The writing
Afanasy Fet - one of the outstanding Russian poets of the 19th centuries. The heyday of his work came in the 1860s - a period when there was an opinion that the main purpose of literature is to display complex social phenomena and social problems. Fet's special understanding of the essence and purpose of art is inseparable from the poet's rejection of social reality, which, in his deep conviction, distorts a person's personality, suppresses his ideal spiritual properties, divine natural forces. Fet did not see the ideal in the contemporary social world order and considered fruitless attempts to change it.
That is why the work of Fet as a singer " pure art"closed from the invasion of everyday life, worldly fuss, rough reality, in which "nightingales peck butterflies." The poet deliberately excludes the concept of "topicality" from the content of his lyrics, choosing the subject artistic image"eternal" human feelings and experiences, the mysteries of life and death, the complex relationships between people.
According to the poet, true, deep knowledge of the world is possible only in free intuitive creativity: "Only an artist can smell the beauty of everything." Beauty for him is the measure of all things and true value:
The whole world from beauty,
From big to small
And you're looking in vain
Find its beginning.
The hero of Fet is "dreamily devoted to silence", "full of tender excitement, sweet dreams." He is interested in "whispers, timid breathing, trills of a nightingale”, ups and downs of the creative spirit, fleeting impulses of “unspoken torments and incomprehensible tears”. His ideal season is spring (" Warm wind softly blows…”, “Spring thoughts”, “Still spring fragrant bliss…”, “This morning, this joy…”, “The first lily of the valley”, “Spring in the yard”, “ Spring rain"," The depth of heaven is clear again ... "," To her "); favorite time of the day - night (“Fragrant night, blessed night ...”, “Quiet, starry night ...”, “More may night"," What a night! How clean the air is…”, “The azure night looks at the mowed meadow…”). His world is "the kingdom of rock crystals", "a shady garden at night", "an impregnable pure temple of the soul". His goal is to search for the elusive harmony of the world, the ever-elusive beauty:
Letting my dreams shine
I indulge in sweet hope
What, maybe, on them furtively
A smile of beauty shines.
As the poet himself noted, the sign of a true lyricist is the readiness to “throw himself upside down from the seventh floor with an unshakable belief that he will soar through the air”:
I light up and burn
I break and soar...
And I believe with my heart that they are growing
And immediately they will take to the sky
Spread my wings...
Beauty for Fet is not immutable and unchanging - it is fleeting and instant, felt like a sudden creative impulse, inspiration, revelation. A vivid illustration of this thought is the poem "Butterfly", reflecting the uniqueness, self-worth and at the same time the fragility, fragility, causelessness of beauty:
Don't ask: where did it come from?
Where am I in a hurry?
Here on a flower I sank lightly
And here I am breathing.
Therefore, it is natural that the lyrical hero Fet experiences confusion of feelings, feeling the inconstancy, variability, fluidity of the world, living in a state of expectation, a premonition of beauty:
I wait… nightingale echo
Rushing from the shining river
Grass under the moon in diamonds,
Fireflies are burning on the cumin.
I'm waiting... Dark blue skies
Both in small and large stars,
I hear a heartbeat
And trembling in the hands and feet.
Let's pay attention: beauty, according to Fet, is present everywhere, spilled everywhere - both in the “brilliant river” and in the “dark blue sky”. This is a natural and, at the same time, divine force that connects heaven and earth, day and night, external and internal in a person.
In Fet's poetry, the most abstract, intangible pictures and images come to life, visibly appear:
That silent kiss of the wind,
That smell of violets at night,
That glitter of frozen distance
And whirlwind midnight howl.
According to the poet, the essence of true art is the search for beauty in everyday objects and phenomena of the world, simple feelings and images, the smallest details of everyday life - the sound of the wind, the smell of a flower, a broken branch, a sweet look, a touch of a hand, etc.
The landscape painting of Fetov's lyrics is inseparable from the painting of the experiences of the soul. The lyrical hero Fet is primarily a singer of “thin lines of the ideal”, subjective impressions and romantic fantasies (“Bees”, “Bell”, “September Rose”, “I fall off in an armchair, I look at the ceiling ...”, “Among the stars”).
Fetov's muse is demonically changeable and romantically elusive: she is then "the meek queen clear night”, “cherished shrine”, then “a proud goddess in an embroidered epanche”, “young mistress of the garden” - but at the same time invariably “heavenly”, “invisible to the earth”, always inaccessible to worldly fuss, rude reality, constantly forcing “to languish and love ".
In this regard, Fet, like no other Russian poet of the 19th century, was close to Tyutchev's idea of "silence" ("silentium"): "How poor our language is! .."; "People's words are so rude ..." - his lyrical hero exclaims in despair, to whom "an angel whispers unspeakable verbs." According to the poet, beauty is inexpressible and self-sufficient: “Only a song needs beauty, // Beauty doesn’t even need songs” (“Just meet your smile…”). However, unlike Tyutchev, Fet is devoted to the romantic belief in the possibility creative insight, reflections in poetry of a complex palette of feelings and sensations:
Only you, poet, winged words sound
Grabs on the fly and fixes suddenly
And the dark delirium of the soul and herbs, an indistinct smell ...
typical condition lyrical hero Feta is a spiritual illness, an obsession with the idea of \u200b\u200bthe ideal, the beautiful, "irritation of an ailing soul." He constantly balances between peace and confusion, the gloom of longing and the happiness of enlightenment, the fear of loss and the joy of gain. This state is very clearly conveyed in the poem "Swing":
And the closer to the top of the forest,
The scarier it is to stand and hold on
The more gratifying to take off above the ground
And one approach the heavens.
Thus, according to Fet, the state of wholeness and harmony is unattainable in the real world, the dream is broken in a collision with rough reality. Therefore, the motif of sleep is constantly present in his lyrics and varies in different ways. This is a dream-death, a dream-salvation, and a dream-hope, and a dream-dream:
I had a dream that I sleep soundly,
That I am dead and immersed in dreams;
And on me affectionately and wonderfully
This dream cast a shadow of hope.
("Dreams")
Fetovsky's hero is constantly looking for a foothold, an image of hope, a source of inspiration, which he finds, on the one hand, in the natural harmony of nature:
I love the silence of midnight nature,
I love her forests babbling vaults.
I love her steppes diamond snow.
On the other hand, he is inspired by the man-made harmony of antiquity, embodied in sculpturally perfect and, at the same time, plastically flexible female images("Diana", "Bacchante", "Nymph and the Young Satyr"). The eternally living and enticing image of Venus de Milo becomes the ideal:
And chaste and bold,
Up to the loins shining with nakedness,
Blooming divine body
Unfading beauty.
So, the lyrics of A.A. Feta has an undoubted social content, but this content is not of a concrete historical, but of a timeless, universal, universal character - moral, psychological, philosophical.
Artistic features. Fet's poetry, not so broad in subject matter, is unusually rich in various shades of feeling, emotional states. It is unique in its melodic pattern, full of endless combinations of colors, sounds and colors. In his work, the poet anticipates many discoveries " silver age". The novelty of his lyrics was already felt by his contemporaries, who noted “the poet’s ability to catch the elusive, to give an image and a name to what before him was nothing more than a vague fleeting sensation of the human soul, a sensation without an image and a name” (A.V. Druzhinin).
Indeed, Fet's lyrics are characterized by impressionism (from the French impersion - impression). This is a special quality of the artistic style, which is characterized by associative images, the desire to convey primordial impressions, fleeting sensations, "instantaneous snapshots of memory" that form an integral and psychologically reliable poetic picture. These are, in fact, all Fet's poems.
The words of the poet are polyphonic and ambiguous, epithets show not so much direct as indirect signs the objects to which they refer (“melting violin”, “incense speeches”, “silver dreams”). So the epithet "melting" to the word violin does not convey the quality of the musical instrument, but the impression of its sounds. The word in Fet's poetry, losing its exact meaning, acquires a special emotional coloring, thus blurring the line between direct and figurative sense between the outer and inner world. Often the whole poem is built on this fluctuation of meanings, on the development of associations (“ by the bright sun a fire is blazing in the garden…”, “Whispers, timid breathing…”, “The night shone. The garden was full of moon ... "). In the poem "Flipped off in an armchair, I look at the ceiling ..." whole line associations are strung on top of each other: the circle from the lamp on the ceiling, slightly rotating, evokes associations with rooks circling over the garden, which, in turn, evoke the memory of parting with the beloved woman.
Such associativity of thinking, the ability to convey moments of life, fleeting, elusive feelings and moods helped Fet come close to solving the problem of “inexpressibility” with the poetic language of the finest movements. human soul, over which Zhukovsky, Lermontov, Tyutchev fought. Feeling, like them, “how poor our language is,” Fet moves away from words into the element of musicality. The sound becomes basic unit his poetry. Composer P.I. Tchaikovsky even called Fet a poet-musician. The poet himself said: “Seeking to recreate the harmonic truth, the artist’s soul itself comes into the corresponding musical system. No musical mood - no artwork". The musicality of Fet's lyrics is expressed in the special smoothness, melodiousness of his verse, the variety of rhythms and rhymes, the art of sound repetition.
It can be said that the poet uses musical means impact on the reader. For each poem, Fet finds an individual rhythmic pattern, using unusual combinations of long and short lines (“The garden is all in bloom, / The evening is on fire, / So refreshingly joyful to me!”), sound repeats, based on assonances and consonances (in the poem “Whisper, timid breathing ...” assonances on -a: nightingale - stream - end - face - amber - dawn), various sizes, among which trisyllabic ones stand out, perfectly fitting into the tradition of romances (“ At dawn, you don’t wake her up ... ”, written in anapaest). It is no coincidence that many of Fet's poems were set to music.
Fet's artistic discoveries were accepted by the poets of the Silver Age. Alexander Blok considered him his direct teacher. But far from immediately, such an unusual, unlike anything Fet's lyrics won the recognition of readers. Having released the first collections of his poems back in the 1840s-1850s, Fet retired from literature for a long time. life and remains known only narrow circle connoisseurs. Interest in him increased at the turn of the century, during the new flowering of Russian poetry. It was then that Fet's work received a well-deserved appreciation. He was rightfully recognized as the one who, according to Anna Akhmatova, discovered in Russian poetry "not a calendar, the real twentieth century."
Fet's poetry, not so broad in subject matter, is unusually rich in various shades of feeling, emotional states. It is unique in its melodic pattern, full of endless combinations of colors, sounds and colors. In his work, the poet anticipates many discoveries of the "Silver Age". The novelty of his lyrics was already felt by his contemporaries, who noted “the poet’s ability to catch the elusive, to give an image and a name to what before him was nothing more than a vague fleeting sensation of the human soul, a sensation without an image and a name” (A.V. Druzhinin ).
Indeed, Fet's lyrics are characterized by impressionism (from the French impersion - impression). This is a special quality of the artistic style, which is characterized by associative images, the desire to convey primordial impressions, fleeting sensations, “instantaneous memory snapshots” that form an integral and psychologically reliable poetic picture. These are, in fact, all Fet's poems.
The poet's words are polyphonic and ambiguous, epithets show not so much direct as indirect signs of the objects to which they refer ("melting violin", "incense speeches", "silver dreams"). So the epithet “melting” to the word violin conveys not the quality of the musical instrument itself, but the impression of its sounds. The word in Fet's poetry, losing its exact meaning, acquires a special emotional coloring, while blurring the line between direct and figurative meaning, between the external and internal worlds. Often the whole poem is built on this fluctuation of meanings, on the development of associations (“The fire is blazing in the garden with the bright sun ...”, “Whisper, timid breathing ...”, “The night shone. The garden was full of moon ...”). In the poem “I’m falling back in an armchair, I’m looking at the ceiling ...” a whole series of associations are strung on top of each other: a circle from a lamp on the ceiling, slightly spinning, evokes associations with rooks circling over the garden, which, in turn, evoke memories of parting with beloved woman.
Such associativity of thinking, the ability to convey moments of life, fleeting, elusive feelings and moods helped Fet come close to solving the problem of “inexpressibility” in the ethical language of the subtlest movements of the human soul, over which Zhukovsky, Lermontov, Tyutchev fought. Feeling, like them, “how poor our language is,” Fet moves away from words into the element of musicality. Sound becomes the basic unit of his poetry. Composer P.I. Tchaikovsky even called Fet a poet-musician. The poet himself said: “Seeking to recreate the harmonic truth, the artist’s soul itself comes into the corresponding musical system. There is no musical mood - there is no work of art. The musicality of Fet's lyrics is expressed in the special smoothness, melodiousness of his verse, the variety of rhythms and rhymes, the art of sound repetition. material from the site
We can say that the poet uses musical means of influencing the reader. For each poem, Fet finds an individual rhythmic pattern, using unusual combinations of long and short lines (“The garden is in bloom, / The evening is on fire, / So refreshingly joyful to me!”), sound repetitions based on assonances and consonances (in the poem “Whisper, timid breathing ...” assonances in -a: nightingale - stream - end - face - amber-rya - dawn), various sizes, among which trisyllabic ones stand out, perfectly fitting into the tradition of romances (“ At dawn, you don’t wake her up ... ”, written in anapaest). It is no coincidence that many of Fet's poems were set to music.
Fet's artistic discoveries were accepted by the poets of the Silver Age. Alexander Blok considered him his direct teacher. But far from immediately, such an unusual, unlike anything Fet's lyrics won the recognition of readers. Having released the first collections of his poems back in the 1840s-1850s, Fet retired from literature for a long time. life and remains known only to a narrow circle of connoisseurs. Interest in him increased at the turn of the century, during the new flowering of Russian poetry. It was then that Fet's work received a well-deserved appreciation. He was rightfully recognized as the one who, according to Anna Akhmatova, discovered in Russian poetry "not a calendar, the real twentieth century."
I thought that the main objective creativity - to sing the beauties) 'of this world, nature, love. Awe, delight, tenderness, piercing tenderness are heard in his poem “Still fragrant bliss of spring ...” The penetrating lyricism of this work conquered me. How does the poet manage to express his emotions? Let's turn to the poem. Before us is a monologue of the lyrical, romantic, dreamy person who is in love with nature, probably native land. With excitement, he expects spring, dreams of it, as if about a miracle:
Even the fragrant piebald spring has not had time to descend to us ...
Spring is associated with something elegant, thin, fragile, light. This, I think, is what the metaphor in the first lines reveals to us.
The aroma adds richness to the sensual image of spring. The author manages to show this with the help of the epithet "fragrant". Fet is right. Spring is perhaps the most fragrant season of the year because it awakens our whole being. We open ourselves to meet her entirely, to the hidden corners of the soul, perceiving sharply, as for the first time, and colors, and feelings, and smells. The verb "to descend" with a high stylistic coloring adds elevation to the image, ennobles spring, distinguishing it from no less majestic, but simpler winter:
The ravines are still full of snow, The cart still rumbles at dawn On the frozen path.
Here, inversion gives greatness to the images, as in the beginning of the poem, and so
The same movement of the accent in "complete". However, the appearance of the rattling cart in
The finale of the first stanza, I believe, characterizes winter as not entirely poetic
Season. You can't say the same about spring. This is emphasized by the second stanza of the work, where, in my opinion, Fet's impressionism is most clearly revealed. Poet
Strives to show the arrival of spring in all its variety of changeable forms.
Images, sensations, moods are barely perceptible here, this is their charm:
As soon as at noon the sun warms, The linden in the height turns red, Through, the birch tree turns a little yellow ...
How many dynamics in these "barely" and "slightly"! as if telling us that spring is approaching very smoothly, slowly, timidly, almost imperceptibly. But it is moving and will certainly make itself felt to those who are waiting for it, step by step, moment by moment. While the singer of spring and love, “the nightingale still does not dare to sing in the currant bush,” but the impressionable consciousness of the romantic hero is already drawing this one. Probably, this is how the dream of May, flowering plants, bright evenings filled with confusion and insolence loving heart. The hero’s wishes will certainly come true, because even the denials in this poem (“didn’t have time”, “doesn’t dare”), I think, on the contrary, affirm the spring, the legitimacy of its blessed coming, which is about to come, there is very little left. The final stanza of the work opens with a deep philosophical thought, which is contained in a metaphor:
But the news of the resurrection is already in the passage cranes?
Nature wakes up from winter sleep, and birds return. They are joyful heralds of spring, bringing it on their wings. The cooing of cranes also enlivens everything around, so they can rightfully be called symbols of the rebirth of nature. ,
And, seeing them off with her eyes, There is a beauty of the steppe With a dove-gray blush on her cheeks.
In the last lines of the work, a lyrical character unexpectedly appears before us - the “steppe beauty”. I think this image is not accidental. He is a reflection of spring. Interestingly, the “beauty” blush is “gray”, and not pink or red. Why? Perhaps this is again a feature of the impressionistic style. Fet portrayed, fixed, as it were, not the very color of the cheeks, but his impression, instantaneous, changeable, which this detail made on him. A "gray" blush could become, for example, under the influence of bright sunlight.
In this way, a complete picture gradually emerges in front of us. The main idea of the poem is a premonition of spring. The lyrical hero seems to dissolve into nature, fascinated by the upcoming renewal of the world, which is already happening before his eyes. This simultaneity of what is happening, the inconsistency, constant movement, development create an extraordinary, special sensual space that reveals the human soul.
R.G. Magina
Literary position of A.A. Feta is well known. In modern literary criticism, the position on romantic character his lyrics, about the one-sidedness of the themes of his poetry, about the poet's inclination to perceive only the beautiful.
This last feature determined the aestheticism of Fet, and it determined, in our opinion, the main features of the romantic style of his lyrics.
Like a spring day, your face dreamed again, -
I greet the familiar beauty, And along the waves of the caressing word
I'll carry your lovely image...
A characteristic feature of Fetov's intonation - its simultaneous nakedness and restraint - is due to the invariability of the character of the lyrical hero of his poems, based on a pronounced subjective perception of reality, on the belief in the autonomy of art and the unacceptability of prosaic earthly life for the poet.
Romantic detailing, its fragmentation, some pretentiousness and pretentiousness create a stylistic correspondence between Fet's extreme philosophical subjectivism and poetic embodiment this subjectivity. This happens for two reasons: firstly, Fet's romantic detail is never impassive. This almost obligatory rule for all romantics is manifested in Fet's lyrics especially clearly. He plays with words, finding shades, colors, sounds in their unusual perspective, in an unexpected, sometimes paradoxical semantic relationship (singing torment, suffering bliss, insanely happy grief) and does it on purpose.
Secondly, the romantic detail in Fet always carries a subjective-evaluative element, and its varieties should be determined according to the signs: traditional and unconventional, figurative concreteness and abstractness. Of course, the presence of non-traditional abstract and concrete-figurative details in romantic poetry is not proof of originality and uniqueness. poetic creativity. The whole question is what is the ratio of traditional and non-traditional romantic details and how, in what individual manner non-traditional verbal and pictorial means are used in the context of a poetic work, in what way the word is connected in the context of the poem with the general poetic worldview of the author, with the main poetic intonation works and creativity in general.
It is known that Fet was a subtle observer, able to capture transitional moments in the life of nature, its halftones, complex interweaving of shades, colors, sounds. Researchers have long paid attention to this, sometimes calling Fet in connection with such an individual manner “an impressionist poet, first of all, a poet of subtle hints, barely audible sounds and barely noticeable shades. In this he is the direct forerunner of the decadents, the symbolists. And, as D.D. Good, “already almost from the very beginning, from the 40s, Fet’s romanticism is his poetry, capable of capturing ... subtly musical impressions, unsteady spiritual movements in them, as in nature, human environment, “trembling”, “trembling”, lively dynamics of play of colors and sounds, “magical changes of a sweet face”, “continuous fluctuations”, “transitions, shades”, a dialectical combination of opposites - was colored with features that much later received the name “impressionism” .
No, don't expect a passionate song. These sounds are vague nonsense,
The languid ringing of the string; But, full of dreary flour,
These sounds evoke
Sweet dreams. They flew in a ringing swarm, flew in and sang
In the bright sky. Like a child I listen to them
What happened to them, I don't know.
And I don't need...
The whole universe, as if in focus, focused in Fet on the consciousness of his "I" and on the desire to find the necessary verbal embodiment of such a perception of reality.
Another feature of Fet's poetry follows from the general romantic conception of Fet: the sublime romantic detail in the context of one work is adjacent to the prosaic detail and, moreover, to the realistically convincing detail. This feature is a consequence of the fact that Fet does not turn away from real world, he only selectively extracts from it the impressions he needs:
Sleep - still dawn
Cold and early;
The stars behind the mountain
Shine in the mist;
Roosters recently
Sang for the third time
From the bell tower smoothly
Sounds flew...
Brilliant misty stars and floating gentle sounds of a bell (the details are clearly romantic) stand next to the recently crowed roosters in the context of the poem. True, Fet's roosters "sing", but the realistic coloring of this detail is nevertheless obvious. As a result, a lexical discrepancy is created, which determines the unique style of Fetov's lyrics and at the same time greatly expands the semantic possibilities of Russian romantic lyrics of the 19th century.
Fet's lyrics in style and intonation remained basically within the limits of Russian romanticism. mid-nineteenth c., although there is in it an essential feature of the expression lyrical feeling, which brings Fet closer to the poetry of the early 20th century: this is a combination of concepts of a different logical series in a single phrase (for example, in Blok: “... There, the face was covered in a multi-colored lie”, “A harlequin laughed at the thoughtful door”, “The queen has blue riddles"; Bryusov: "On the swell of the furious instant we are two", "the silent cry of the desire of the captive ...").
Fet uses this technique more widely and boldly than the symbolists, and classic example this is the poem "Singer":
Carry my heart into the ringing distance
Where, like a month behind a grove, sadness;
In these sounds on your hot tears
The smile of love gently shines...
In this poem in most reflected, in our opinion, the individual poetic manner of the author, all the most character traits characteristic of his lyrics: the apotheosis of the personality and the subjective author's consciousness, the reflection of the impressions of the objective world in an absolutized idealistic romantic hero; extensive use of evaluative romantic details, strong impressionistic overtones and, finally, the combination of concepts of a different logical series in a single phrase (ringing distance, invisible swells, silvery path, voice burning, a rush of pearls, meek sadness). The metrical drawing of the verse, strictly and to the end, sustained, determines from the very beginning the given intonation of the poem written in anapaest. Fet generally widely used the anapaest with its rising intonation (“Everything around and motley is so noisy”, “Shaggy branches of pines were frayed from the storm”, “I won’t tell you anything”, “He wanted my madness”, “Forbade you to go out”, "Evening", "From the lights, from the merciless crowd", etc.).
The poem “Fragrant Night, Gracious Night” is another example typical of Fet’s lyrics, which largely repeats the style of the poem “The Singer”: the same strict alternation of four-foot and three-foot anapaest with the same masculine endings, the same classical quatrains and even more noticeable impressionistic overtones:
fragrant night, blessed night,
Irritation of the sick soul!
Everyone would listen to you - and I can not be silent
In the silence that speaks so clearly...
In this poem, against a traditional romantic background (azure heights, unblinking stars, an impenetrable shadow of branches, a sparkling key, a whisper of jets), semantic turns characteristic only for Fet sound: the moon looks straight in the face, and it is burning; the night, filled with beauty, becomes silvery, and everything around burns and rings. Sound and visually tangible details are combined in one general idea, in one almost fantastic picture. It appears in indefinite, vague outlines just at the moment when the concept of “impossible dream” appears in the poem:
As if everything is burning and ringing at the same time,
To dream impossible to help;
As if, trembling slightly, the window will open
Look into the silvery night.
The idea (or dream) of a window opening in a silvery night is associated with dreams of love. So, thanks to the chain of associative details that arise in the human mind, Fet creates the lyrical subtext of the poem, reflecting the complex state of the soul, in which the life of nature and movement human thought merge into a single stream of lyrical consciousness.
Using Details outside world, which at first glance cannot be connected in one logical series, Fet often comes to unexpected associations, deliberately emphasizing this in his poems, easily moving from a subject to an abstract concept, sometimes unrelated to each other. It is important for the poet, first of all, to express his subjective perception, albeit illogical, poorly explained and fragmentarily reproduced:
I stood still for a long time
Looking into the distant stars,
Between those stars and me
Some connection was born.
I thought... I don't remember what I thought;
I listened to the mysterious choir
And the stars trembled softly
And I love the stars since then ...
There are five personal pronouns in the eight lines of this poem; four of them are pronouns of the 1st person im. case - make up a single semantic series with amplifying sound from the first to the last phrase: I stood, I thought, I listened, I love . This gives a special confidence to the intonation and emphasizes the romantic subjectivity of the entire poem.
The subjectivity and illogicality of the narrative determine another feature of Fet's poetry - its fragmentation. The fragmentary nature of the narration, as a rule, was only stated by the researchers and reproached Fet without trying to explain this phenomenon in any way, to find its roots. Moreover, many parodies of the poet's poems drew attention to this particular feature of his lyrics, used it as a pretext for ridicule and negative critical evaluations. Meanwhile, we are convinced that this phenomenon is an intentional position of the author, an attitude towards emphasizing the subjectivity of the narrative, towards a certain universal freedom of lyrical feeling and its reflection in poetry. Fet gives numerous examples of such freedom (from logic, from generally accepted poetic patterns, from stable semantic series of words), which the Russian Symbolists so stubbornly - mainly in theoretical terms - declared after Fet. They elevated this freedom to an absolute and, in its extreme manifestations, brought it to the point of absurdity. For Fet, the main thing is to create a sincere intonation in lyric poem, poetic mood, emotional overtones, even if based on illogical, absurd information, using it as an almost neutral background, as a faceless construction material; the main thing is to create an impression, this is the essence of expressing feelings in Fet's lyrics.
B. Ya Bukhshtab notes: “Fet released his first collection in the same year as Lermontov, and the last one in the era when the symbolist movement had already begun. Long creative way Feta, as it were, links the romanticism of Zhukovsky with the romanticism of Blok in the history of Russian poetry. This connection is quite clearly traced in the verse forms of Fet's lyrics.
Fet builds much in the form of verse, relying on authoritative poetic canons and traditions of Russian poetry (for example, the stanza of most of his poems is determined by their romance). Nevertheless, Fet's verse variations are quite diverse and interesting in all respects: both in the field of rhyme and in syntactic construction verse, and in stanza, and in sound writing, and especially in metrics. As a rule, it is the meters that determine Fet's main rhythmic pattern of the verse, its originality. The main difference between the poet's metrics is the lack of rhythmic uniformity within a particular work. Fet very boldly varies the rhythm due to the combination and alternation in one verse or in one work of various poetic sizes. Three-syllables are the main source of rhythmic variations of the verse for the poet. Most of the new forms he developed for the first time are combinations of three-syllables and two-syllables, both in different verses and within a verse, but always within the same work.
Fet entered new page in the history of Russian free verse. In essence, he is its discoverer, since isolated cases of free verse before Fet (Sumarokov, Zhukovsky, Glinka) remain just isolated cases, but after Fet, free verse is firmly included in the practice of Russian versification. Fet's free verse has not yet been sufficiently studied, although one of the works devoted to the history of free verse says that "a significant page in the history of free verse in Russia was written by Fet."
With a relatively small number of free verses, Fet developed in them a certain characteristic commonality, reflected, in our opinion, in the later poetic experiments of Russian poets - he determined for many decades to come the distinctive qualities of Russian free verse as a special form of national verse.
What is the reason for the poet's appeal to free forms? After all, he rather strictly follows the traditional syllabo-tonic rhythms; deviation from them is rather an exception to the rule. Ver libres, on the other hand, crossed out in the most decisive way the traditional clear rhythm and metrics, not to mention the musicality of the verse, which was important for Fet.
In our opinion, the main reason The appearance of free forms in Fet is the general philosophical nature of his poetry and the consequent desire of the poet to focus on the semantic side of the work (this trend is very noticeable in works written in free verse). In the traditional measured musical verse, he did not always find the exact semantic relation words, - interfered with impressionistic uncertainty and understatement. Philosophy (most often emphasized) and the simultaneous conciseness and refinement of poetic thought so successfully "fit" into the new ametric forms that there is no doubt that their non-random appearance in Fet's poetry.
The form of free verse allowed Fet, first of all, to push off from the old verse tradition, and it was in free verse that the philosophical sound his poetry, philosophy appeared here as if in pure form, devoid of metrical and musical framing (poems “I love a lot that is close to my heart”, “At night it’s somehow more free to breathe for me”, “Neptune Leverrier”, etc.).
The poetry of A. Fet completes the development of Russian philosophical and psychological romanticism in the lyrics of the 19th century. The indisputable originality of this poetry, sincerity and depth lyrical experience, a special bright view of the world, captured in the music of the verse - this is the main thing that we appreciate in Fet's lyrics.
