by a certain thematic unity of their constituent elements: the abstract conclusion in the verse “Mysterious power of spring reigns” was completely self-sufficient for expressing the impression of the imperious power of spring without adding the following verse “With stars on the forehead”, which violates the natural thematic correlation of elements within the offer. On whose forehead are the stars? The grammatical dependence in the sentence puts forward as the subject of the sentence the words "mysterious power of the spring". The word chelo entails the personification of the subject, which is resisted by its real comprehension. And indeed, the verse “with stars on the forehead” continues the theme of the spring sky, constructs its appearance after the clouds have gone. The clear sky dotted with stars appears in these words as if the crown of the almighty spring mysterious power, especially noticeable on this May night.
What caused the transition to a purely intimate theme of the second half of the poem? Apparently, by two factors: the influence of the power of spring, the rebirth that reigns, subjugating everything in nature, and therefore man, arouses in him a sad lyrical mood and memories. The strength of the spring impact and the charm of the May night stretched an associative thread to the once former such night and to the beloved woman, and also aroused thoughts about unfulfilled happiness, the analogue of which was the clouds melting in the moonlight.
So: May night - the sky - the charm of the flowering of spring vitality - a discussion on the topic: “what is happiness?”, ending with a pessimistic conclusion - this is the staircase of feelings that the author deploys in this short poem.
Perhaps we should also dwell on some word usages that shake their usual syntactic connection: a crowd of clouds, a segment of clouds (cf. a crowd of children, a segment of a path, a segment of cloth). If the word segment in the meaning of "remainder", and not "part of something." attracts attention with some unusualness of its use, then the word crowd (cloud) is aesthetically very significant, because discovers here the effectiveness of its internal form - "something crowding, crowding and moving mass", enhancing the plasticity of the movement of air masses. The adverb softly (melts) is also unusual, meaning “smoothly”, “not sharply”, “slowly, as if dissolving”.
The text of the poem is built on the basis of the individual use of words of a possible synonymous series, the collision of words of different thematic plans, motivated by the personal will of the artist, shaking their usual use.
“For all the truthfulness and concreteness of Fet’s description of nature, it seems to dissolve in a lyrical feeling, serving as a means of expressing it.”
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.
In each stanza of this poem, two opposite concepts are dialectically combined, which are in a state of eternal struggle, each time causing a new mood. So, at the beginning of the poem, the cold north, the "realm of ice" is not only opposed to warm spring, but also gives rise to it. And then two poles reappear: on one, warmth and meekness, and on the other “anxiety and love”, that is, a state of anxiety, expectation, vague forebodings.
In the poem of 1847 "What an evening ..." we see the daring and scope of the folk or, rather, Koltsovo song:
So everything is alive in the spring!
In the grove, in the field
Everything trembles and sings
Willy-nilly.
We will shut up that in the bushes
These choirs -
They will come with a song on their lips
Our kids;
And not children, so will pass
With the song of the grandchildren:
They will descend to them in the spring
The same sounds.
One remarkable poem convinces us that these are not random touches. It seems to clearly indicate Fet's craving even for the epic. "YU. Aikhenwald once 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 not only a rare, but also 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. But in a number of senile poems, Fet adjoins Tyutchev's "oratorical" line.
The symbolism of nature, the construction of the poem on the comparison of nature and man or on the basis of an image from the sphere of nature with an implied analogy with man, philosophical thought, sometimes through a metaphor, sometimes directly formulated in a didactic style - 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. But here, in addition to feeling, there is a shade of thought: the joy of seeing how a bird - a “caring mother” - “flutters its wings, flutters and catches midges in flight”; joy bordering on envy (“Do I envy you?”) is associated with the recognition of the organic life of nature as more natural, majestic and wiser than human life, despite the unconsciousness of nature, or rather precisely because of this unconsciousness.
Ivy, "climbing" to the balcony railing in order to wrap itself around it, is compared with a bird that performs equally unconscious, but biologically expedient actions.
On the topic we are considering, and, by the way, one of Fet's favorite topics - 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…
Etc.
In the 60s, due to the philosophical deepening of the topic, the approach to it changed again. Fet again moves away from detailed descriptions, strengthens the personification of natural phenomena, but this personification is more generalized than before: the character is not a lilac bush, but spring itself; 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 of poetic thought, does not play a role.
In essence, there is only one more or less concrete feature in the poem: “The morning shines with purple”; here it is said about the same thing as in the poem just quoted (“the dawn shines through with a shade of scarlet”). But let's pay attention: referring to the dawn, Fet is not talking about crimson, but about purple - the scarlet royal cloak, purple queen of spring. The regal and youthful freshness of spring are combined in the symbol of the "queen-bride", although - from the point of view of life's realities - the bride should be a princess, not a queen.
The image is even less concrete: "The recent grave blossoms." This does not mean that some fresh grave has bloomed, but it means that everything that until recently seemed dead is blooming.
But here is another development of the same topic, dating back to the end of the 70s:
The sky is clear again
Spring smells in the air
Every hour and every moment
The groom approaches.
Sleeping in an ice coffin
Enchanted by sleep
Asleep, mute and cold,
She is all under the spell.
But with the wings of spring birds
He blows snow from his eyelashes,
And from the cold of dead dreams
There are drops of tears.
The signs of spring here are only the most general: the clarity of the sky, the spring air, the arrival of birds, the melting of snow. The theme of the spring rebirth of nature is embodied in the images of the fairy tale about the dead princess, but only in the form of the most general symbols: the groom approaches, the bride sleeping in the coffin begins to come to life. These are symbols, not just personifications. In the previous poem, "bride" directly refers to spring; but is it possible to say that this time the spring is called not the "bride", but the "groom"? Such a discrepancy in grammatical gender is always resolutely avoided by language, folklore, and poetry. It is more correct to say that here both the groom and the bride are symbols of reviving spring nature, embodied in two principles: the bearer and the perceiver of rebirth.
This "looseness" of symbols allows for extraordinary freedom in the choice of attributes. So, the tears of the bride are, apparently, spring drops; but such details do not add up to the visual image of the “bride”, just as it is impossible to imagine visually the connection of the “groom” with the “wings of spring birds”.
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". In modern vocabulary, this word seems obsolete, but in the poetic dictionary of the 19th century it was used often, and Fet willingly used it. This is a noun that has the same root as the adjective “gentle”, the verb “to bask”; their semantic meaning is pleasure with a touch of softness, subtlety, grace.
The sound instrumentation is also noteworthy. In the first two verses, sound combinations with the sound [n] stand out.
More fragrant bliss of spring
Didn't get to us...
The picture is refined with some details that depict winter: it is snow, a frozen path. In the second stanza, the sketch continues, the dynamics intensify due to the use of a large number of verbs, three of which, in addition, are in the rhyming position: “warms”, “turns yellow”, “dares”. 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 the currant bush. The image of spring arises from denials and is summarized in the last stanza, which begins with an antithesis: “But the news of the rebirth is alive // Already there is ...”. Sounds associated with the word “life” acquire a special role: “revival”, “live”, “seeing off”.
The poem moves from denial to affirmation and ends with the image of a steppe beauty "with a dove-gray blush on her cheeks." Fet made the object of art, in general, not poetic things: a currant bush, a bluish blush. However, these are precise details that allow you to feel and understand that we are not talking about spring in general, but about spring in Russia, which Fet knows and undoubtedly loves, despite all the reproaches of his contemporaries for lack of ideas.
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. With all the truthfulness and concreteness of natural images, they primarily serve as a means of expressing a lyrical feeling. 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. Just as spring warms all living things, so Fet’s poems about spring caress the ear, elevate the soul, intensify the “battle” of even “quivering hearts”.
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.
Above Fet's poems, filled with the pure air of spring, stars, beauty, movement, thirst for flight, neither time nor space has power. His poems are eternally young and beautiful.
In the poem dedicated to Fet “My heartfelt bow to you”, Tyutchev calls him “a sympathetic poet”. This poem by Tyutchev was written in response to Fet's message with a request to send him a portrait. Another message from Tyutchev to Fet, written at the same time (April 1862), establishes the blood relationship of two Russian lyricists:
Beloved by the Great Mother,
A hundred times more enviable is your destiny -
More than once under the visible shell
You got to see her...
The great mother nature gives others a "prophetically blind instinct." The fate of Fet, from the point of view of Tyutchev, is more enviable: under the visible shell of Nature, he saw the invisible, “her very thing” - nature. Only Fet was awarded such a characteristic of Tyutchev. Reading this poem, it is difficult to get rid of the thought that we have a very subtle description of the lyrics of Tyutchev himself ...
As you know, Fet owns a heartfelt article about Tyutchev's poetry and four poetic messages to him. Three of them were written during the life of Tyutchev, the fourth - after his death. Finally, Fet translated Tyutchev's French poem:
Oh how I love to return
To the source of your first days
And, listening to the heart, admire
All the same charm of speeches.
The translation is sustained in the spirit of Tyutchev's poetry and speaks of Fet's respectful penetration into its essence.
The combination of these two names - Tyutchev and Fet - has become common: some bring them together, others oppose them. Blok has the words: "Fet has contained all the triumph of genius, not contained by Tyutchev." This is an affirmation of the highest kinship of our lyric poets.
Yielding to Tyutchev in the cosmic scale of poetic feeling, Fet in his most perfect 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. A gardener, a mushroom picker, a hunter, an agronomist, a phenologist, a traveler, a forester, a draftsman will find dozens of interesting details in Fet's poems, which they would have missed if the poet had not pointed out these details. What is their specialty or special interest, the poet, by virtue of his vision, reveals in verse from an unexpected side even for them.
The two artists naturally have different results. Where Tyutchev has a single picture, Fet has a great many studies, a fractional and persistent development of the same theme in an endless chain of options.
Following Tyutchev, together with him, Fet perfected and infinitely diversified the finest art of lyrical composition, building miniatures. Behind their seeming repetitiveness stands an infinite variety and diversity, an incessant lyrical counterpoint that captures the complexity of a person's spiritual life.
Fet's "First Lily of the Valley" consists of three stanzas. The first two quatrains are about the lily of the valley, which "from under the snow" asks for "sun rays", which is pure and bright - the gift of the "flaming spring". Further, the poet does not speak about the lily of the valley. But its qualities are overturned on the person:
So the maiden sighs for the first time -
About what - it is not clear to her -
And a timid sigh is fragrant
The excess of life is young.
This is Tyutchev's construction, subtly and cleverly perceived by Fet and mastered by him.
Of course, this is not imitation or borrowing. The general tasks of Russian philosophical lyrics, the spirit of the era, the affinity of creative manners play a decisive role here.
Not a thought, not a philosophical or social trend, Fet appreciates in Tyutchev's poetry, but the clairvoyance of beauty: "So much beauty, depth, strength, in one word poetry!" Fet defined the main scope of Tyutchev's aesthetic clairvoyance. If Nekrasov emphasized Tyutchev's deep understanding of nature, then Fet's work of the poet evoked an association with the night starry sky.
For Nekrasov, Tyutchev is connected with the earth, he knows how to convey its forms in plastic images. For Fet Tyutchev - the "most airy" embodiment of romanticism, he is the singer of "midnight unearthly."
Tyutchev's entry into Fet's poetry, Fet's artistic comprehension of the beloved poet are expressed in his dedication in 1866. "Spring has passed - the forest is darkening." Three out of four stanzas (first, third, fourth) are woven from Tyutchev's images and motifs: "spring", "spring streams", "sad willows", "fields", "spring singer", "midnight alien", "spring call" , "smiled through a dream."
Conclusion
Together with Tyutchev, Fet is the most daring experimenter in Russian poetry of the 19th century, paving the way for the achievements of the 20th century in the field of rhythm.
Let's highlight their common features: the unity of aesthetic views; commonality of themes (love, nature, philosophical understanding of life); warehouse of lyrical talent (psychological depth, subtlety of feeling, grace of style, polished language, super-sensitive artistic perception of nature).
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.
Comparing the lyrical works of Fet and Tyutchev, we can conclude that Tyutchev's poem always involves the reader's acquaintance with the poet's previous work, giving a synthesis of the author's figurative searches at the moment, however, it is open to associative links with new poems that can be created by the poet ; Fet's poem is, as it were, a record of one instantaneous experience or impression in a chain of experiences, it is a link in this chain that does not have a mutual beginning and end, but this “piece of life” is independent. Those. Fet does not have such obligatory associations with other poems as Tyutchev's.
So, let us summarize once again what signs, or qualities, of nature Tyutchev highlights, creating a poetic image of spring in his work. Colors interest him only to a small extent. Color epithets are laconic and, as a rule, unoriginal. They usually lack the main semantic load. On the other hand, verbs of motion usually play a big role in him, conveying the state of objects of nature. Auditory and tactile, tactile signs of the landscape come to the fore. Before Tyutchev, auditory images did not play such a role in any of the Russian poets.
For Fet, nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the connection of nature with human needs and human labor. He values the moment very much, strives to fix changes in nature and loves to describe a precisely defined time of day. In his work, the poetic image of spring is compared with experiences, the psychological mood of a person; in the "spring" cycle, Fet showed the ability to convey natural sensations in their organic unity.
In the lyrics of Fet, like Tyutchev, the poetic image of spring is inseparable from the human personality, his dreams, aspirations and impulses.
List of used literature
1. Literary dictionary-reference book. – M.: Academy, 2005.
2. Tyutchev F.I. Poems. Letters. - M., GIHL, 1957.
3. Fet A.A. Works. – In 2 volumes – V.2. - M., 1982.
4. Bukhshtab B.Ya. A.A. Fet: Essay on life and work / USSR Academy of Sciences. - 2nd ed. –L.: Science. Leningrad branch, 1990.
5. Foreword by B.Ya. Bukhstab to the book: A.A. Fet. Poems. L., 1966.
6. Gorelov A.E. Three Fates: F. Tyutchev, A. Sukhovo-Kobylin, I. Bunin. - L .: Owls. writer. Leningrad. department, 1976.
7. Grigorieva A.D. Word in Tyutchev's poetry. – M.: Nauka, 1980.
8. Grigorieva A.D. “A.A. Fet and his poetics" // Russian speech No. 3, 1983.
9. Kasatkina V.N. The poetic worldview of F.I. Tyutchev. - Saratov, Ed. Sarat. un-ta, 1969.
10. Lagunov A.I. Afanasy Fet. – Kh.: Ranok; Vesta, 2002.
11. Nekrasov N.A. Full coll. soch., V.9, M., GIHL, 1950.
12. Nikitin G. “I love a thunderstorm in early May…” // Lit. study №5, 2003.
13. Ozerov L. Tyutchev's poetry. M.: Artist. lit., 1975.
14. Ozerov L.A.A. Fet (On the skill of the poet). – M.: Knowledge, 1970.
15. Ozerov L. “I love a thunderstorm in early May ...” // Youth No. 2, 1979.
16. Orlov O.V. Tyutchev's poetry: a manual for a special course for correspondence students in philol. fak. state Univ. – M.: Publishing House of Moscow State University, 1981.
17. Silman T. Notes on lyrics. - M.–L., 1977.
18. Skatov N.N. Lyrica A.A. Feta (origins, method, evolution). - M., 1972.
19. Tolstoy L.N. Complete Works, Anniversary Edition, Vol.11. Goslitizdat, M., 1932.
20. Chagin G.V. Fedor Ivanovich Tyutchev: (185th birthday). – M.: Knowledge, 1985.
“I won’t tell you anything” .., “I’m waiting, I’m filled with anxiety” ...,
Artistic features of the lyrics by A. Feta Literature lesson in grade 10
Lesson objectives: to form an idea of the artistic features of A.A. Feta; to cultivate interest, love for the poetic word; to give the concept of parody as a literary genre.
Equipment: memo "How to work on the analysis of a poetic work", handouts (cards with texts of poems and questions for them).
Organization of work: work in groups
During the classes
Word of the teacher about the work of A. Fet
The poet Afanasy Fet has always been considered "the banner of" pure art "and in fact was one. And although his poems, at first glance, are simple and understandable, he remains an elitist poet, and the meaning of his works is accessible only to an attentive and subtle reader.
A.A. Fet is a poet of nature in a very broad sense. In his poems, nature is humanized and man is natural.
He was called the poet of the moment: the moment in his poems acquires the power and significance of eternity.
Today in the lesson we will take a closer look at the poems of Afanasy Fet, try to comprehend their philosophical meaning and artistic features. We will continue to learn how to analyze a poetic work, we will get new ideas about literary parody. The objectives of the lesson: using the example of the poems proposed for analysis, to determine the features of the poetics of A. Fet, to improve the ability to compose a coherent detailed monologue answer to a question.
During the classes. Children are divided into 4 (5) groups, each has consultants - strong students. Each group receives a card with tasks. For 15-20 minutes, children work on assignments using reference notebooks. Each group makes a detailed analysis of the poems. The teacher helps students, directs their work
After completing their work, each group presents the class with their collectively composed answer. The rest of the children in the course of the story write down the abstracts of the speeches of their comrades in their workbooks. At the end of the lesson, a conclusion is made about the themes and artistic features of the works of A. Fet.
Homework: students' choice
Learn by heart your favorite poem;
Prepare an expressive reading and oral analysis of one of the poems;
Draw an illustration for the poem.
Materials for the lesson
memo
How to work on the analysis of a poetic work
Read the poem carefully. What thoughts, feelings, experiences did it evoke?
How did the author achieve this? Find the "key" to the poem (the main means of expression). These can be tropes, peculiarities of vocabulary, rhythm, syntax, phonetics… For what purpose are they used, what semantic load do they carry? Consider also the laws of the genre.
Remember that the "key" can be found in an unexpected "place"! In a poem, any element of form can play a major role in revealing its idea!
Define the idea of the work.
Handout
Task for group number 1
Athanasius Fet
A wonderful picture, How dear you are to me: The white plain, The full moon, The light of the high skies, And the brilliant snow, And the distant sleigh A lonely run.
Analyze the syntactic structure of the sentences included in the poem.
From what "viewpoint" is the landscape being shown?
Find definitions. Which of them can be considered epithets? What is the role of the last epithet (lonely running) in the poem?
Determine the color scheme of the poem. Her role?
Is the landscape static or dynamic?
From student responses:
A. Fet's poem "A wonderful picture ..." is extremely concise. The syntactic structure of sentences is simple, even monotonous: all sentences, with the exception of the first, are one-part, denominative; a kind of monotonous rhythm of the poem is created. The poet shows the panorama from afar, striking the depth of the perspective created by the "distant sleigh". All definitions in the poem are epithets, as they help to feel the vastness, almost infinity of the world. The color scheme of the poem is poor: the only color is white ("white plain"), the reader's gaze is not distracted by the earthly colors of the landscape. The poem would be completely static if not for the last line, which has a single word for action, but action as an object (running)
Before us is a poem by a poet who froze in amazement before the infinity of the world.
Task for group number 2
A. Fet
I won't tell you anything, And I won't disturb you in the least, And I won't dare hint at anything about what I silently say.
The night flowers sleep all day long, But as soon as the sun sets behind the grove, The leaves quietly open And I hear how the heart blooms.
And in the sick, tired chest Blows with night moisture ... I tremble, I won't disturb you at all, I won't tell you anything.
Determine the theme of the poem. Is it about happy or unhappy love?
Find personifications, metaphors. What is their role?
What are the features of the composition of the work?
Determine the poetic size, the method of rhyming. Do they influence the creation of the emotional tone of the work?
From student responses:
This is a poem about love, and it is not clear whether it is divided or undivided, but, of course, about happy: the lyrical hero does not dare to confess his feelings, but is overwhelmed with love longing. This state helps to understand the second stanza. The personification is sleeping...the flowers create a living image of nature; This metaphor takes on special significance in comparison with the metaphor of the heart blooming: the “humanization” of nature here “meets” with the “naturalness” of man.
The poetic size is a three-foot anapaest; according to the definition of N. Gumilyov, "the anapaest is impetuous, impulsive, these are poems in motion, the tension of inhuman passion." The cross rhyme in combination with the masculine clause is restless, depressingly tense.
The last two verses are a mirror reflection of the first two, which gives the composition a closed character: the lyrical hero again and again turns to his unspoken feeling.
Task for group number 3
A. Fet
I’m waiting, filled with anxiety, I’m waiting here on the very path: You promised to come along this path through the garden. Crying, the mosquito will sing, The leaf will fall smoothly ... Rumor, opening, grows, Like a midnight flower. He called Right there at the feet of a corncrake. Quietly under the canopy of the forest Young bushes are sleeping ... Oh, how it smelled of spring! .. It must be you!
Find comparisons, metaphors, personifications. What is their role in revealing the topic?
What is the role of repetition at the beginning of a piece?
Explain the meaning of the expression on the path itself in this context.
What role do living beings play in the poem?
From the children's answers
The poem is extremely tense, excited, not only because it is immediately said about anxiety: this anxiety comes from the tension-inducing repetition at the very beginning (“I’m waiting ... I’m waiting ...”), and from a strange, seemingly meaningless expression - “on the very path”: the ordinary path through the garden became the very path with all the ambiguity of meanings. In this maximally stressed state, a person sharply perceives nature and, surrendering to it, begins to live like nature. “Hearing, opening up, grows Like a midnight flower” – in this comparison, the process of getting used to the natural world is conveyed. Therefore, the verses “hoarsely called a girlfriend ... a corncrake” are not just a parallel with the life of nature. This "hoarse" refers not only to a bird, but also to a person who is already standing, perhaps with an intercepted, parched throat. And just as organically, she joins the world of nature: “Oh, how it smelled of spring! It's probably you."
Task for group number 4
A. Fet
Fountain
Night and me, we both breathe
The air is drunk with linden blossom,
And, silent, we hear
What, with our jet we wave,
The fountain sings to us.
I, and blood, and thought, and body -
We are obedient servants:
To a certain limit
We all rise boldly
Under the pressure of fate.
The thought rushes, the heart beats.
The blood will return to the heart,
My beam will spill into the reservoir,
And the dawn will extinguish the night.
Determine the theme of the poem.
What meaning do the concepts of blood, thought, fate, heart acquire in the work?
What is the purpose in the first stanza of the words night and I are duplicated by the words we both?
Can this poem be considered a work of philosophical lyrics? What is its philosophical meaning?
From the children's answers
The poem is called "Fountain", but its theme is much broader: it is a work about the law of nature and life, common for the fountain, and for man, and for all life on earth. Already in the first line, a person is united with the natural world ("I and the night - we both breathe")
The concepts of blood, thought, body in the poem cease to belong only to a person, and fate equally controls both the person and the flow of water in the fountain, and all these concepts are closed in a single, cosmically harmonious world.
Task for group 5
How do you feel about this parody? What impression did she make on you?
What, in your opinion, caused such a mocking attitude towards one of the best poems by A. Fet?
3. How skillfully did the parodist manage to imitate Fet's poetic manner?
A. Fet
Whisper, timid breath, Nightingale's trill, Silver and the ripple of a sleepy stream,
Night light, night shadows, Endless shadows, A series of magical changes of a sweet face, Purple roses in smoky clouds, Amber reflection, And kisses, and tears, And dawn, dawn! ..
D. Minaev
Cold, dirty villages, Puddles and fog, Fortified destruction, The talk of the villagers. There is no bow from the courtyards, Hats on one side, And the worker Seeds Cunning and laziness. Other people's geese in the fields, Insolence of caterpillars, Shame, the death of Russia, And debauchery, debauchery! ..
From the children's answers
The parody produces an ambivalent impression. She is funny, the funniest thing is that D. Minaev managed to skillfully imitate Fet's poetic style. The similarity is in the exact repetition of rhythm, meter, the order of presentation of thought. However, the first reaction - laughter - soon passes, gives way to some kind of bewilderment. As if rude, even indecent words were written on a beautiful, lyrical melody.
Probably, such a mocking attitude towards the poems of A. Fet is explained by the fact that his contemporaries considered the main task of the poet to be the struggle for the freedom of the people, and “pure art”, they thought, distracts the reader from global social problems. The parody seems to call on the poet to see that there is no place for tenderness and lyrics in the world, that the time has come for other songs.
It seems that it was painful for Fet to read this parody. And today, few people know Minaev, and A. Fet's poems have become classics.
Fet has a great variety of sketches, fractional and persistent development of the same theme in an endless chain of variants.
Following Tyutchev, together with him, Fet perfected and infinitely diversified the finest art of lyrical composition, building miniatures. Behind their seeming repetitiveness stands an infinite variety and diversity, an incessant lyrical counterpoint that captures the complexity of a person's spiritual life.
The first lily of the valley Feta consists of three stanzas. The first two quatrains are about the lily of the valley, which from under the snow asks for the sun's rays, which is pure and bright, the gift of a flaming spring. Further, the poet does not speak about the lily of the valley. But its qualities are overturned on the person:
So the maiden sighs for the first time
What is unclear to her,
And a timid sigh is fragrant
The excess of life is young.
This is Tyutchev's construction, subtly and cleverly perceived by Fet and mastered by him.
Of course, this is not imitation or borrowing. The common tasks of Russian philosophical lyrics, the spirit of the era, the affinity of creative manners play a decisive role here.
Not a thought, not a philosophical or social trend, Fet appreciates in Tyutchev's poetry, but the clairvoyance of beauty: So much beauty, depth, strength, in one word poetry! Fet defined the main scope of Tyutchev's aesthetic clairvoyance. If Nekrasov emphasized Tyutchev's deep understanding of nature, then Fet's work of the poet evoked an association with the night starry sky.
For Nekrasov, Tyutchev is connected with the earth, he knows how to convey its forms in plastic images. For Fet Tyutchev, the most airy embodiment of romanticism, he is a singer of midnight unearthly.
Tyutchev's entry into Fet's poetry, Fet's artistic comprehension of the beloved poet are expressed in his dedication in 1866. Spring has passed, the forest is darkening. Three out of four stanzas (first, third, fourth) are woven from Tyutchev's images and motifs: spring, spring streams, sad willows, fields, spring singer, midnight alien, spring call, smiled through a dream.
Conclusion
Together with Tyutchev, Fet is the most daring experimenter in Russian poetry of the 19th century, paving the way for the achievements of the 20th century in the field of rhythm.
Let's highlight their common features: the unity of aesthetic views; commonality of themes (love, nature, philosophical understanding of life); warehouse of lyrical talent (psychological depth, subtlety of feeling, elegance of style, polished language, super-sensitive artistic perception of nature).
Common for Tyutchev and Fet philosophical understanding of the unity of man and nature. However, in Tyutchev, especially in early lyrics, images associated with nature tend to be abstract, generalized, conventional. Unlike Tyutchev, in Fet they are more specific at the level of details, often substantive. This can be seen from the thematic similarity of the poems, the features of their construction, the coincidence of individual words, the features of the imagery of both poets, the symbolism of details in Tyutchev and their concreteness in Fet.
Comparing the lyrical works of Fet and Tyutchev, we can conclude that Tyutchev's poem always involves the reader's acquaintance with the poet's previous work, giving a synthesis of the author's figurative searches at the moment, however, it is open to associative links with new poems that can be created by the poet ; Fet's poem is like a record of one instantaneous experience or impression in a chain of experiences, it is a link in this chain that does not have a mutual beginning and end, but this piece of life is independent. Those. Fet does not have such obligatory associations with other poems as Tyutchev's.
So, let us summarize once again what signs, or qualities, of nature Tyutchev highlights, creating a poetic image of spring in his work. Colors interest him only to a small extent. Color epithets are laconic and, as a rule, unoriginal. They usually lack the main semantic load. On the other hand, verbs of motion usually play a big role in him, conveying the state of objects of nature. Auditory and tactile, tactile signs of the landscape come to the fore. Before Tyutchev, auditory images did not play such a role in any of the Russian poets.
For Fet, nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the connection of nature with human needs and human labor. He values the moment very much, strives to fix changes in nature and loves to describe a precisely defined time of day. In his work, the poetic image of spring is compared with experiences, the psychological mood of a person; in the spring cycle, Fet showed the ability to convey natural sensations in their organic unity.
In the lyrics of Fet, like Tyutchev, the poetic image of spring is inseparable from the human personality, his dreams, aspirations and impulses.
List of used literature:
1. Literary dictionary-reference book. M.: Academy, 2005.
2. Tyutchev F.I. Poems. Letters. M., GIHL, 1957.
3. FetA.A. Works. In 2 vols. T.2. M., 1982.
4. Bukhshtab B.Ya. A.A. Fet: Essay on life and work / USSR Academy of Sciences. 2nd ed.L.: Science. Leningrad. department, 1990.
5. Foreword by B.Ya. Bukhstab to the book: A.A. Fet. Poems. L., 1966.
6. Gorelov A.E. Three Fates: F. Tyutchev, A. Sukhovo-Kobylin, I. Bunin. L.: Owls. writer. Leningrad. department, 1976.
7. Grigorieva A.D. Word in Tyutchev's poetry. Moscow: Nauka, 1980.
8. Grigorieva A.D. A.A. Fet and his poetics // Russian speech No. 3, 1983.
9. Kasatkina V.N. The poetic worldview of F.I. Tyutchev. Saratov, Ed. Sarat. un-ta, 1969.
10. Lagunov A.I. Afanasy Fet. Kh.: Ranok; Vesta, 2002.
11. Nekrasov N.A. Full coll. soch., V.9, M., GIHL, 1950.
12. Nikitin G. I love a thunderstorm in early May… // Lit. study №5, 2003.
13. Ozerov L. Tyutchev's poetry. M.: Artist. lit., 1975.
14. Ozerov L.A.A. Fet (On the skill of the poet). Moscow: Knowledge, 1970.
15. Ozerov L. I love a thunderstorm in early May ... // Youth No. 2, 1979.
16. Orlov O.V. Tyutchev's poetry: a manual for a special course for correspondence students in philol. fak. state Univ. M.: Publishing House of Moscow State University, 1981.
17. Silman T. Notes on lyrics. M.L., 1977.
18. Skatov N.N. Lyrica A.A. Feta (origins, method, evolution). M., 1972.
19. Tolstoy L.N. Complete Works, Anniversary Edition, Vol.11. Goslitizdat, M., 1932.
20. Chagin G.V. Fedor Ivanovich Tyutchev: (185th birthday). Moscow: Knowledge, 1985.
