Exam abstract work
Completed by Pupil of Grade 9 “B” Ratkovsky A.A.
Secondary School No. 646
Moscow, 2004
Creativity A. Fet
A. A. Fet occupies a very special position in Russian poetry of the second half of the 19th century. The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the splendor of poetry and prose, as well as their pronounced civic orientation. Nekrasov gave rise to this movement, declaring that every writer is obliged to "report" to society, to be first of all a citizen, and then a man of art. Fet did not adhere to this principle, remaining out of politics, and thus filled his niche in the poetry of that era, sharing it with Tyutchev.
But if we recall Tyutchev's lyrics, then she considers human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The landscape of the poet is distinguished by calmness, peace. But maybe it's the outside? Indeed, if you look closely, Fet's lyrics are filled with drama, philosophical depth, which have always distinguished "great" poets from one-day authors. One of the main Fetov themes is the tragedy of unrequited love. Poems on such a subject reveal the facts of Fet's biography, more precisely, that he survived the death of his beloved woman. Poems related to this topic have rightly received the name "monologues to the deceased."
You suffered, I still suffer
Doubt I'm destined to breathe
And I tremble, and my heart avoids
Look for what you can't understand.
Other poems of the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: “Death”, “Life flashed by without a clear trace”, “Simple in the haze of memories ...” As you can see, the idyll is not just “diluted” with the poet’s sadness , it is absent altogether. The illusion of well-being is created by the poet's desire to overcome suffering, to dissolve them in the joy of everyday life, obtained from pain, in the harmony of the surrounding world. The poet rejoices with all nature after the storm:
When under a cloud, transparent and pure,
The dawn will tell that the day of bad weather has passed,
You won’t find a blade of grass and you won’t find a bush,
So that he does not cry and does not shine with happiness ...
Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that energizes people and their poems. Fet wrote to Leo Tolstoy: "in a work of art, tension is a great thing." It is not surprising that Fet's lyrical plot unfolds during the greatest tension of a person's spiritual forces. The poem “At dawn, don’t wake her up” demonstrates just such a moment” reflecting the state of the heroine:
And the brighter the moon shone
And the louder the nightingale whistled,
She became more and more pale
My heart was beating harder and harder.
In consonance with this verse - the appearance of another heroine: "You sang until dawn, exhausted in tears." But the most striking masterpiece of Fet, which depicted an internal spiritual event in a person’s life, is the poem “Whisper, timid breathing ...” In this verse, there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the feelings and states of a soul in love, coloring a night date - namely, it is described in a poem - in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by a change in the appearance of the beloved. The last stanza is metaphorically complex, since it is precisely on it that the emotional climax of the poem falls:
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn! ...
Behind these unexpected images are the features of the beloved, her lips, the sparkle of her smile. With this and other fresh poems, Fet is trying to prove that poetry is audacity, which claims to change the usual course of existence. In this regard, the verse "With one push to drive away the living boat ..." is indicative. Its theme is the nature of the poet's inspiration. Creativity is seen as a high rise, a breakthrough, an attempt to achieve the unattainable. Fet directly names his poetic landmarks:
To interrupt a dreary dream with a single sound,
Get drunk suddenly unknown, dear,
Give life a breath, give sweetness to secret torment...
Another super-task of poetry is the consolidation of the world in eternity, a reflection of the random, the elusive (“to feel someone else’s in an instant as your own”). But in order for the images to reach the reader's consciousness, a special musicality is needed, unlike anything else. Fet uses many methods of sound writing (alliteration, assonance), and Tchaikovsky even said: “Fet in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our field.”
So what did Fet's lyrics reveal to us? He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”). Fet is not afraid of life after shocks, he believes and keeps faith in the victory of art over time, in the immortality of a beautiful moment.
A. Fet's poems are pure poetry, in the sense that there is not a drop of prose. Usually he did not sing of hot feelings, despair, delight, lofty thoughts, no, he wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about minute impressions. His poetry is joyful and bright, it has a sense of light and peace. Even about his ruined love, he writes lightly and calmly, although his feeling is deep and fresh, as in the first minutes. Until the end of his life, Fetu did not change the joy that pervaded almost all of his poems.
The beauty, naturalness, sincerity of his poetry reach complete perfection, his verse is amazingly expressive, figurative, musical. Not without reason did Tchaikovsky, Rimsky-Korsakov, Balakirev, Rakhmaninov and other composers turn to his poetry.
"Fet's poetry is nature itself, looking like a mirror through the human soul..."
In traditional world and Russian lyrics, the theme of nature is one of the main, necessarily touched upon topics. And Fet also reflects this theme in many of his poems. The theme of nature in his works is closely intertwined with love lyrics, and with the theme of beauty characteristic of Fet, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly, the images of nature are general, not detailed:
wonderful picture,
How are you related to me?
white plain,
Full moon...
The poets of the 40s, when describing nature, relied mainly on the techniques characteristic of Heine, i.e. separate impressions were given instead of a coherent description. Many early Fet's poems were criticized as "Heine's". For example, "The Noisy Midnight Blizzard", where the poet expresses the mood without a psychological analysis of it and without clarifying the plot situation with which it is connected. The outside world is, as it were, colored by the moods of the lyrical "I", enlivened, animated by them. This is how Fet's characteristic humanization of nature appears; often there is an emotional expression excited by nature, there are no such bright and accurate details that are so characteristic later, allowing one to judge the picture as a whole. Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Probably, his rapprochement with Turgenev influenced his passion for landscape lyrics at that time. The phenomena of nature become more detailed, more specific than those of Fet's predecessors, which is also characteristic of the day of Turgenev's prose. Fet depicts not a birch in general, as a symbol of the Russian landscape, but a specific birch at the porch of his own house, not in general the road with its infinity and unpredictability, but that specific road that can be seen right now from the threshold of the house. Or, for example, in his poems there are not only traditional birds that have a clear symbolic meaning, but also such birds as harrier, owl, blackie, sandpiper, lapwing, swift and others, each of which is shown in its own originality:
Half hidden behind a cloud
The moon does not yet dare to shine during the day.
Here the beetle took off and buzzed angrily,
Here the harrier swam without moving its wing.
The landscapes of Turgenev and Fet are similar not only in the accuracy and subtlety of observations of natural phenomena, but also in sensations, images (for example, the image of the sleeping earth, "resting nature"). Fet, like Turgenev, seeks to fix, describe changes in nature. His observations can be easily grouped or, for example, in the image of the seasons, a period can be clearly defined. Is late autumn depicted:
The last flowers were about to die
And they waited with sadness for the breath of frost;
Maple leaves blushed along the edges,
The peas faded, and the rose fell off, -
or the end of winter:
More fragrant bliss of spring
We did not have time to descend,
More ravines are full of snow
Still at dawn the cart rumbles
On a frozen path...
This can be easily understood, because the description is accurate and clear. 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 "Spring Rain"). Similarly, it can be determined that Fet, for the most part, gives a description of the central regions of Russia.
It is the nature of central Russia that is dedicated to the cycle of poems "Snow" and many poems from other cycles. According to Fet, this nature is beautiful, but not everyone is able to catch this dim beauty. He is not afraid to repeatedly repeat declarations of love for this nature, for the play of light and sound in it "to that natural circle, which the poet many times calls a shelter: "I love your sad shelter and the evening of the village is deaf ...". Fet has always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are sewn together in the artistic world of the poet into a single and indivisible idea of beauty. From everyday life, he goes to “where thunderstorms fly by ...” For Fet, nature is an object of artistic delight, aesthetic pleasure. She is the best mentor and wise adviser of man. It is nature that helps to solve riddles, the secrets of human existence. In addition, for example, in the poem "Whisper, timid breathing ..." the poet perfectly conveys instantaneous sensations, and, alternating them, he conveys the state of the heroes, in harmony with nature to the human soul, and the happiness of love:
Whisper, timid breath,
trill nightingale,
Silver and flutter
Sleepy stream....
Fet was able to convey the movements of the soul and nature without verbs, which was undoubtedly an innovation in Russian literature. But does he also have pictures in which verbs become the main pillars, as, for example, in the poem "Evening"?
It sounded over a clear river,
Rang in the faded meadow "
It swept over the mute grove,
Lit up on that shore...
Such a transfer of what is happening speaks of another feature of Fet's landscape lyrics: the main tone is set by subtle impressions of sounds, smells, vague outlines, which are very difficult to convey in words. It is the combination of concrete observations with bold and unusual associations that makes it possible to clearly represent the described picture of nature. We can also talk about the impressionism of Fet's poetry; it is with the bias towards impressionism that innovation in the depiction of natural phenomena is associated. More precisely, objects and phenomena are depicted by the poet as they appeared to his perception, as they seemed to him at the time of writing. And the description does not focus on the image itself, but on the impression it makes. The apparent Fet describes as real:
Over the lake the swan pulled into the reed,
The forest overturned in the water,
He drowned in the dawn with the teeth of the peaks,
Between two curving skies.
In general, the motif of "reflection in the water" is found quite often in the poet. Probably, a shaky reflection provides more freedom to the artist's imagination than the reflected object itself. Fet depicts the outside world in the form that his mood gave him. With all the truthfulness and concreteness, the description of nature primarily serves as a means of expressing a lyrical feeling.
Usually A. Fet in his poems dwells on one figure, on one turn of feelings, and at the same time, his poetry cannot be called monotonous, on the contrary, it strikes with diversity and a multitude of topics. The special charm of his poems, in addition to the content, is precisely in the nature of the mood of poetry. Muse Fet is light, airy, as if there is nothing earthly in her, although she tells us exactly about the earth. There is almost no action in his poetry, each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your Ray, flying far ...”, “Still eyes, crazy eyes ...”, “The sun is a ray between lindens ...”, “I extend my hand to you in silence ... " and etc.
The poet sang beauty where he saw it, and he found it everywhere. He was an artist with an exceptionally developed sense of beauty, which is probably why the pictures of nature in his poems are so beautiful, which he took as she is, without allowing any decorations of reality. In his poems, the landscape of central Russia is visibly visible.
In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, moods. It is thanks to this that the poet created amazing works that have been striking us for so many years with psychological accuracy, filigree accuracy. Among them are such poetic masterpieces as “Whisper, timid breathing ...”, “I came to you with greetings ... ”,“ At dawn, don’t wake her up ...”, “Dawn says goodbye to the earth ...”.
Fet builds a picture of the world that he sees, feels, touches, hears. And in this world everything is important and significant: the clouds, and the moon, and the beetle, and the harrier, and the corncrake, and the stars, and the Milky Way. Each bird, each flower, each tree and each blade of grass is not just a part of the overall picture - they all have only their characteristic signs, even character. Let's pay attention to the poem "Butterfly":
You're right. One aerial outline
I'm so sweet
All my velvet with its live blinking -
Only two wings.
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.
How long, without purpose, without effort,
Do you want to breathe?
Right now, sparkling, I will spread my wings
Fet's "feeling of nature" is universal. It is practically impossible to single out the purely landscape lyrics of Fet without breaking the ties with its vital organ - the human personality, subject to the general laws of natural life.
Defining the property of his attitude, Fet wrote: “Only a person, and only he alone in the whole universe, feels the need to ask: what is the surrounding nature? Where does all this come from? What is he himself? Where? Where? What for? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him. “Nature created this poet in order to eavesdrop on herself, peep and understand herself. In order to find out what he thinks about her, nature, man, her offspring, how he perceives her. Nature created Fet in order to visit - how the sensitive soul of a person perceives it ”(L. Ozerov).
Fet's relationship with nature is a complete dissolution in her world, this is a state of anxious expectation of a miracle:
I'm waiting... 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.
I'm waiting... Here's a breeze from the south;
It is warm for me to stand and go;
A star rolled to the west...
I'm sorry, golden, I'm sorry!
Let us turn to one of Fet's most famous poems, which at one time brought the author a lot of grief, causing the admiration of some, the confusion of others, numerous ridicule of adherents of traditional poetry - in general, a whole literary scandal. This little poem has become for democratic critics the embodiment of the thought of the emptiness and lack of ideas of poetry. Over thirty parodies have been written of this poem. Here it is:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy creek
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn! ...
Immediately there is a feeling of movement, dynamic changes that occur not only in nature, but also in the human soul. Meanwhile, there is not a single verb in the poem. And how much joyful intoxication with love and life in this poem! It is no coincidence that Fet's favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:
At night, somehow I can breathe more freely,
A little more spacious...
recognized by the poet. He can speak with the night, he addresses her as a living being, close and dear:
Hello! a thousand times my greetings to you, night!
Again and again I love you
Quiet, warm
Silver lined!
Timidly, extinguishing the candle, I go to the window...
You can’t see me, but I myself see everything ...
The poems of A. A. Fet are loved in our country. Time unconditionally confirmed the value of his poetry, showed that we, the people of the 20th century, need it, because it touches the most intimate strings of the soul, reveals the beauty of the surrounding world.
Aesthetic views of Fet
Aesthetics is the science of beauty. And the poet's views on what is beautiful in this life are formed under the influence of a variety of circumstances. Here everything plays its special role - the conditions in which the poet's childhood passed, which formed his ideas about life and beauty, and the influence of teachers, books, favorite authors and thinkers, and the level of education, and the conditions of all subsequent life. Therefore, we can say that Fet's aesthetics is a reflection of the tragedy of the duality of his life and poetic fate.
So Polonsky very correctly and accurately defined the confrontation between the two worlds - the world of life and the poetic world, which the poet not only felt, but also declared as a given. “My ideal world was destroyed a long time ago ...” - Fet admitted back in 1850. And on the site of this destroyed ideal world, he erected another world - a purely real, everyday, filled with prosaic deeds and worries aimed at achieving a far from high poetic goal. And this world unbearably burdened the soul of the poet, never letting go of his mind for a minute. It is in this duality of existence that Fet's aesthetics is formed, the main principle of which he formulated for himself once and for all and never retreated from it: poetry and life are incompatible, and they will never merge. Fet was convinced; to live for life is to die for art, to rise for art is to die for life. That is why, plunging into economic affairs, Fet left literature for many years.
Life is hard work, oppressive melancholy and
suffering:
Suffer, suffer all the time, aimlessly, gratuitously,
Try to fill the void and look
As with each new attempt, the abyss is deeper,
Again go crazy, strive and suffer.
In understanding the relationship between life and art, Fet proceeded from the teachings of his beloved German philosopher Schopenhauer, whose book “The World as Will and Representation” he translated into Russian.
Schopenhauer argued that our world is the worst of all possible worlds, that suffering is inevitable in life. This world is nothing but an arena of tortured and frightened creatures, and the only possible way out of this world is death, which gives rise to an apology for suicide in Schopenhauer's ethics. Based on the teachings of Schopenhauer, and even before meeting him, Fet did not get tired of repeating that life in general is base, meaningless, boring, that its main content is suffering and there is only one mysterious, incomprehensible sphere of true, pure joy in this world of sorrow and boredom. - the sphere of beauty, a special world,
Where the storms fly by
Where the passionate thought is pure, -
And dedicated only visibly
Spring blooms and beauty
(“What sadness! The end of the alley…”)
The poetic state is a cleansing of everything too human, an exit to the open space from the gorges of life, awakening from sleep, but above all, poetry is the overcoming of suffering. Fet speaks about this in his poetic manifesto "Muse", the epigraph to which he takes Pushkin's words "We were born for inspiration, For sweet sounds and prayers."
About himself as a poet, Fet says:
Captivating dreams cherishing in reality,
By your divine power
I call to the high pleasure
And to human happiness.
The key images of this poem and Fet's entire aesthetic system are the words "Divine power" and "high pleasure." Possessing great power over the human soul, truly Divine, poetry is able to transform life, cleanse the human soul from everything earthly and superficial, only it is able to "give life a sigh, give sweetness to secret torments."
The eternal object of art, according to Fet, is beauty. “The world in all its parts,” Fet wrote, “is equally beautiful. Beauty is spilled throughout the universe. The whole poetic world of A. Fet is located in this area of beauty and fluctuates between three peaks - nature, love and creativity. All these three poetic subjects are not only in contact with each other, but are also closely interconnected, penetrate each other, forming a single fused artistic world - Fetov's universe of beauty, the sun of which is the harmonic the essence of the world is music. According to L. Ozerov, “Russian lyrics found in Fet one of the most musically gifted masters. Written on paper in letters, his lyrics sound like notes, true for those who can read these notes.
Tchaikovsky and Taneyev, Rimsky-Korsakov and Grechaninov, Arensky and Spendiarov, Rebikov and Viardo-Garcia, Varlamov and Konyus, Balakirev and Rachmaninoff, Zolotarev and Goldenweiser, Napravnik and Kalinnikov and many, many others composed music to Fet's words. The number of musical opuses is measured in hundreds.
Motives of love in Fet's lyrics.
On the slope of life, Fet "lit the evening lights", lived in the dreams of youth. Thoughts about the past did not leave him, and visited at the most unexpected moments. It was enough for the slightest external occasion, say, to sound words similar to those spoken long ago, to flash on a dam or in an alley of a dress similar to what she had seen on her in those days.
It happened thirty years ago. In the outback of Kherson he met a girl. Her name was Maria, she was twenty-four years old, he was twenty-eight. Her father, Kozma Lazich, was a Serb by origin, a descendant of those two hundred of his compatriots who, in the middle of the 18th century, moved to the south of Russia together with Ivan Horvat, who founded the first military settlement here in Novorossia. Of the daughters of retired general Lazich, the eldest Nadezhda, graceful and frisky, a wonderful dancer, had a bright beauty and a cheerful disposition. But it was not she who captivated the heart of the young cuirassier Fet, but the less flashy Maria.
A tall, slender brunette, restrained, not to say strict, she, however, was inferior to her sister in everything, but she surpassed her in the luxury of black, thick hair. This must have made Fet pay attention to her, who valued the beauty of women, first of all, hair, as many lines of his poems convince.
Usually not participating in noisy fun in the house of her uncle Petkovich, where she often stayed and where young people gathered, Maria preferred to play for those dancing on the piano, because she was an excellent musician, which Franz Liszt himself noted when he once heard her play.
Having spoken with Maria, Fet was amazed at how extensive her knowledge of literature, especially poetry. In addition, she turned out to be a longtime admirer of his own work. It was unexpected and pleasant. But the main “field of rapprochement” was George Sand with her charming language, inspired descriptions of nature and completely new, unprecedented relationships between lovers. Nothing brings people together like art in general - poetry in the broadest sense of the word. Such unanimity is poetry in itself. People become more sensitive and feel and understand what no words are enough to fully explain.
“There was no doubt,” Afanasy Afanasyevich will recall in his later life, “that she had long understood the sincere awe with which I entered her pleasant atmosphere. I also understood that words and silence are equivalent in this case.
In a word, a deep feeling flared up between them, and Fet, filled with it, writes to his friend: “I met a girl - a wonderful home, education, I was not looking for her - she is me, but fate - and we learned that we would be very happy after various worldly storms, if they could live peacefully without any claims to anything. We said this to each other, but is it necessary somehow and somewhere? My funds are known to you - she also has nothing ... "
The material question has become the main stumbling block on the path to happiness. Fet believed that the most tormenting sorrow in the present does not give them the right to go to the inevitable grief of the rest of their lives - once there will be no prosperity.
However, their conversations continued. It happened that everyone would disperse, it was already past midnight, and they could not talk enough. They sit on the sofa in the living room alcove and talk, talk in the dim light of a colored lantern, but they never let out their mutual feelings.
Their conversations in a secluded corner did not go unnoticed. Fet felt responsible for the honor of the girl - after all, he is not a boy who is fond of a minute, and he was very afraid to put her in an unfavorable light.
And then one day, in order to burn the ships of their mutual hopes at once, he gathered his courage and bluntly expressed his thoughts to her about the fact that he considers marriage impossible for himself. To which she replied that she liked to talk with him, without any encroachment on his freedom. As for the rumors of the people, all the more, she does not intend to deprive herself of the happiness of communicating with him because of gossip.
“I will not marry Lazich,” he writes to a friend, “and she knows this, but meanwhile she begs not to interrupt our relationship, she is purer than snow in front of me - to interrupt indelicately and not to interrupt indelicately - she is a girl - you need Solomon.” A wise decision was needed.
And a strange thing: Fet, who himself considered indecision to be the main feature of his character, then unexpectedly showed firmness. However, was it really that unexpected? If we recall his own words that the school of life, which held him all the time in a tight grip, developed reflection in him to the extreme and he never allowed himself to take a step thoughtlessly, then his decision will become clearer. Those who knew Fet well, for example, L. Tolstoy, noted this “attachment to worldly things”, his practicality and utilitarianism. It would be more accurate to say that the earthly and spiritual struggled in him, reason fought with the heart, often prevailing. It was not an easy struggle with one's own soul, deeply hidden from prying eyes, as he himself said, "the rape of idealism towards a vulgar life."
So, Fet decided to end the relationship with Maria, about which he wrote to her. In response came "the most friendly and reassuring letter." This, it seemed, ended the time of "the spring of his soul." After a while he received the terrible news. Maria Lazich died tragically. She died a terrible death, the secret of which has not yet been revealed. There is reason to think, as, for example, D. D. Blagoi believes, that the girl committed suicide. He saw her with some special power of love, almost with bodily and spiritual intimacy, and he realized more and more clearly that the happiness that he experienced then was so much that it was terrible and sinful to wish and ask God for more.
In one of his most beloved poems, Fet wrote:
I dare to mentally caress
Awaken the dream with the power of the heart
And with bliss, timid and dull
Remember your love.
Natural and human in fusion give harmony, a sense of beauty. Fet's lyrics inspire love for life, for its origins, for the simple joys of being. Over the years, getting rid of the poetic stamps of the time, Fet is affirmed in his lyrical mission as a singer of love and nature. The morning of the day and the morning of the year remain symbols of Fet's lyrics.
The image of love-memories in the lyrics of Fet
A. Fet's love lyrics are a very unique phenomenon, since almost all of them are addressed to one woman - Fet's beloved Maria Lazich, who died untimely, and this gives her a special emotional flavor.
The death of Mary finally poisoned the already “bitter” life of the poet - his poems tell us about this. “The enthusiastic singer of love and beauty did not follow his feelings. But the feeling experienced by Fet passed through his whole life to a ripe old age. Love for Lazich vindictively broke into Fet's lyrics, giving her drama, confessional looseness and removing from her a hint of idyllicness and tenderness.
Maria Lazich died in 1850, and more than forty years that the poet lived without her were filled with bitter memories of his "burnt love." Moreover, this metaphor, traditional for designating a departed feeling, in the mind and lyrics of Fet was filled with quite real and therefore even more terrible content.
The last time your image is cute
I dare to mentally caress
Awaken the dream with the power of the heart
And with bliss, timid and dull
Remember your love...
What fate could not connect was connected by poetry, and in his poems Fet again and again refers to his beloved as a living being, listening to him with love,
Like a genius you are, unexpected, slender,
From heaven flew me light,
Subdued my restless mind,
She drew her eyes to her face.
The poems of this group are distinguished by a special emotional flavor: they are filled with joy, ecstasy, delight. Here the image of love-experience dominates, often merged with the image of nature. Fet's lyrics become the embodiment of the memory of Mary, a monument, a "living statue" of the poet's love. A tragic shade is given to Fet's love lyrics by the motives of guilt and punishment, which are clearly heard in many poems.
For a long time I dreamed of the cries of your sobs, -
For a long, long time I dreamed of that joyful moment,
As I begged you - the unfortunate executioner ...
You gave me your hand, asked: “Are you coming?”
Just in the eyes I noticed two drops of tears;
Those sparks in your eyes and cold shivers
I endured forever in sleepless nights.
The steady and infinitely varied motif of love and burning in Fet's love lyrics draws attention to itself. Truly burnt Maria Lazich scorched the poetry of her lover. “Whatever he writes about, even in poems addressed to other women, her image is vengefully present, her short life, burned with love. No matter how banal this image or its verbal expression is sometimes, it is convincing in Fet. Moreover, it forms the basis of his love lyrics.
The lyrical hero calls himself an "executioner", thereby emphasizing the awareness of his guilt. But he is an “unfortunate” executioner, because, having destroyed his beloved, he also destroyed himself, his own life. And therefore, in the love lyrics, next to the image of love-memories, the motif of death persistently sounds as the only opportunity not only to atone for one's guilt, but also to reunite with the beloved. Only death can return what life has taken away:
There are no those eyes - and I am not afraid of coffins,
I envy your silence
And, judging neither stupidity nor malice,
Hurry, hurry into your oblivion!
Life lost its meaning for the hero, turning into a chain of suffering and loss, into a “bitter”, “poisoned” cup, which he had to drink to the bottom. In Fet's lyrics, a tragic in essence opposition of two images arises - a lyrical hero and a heroine. He is alive, but dead in soul, and she, long dead, lives in his memory and in poetry. And he will remain faithful to this memory until the end of his days.
Perhaps Fet's love lyrics are the only area of the poet's work in which his life impressions are reflected. Perhaps that is why love poems are so different from those devoted to nature. They do not have that joy, a feeling of happiness in life, which we will see in Fet's landscape lyrics. As L. Ozerov wrote, “Fet's love lyrics are the most inflamed zone of his experiences. Here he is not afraid of anything: neither self-condemnation, nor curses from outside, neither direct speech, nor indirect, neither forte, nor pianissimo. Here the lyricist judges himself. Goes to execution. It burns itself."
Features of impressionism in the lyrics of Fet
Impressionism is a special trend in the art of the 19th century, which developed in French painting in the 70s. Impressionism means an impression, that is, an image not of an object as such, but of the impression that this object produces, the fixation by the artist of his subjective observations and impressions of reality, changeable sensations and experiences. A special feature of this style was "the desire to convey the subject in fragmentary strokes that instantly capture every sensation."
Fet's desire to show the phenomenon in all its variety of changeable forms brings the poet closer to impressionism. Vigilantly peering into the outside world and showing it as it appears at the moment, Fet develops completely new techniques for poetry, an impressionistic style.
He is interested not so much in the object as in the impression made by the object. Fet depicts the outside world in the form that corresponds to the momentary mood of the poet. For all their truthfulness and concreteness, descriptions of nature primarily serve as a means of expressing lyrical feelings.
Fet's innovation was so bold that many of his contemporaries did not understand his poems. During the life of Fet, his poetry did not find a proper response from his contemporaries. Only the twentieth century truly opened Fet, his amazing poetry, which gives us the joy of recognizing the world, knowing its harmony and perfection.
“For everyone who touches Fet’s lyrics a century after its creation, what is important, first of all, is its spirituality, spiritual intentness, the unspentness of the young forces of life, the thrill of spring and the transparent wisdom of autumn,” wrote L. Ozerov. - You read Fet - and surrender: your whole life is still ahead. How much good promises the coming day. Worth living! Such is Fet.
In a poem written in September 1892 - two months before his death - Fet admits:
The thought is fresh, the soul is free;
Every moment I want to say:
"It's me!" But I am silent.
Is the poet silent? No. His poetry speaks.
Bibliography
R. S. Belausov "Russian Love Lyrics" printed in the printing house Kurskaya Pravda - 1986.
G. Aslanova “In the captivity of legends and fantasies” 1997. Issue. 5.
M. L. Gasparov “Selected Works” Moscow. 1997. Vol.2
A. V. Druzhinin “Beautiful and Eternal” Moscow. 1989.
V. Solovyov “The Meaning of Love” Selected works. Moscow. 1991.
I. Sukhikh “The Myth of Fet: Moment and Eternity // Star” 1995. No. 11.
On November 23, 1820, in the village of Novoselki, located near Mtsensk, the great Russian poet Afanasy Afanasyevich Fet was born in the family of Caroline Charlotte Fet and Afanasy Neofitovich Shenshin. His parents got married without an Orthodox ceremony abroad (the poet's mother was a Lutheran), because of which the marriage, legalized in Germany, was declared invalid in Russia.
Deprivation of the title of nobility
Later, when the wedding was performed according to the Orthodox rite, Afanasy Afanasyevich already lived under his mother's surname - Fet, being considered her illegitimate child. The boy was deprived, in addition to his father's surname, and the title of nobility, Russian citizenship and inheritance rights. For a young man for many years, the most important life goal was to regain the Shenshin surname and all the rights associated with it. It was only in his old age that he was able to achieve this by regaining his hereditary nobility.
Education
The future poet in 1838 entered the boarding school of Professor Pogodin in Moscow, and in August of the same year he was enrolled in the verbal department at Moscow University. In the family of his classmate and friend, he lived his student years. The friendship of young people contributed to the formation of their common ideals and views on art.
First attempts at pen
Afanasy Afanasyevich begins to compose poetry, and in 1840 a poetic collection entitled "Lyrical Pantheon" published at his own expense was published. In these poems, echoes of the poetic work of Yevgeny Baratynsky were clearly heard, and since 1842 Afanasy Afanasyevich has been constantly published in the journal Otechestvennye Zapiski. Already in 1843, Vissarion Grigoryevich Belinsky wrote that of all the poets living in Moscow, Fet was “the most talented”, and puts this author’s poems on a par with the works of Mikhail Yuryevich Lermontov.
The need for a military career
Fet strove for literary activity with all his heart, but the instability of the material and social situation forced the poet to change his fate. Afanasy Afanasyevich in 1845 entered as a non-commissioned officer in one of the regiments located in the Kherson province in order to be able to receive hereditary nobility (the right to which was given by a senior officer rank). Cut off from the literary environment and metropolitan life, he almost ceases to be published, also because, due to the fall in demand for poetry, magazines do not show interest in his poems.
A tragic event in Fet's personal life
In the Kherson years, a tragic event happened that predetermined the poet's personal life: his beloved, Maria Lazich, a dowry girl, whom he did not dare to marry because of his poverty, died in a fire. After Fet's refusal, a strange incident happened to her: a dress caught fire on Maria from a candle, she ran into the garden, but could not cope with putting out the clothes and suffocated in the smoke. This could be suspected of a girl's attempt to commit suicide, and in Fet's poems, echoes of this tragedy will sound for a long time (for example, the poem "When you read painful lines ...", 1887).
Admission to L Abe Guards Lancers Regiment
In 1853, a sharp turn took place in the fate of the poet: he managed to enter the guard, in the Ulansky regiment stationed near St. Petersburg. Now Afanasy Afanasyevich gets the opportunity to visit the capital, resumes his literary activity, begins to regularly publish poems in Sovremennik, Russkiy vestnik, Otechestvennye zapiski, and Library for Reading. He becomes close to Ivan Turgenev, Nikolai Nekrasov, Vasily Botkin, Alexander Druzhinin - the editors of Sovremennik. The name Fet, by that time already half-forgotten, reappears in reviews, articles, the chronicle of the magazine, and since 1854 his poems have been published. Ivan Sergeevich Turgenev became the poet's mentor and even prepared a new edition of his works in 1856.
The fate of the poet in 1856-1877
Fet was unlucky in the service: each time the rules for obtaining hereditary nobility were tightened. In 1856, he left the military career without having achieved his main goal. In Paris, in 1857, Afanasy Afanasyevich married the daughter of a wealthy merchant, Maria Petrovna Botkina, and acquired an estate in the Mtsensk district. At that time he wrote almost no poetry. Being a supporter of conservative views, Fet took a sharply negative view of the abolition of serfdom in Russia and, starting in 1862, began to regularly publish essays in the Russian Bulletin, denouncing the post-reform order from the position of a landowner-landowner. In 1867-1877 he served as a justice of the peace. In 1873, Afanasy Afanasyevich finally received hereditary nobility.
Fet's fate in the 1880s
The poet returned to literature only in the 1880s, having moved to Moscow and became rich. In 1881, his old dream was realized - he created a translation of his favorite philosopher, "The World as Will and Representation", created by him. In 1883, a translation of all the works of the poet Horace, begun by Fet in his student years, was published. The period from 1883 to 1991 includes the publication of four issues of the poetry collection "Evening Lights".
Fet's lyrics: general characteristics
The poetry of Afanasy Afanasyevich, romantic in its origins, is, as it were, a link between the work of Vasily Zhukovsky and Alexander Blok. The later poems of the poet gravitated towards the Tyutchev tradition. Fet's main lyrics are love and landscape.
In the 1950s and 1960s, during the formation of Afanasy Afanasyevich as a poet, Nekrasov and his supporters almost completely dominated the literary environment - apologists for poetry glorifying social, civic ideals. Therefore, Afanasy Afanasyevich with his work, one might say, spoke somewhat untimely. Features of Fet's lyrics did not allow him to join Nekrasov and his group. After all, according to representatives of civil poetry, poetry must necessarily be topical, performing a propaganda and ideological task.
Philosophical motives
Feta permeates all his work, reflected in both landscape and love poetry. Although Afanasy Afanasyevich was even friends with many poets of the Nekrasov circle, he argued that art should not be interested in anything other than beauty. Only in love, nature and art itself (painting, music, sculpture) did he find everlasting harmony. The philosophical lyrics of Fet sought to get as far away from reality as possible, contemplating beauty that was not involved in the vanity and bitterness of everyday life. This led to the adoption in the 1940s by Afanasy Afanasyevich of romantic philosophy, and in the 1960s - the so-called theory of pure art.
The prevailing mood in his works is intoxication with nature, beauty, art, memories, delight. These are the features of Fet's lyrics. Often the poet has the motive of flying away from the earth following the moonlight or enchanting music.
Metaphors and epithets
Everything that belongs to the category of the sublime and beautiful is endowed with wings, first of all, a love feeling and a song. Fet's lyrics often use such metaphors as "winged dream", "winged song", "winged hour", "winged word sound", "winged with delight", etc.
Epithets in his works usually describe not the object itself, but the impression of the lyrical hero from what he saw. Therefore, they can be inexplicable logically and unexpected. For example, a violin might be labeled "melting". Fet's characteristic epithets are "dead dreams", "incense speeches", "silver dreams", "weeping herbs", "widowed azure", etc.
Often the picture is drawn with the help of visual associations. The poem "Singer" is a vivid example of this. It shows the desire to embody the sensations created by the melody of the song into specific images and sensations, of which Fet's lyrics consist.
These verses are very unusual. So, "the distance rings", and the smile of love "meekly shines", "the voice burns" and fades in the distance, like a "dawn beyond the sea", in order to splash pearls again with a "loud tide". At that time, Russian poetry did not know such complex bold images. They established themselves much later, only with the advent of the symbolists.
Speaking about the creative manner of Fet, they also mention impressionism, which is based on the direct fixation of the impressions of reality.
Nature in the poet's work
Fet's landscape lyrics are a source of divine beauty in eternal renewal and diversity. Many critics mentioned that nature was described by this author as if from the window of a landowner's estate or from the perspective of a park, as if specifically to arouse admiration. Fet's landscape lyrics are a universal expression of the beauty of the world untouched by man.
Nature for Afanasy Afanasyevich is a part of his own "I", a background for his experiences and feelings, a source of inspiration. Fet's lyrics seem to blur the line between the outer and inner worlds. Therefore, human properties in his poems can be attributed to darkness, air, even color.
Very often, nature in Fet's lyrics is a night landscape, since it is at night, when the bustle of the day calms down, that it is easiest to enjoy the all-embracing, indestructible beauty. At this time of day, the poet does not have glimpses of the chaos that fascinated and frightened Tyutchev. Majestic harmony, hidden by day, reigns. Not the wind and darkness, but the stars and the moon come out on top. By the stars, Fet reads the "fiery book" of eternity (the poem "Among the Stars").
The themes of Fet's lyrics are not limited to the description of nature. A special section of his work is poetry dedicated to love.
Fet's love lyrics
Love for the poet is a whole sea of feelings: timid longing, and enjoyment of spiritual intimacy, and the apotheosis of passion, and the happiness of two souls. The poetic memory of this author knew no bounds, which allowed him to write poems dedicated to his first love even in his declining years, as if he was still under the impression of such a desired recent date.
Most often, the poet described the birth of a feeling, its most enlightened, romantic and reverent moments: the first contact of hands, long glances, the first evening walk in the garden, contemplation of the beauty of nature that gives rise to spiritual intimacy. The lyrical hero says that no less than happiness itself, he cherishes the steps to it.
Fet's landscape and love lyrics form an inseparable unity. Heightened perception of nature is often caused by love experiences. A vivid example of this is the miniature "Whisper, timid breathing ..." (1850). The fact that there are no verbs in the poem is not only an original technique, but also a whole philosophy. There is no action because in fact only one moment or a whole series of moments, motionless and self-sufficient, is described. The image of the beloved, described in detail, seems to dissolve in the general range of feelings of the poet. There is no complete portrait of the heroine here - it must be supplemented and recreated by the reader's imagination.
Love in Fet's lyrics is often complemented by other motives. So, in the poem "The night was shining. The garden was full of moon ..." three feelings are united in a single impulse: admiration for music, intoxicating night and inspired singing, which develops into love for the singer. The whole soul of the poet dissolves in music and at the same time in the soul of the singing heroine, who is the living embodiment of this feeling.
This poem is difficult to classify unambiguously as love lyrics or poems about art. It would be more accurate to define it as a hymn to beauty, combining the liveliness of experience, its charm with deep philosophical overtones. This worldview is called aestheticism.
Afanasy Afanasyevich, carried away on the wings of inspiration beyond the limits of earthly existence, feels himself a master, equal to the gods, overcoming the limitations of man with the power of his poetic genius.
Conclusion
The whole life and work of this poet is the search for beauty in love, nature, even death. Could he find her? This question can only be answered by someone who really understood the creative heritage of this author: he heard the music of his works, saw landscape paintings, felt the beauty of poetic lines and learned to find harmony in the world around him.
We examined the main motives of Fet's lyrics, the characteristic features of the work of this great writer. So, for example, like any poet, Afanasy Afanasyevich writes about the eternal theme of life and death. Neither death nor life frightens him equally ("Poems about death"). By physical death, the poet experiences only cold indifference, and Afanasy Afanasyevich Fet justifies earthly existence only by creative fire, commensurate in his view with "the whole universe." Both ancient motives (for example, "Diana"), and Christian ones ("Ave Maria", "Madonna") sound in verses.
You can find more detailed information about Fet's work in school textbooks on Russian literature, in which the lyrics of Afanasy Afanasyevich are considered in some detail.
The poems of Afanasy Afanasyevich Fet are unusual, as is his biography. Adopted by a Russian landowner, the boy was forced to seek recognition of the title of nobility all his life.
For many years, Fet sought independence - spiritual, material: both when he studied at the university and when he served in the Kirabir regiment. His first poetic experiments date back to 1840, when his first collection “Lyrical Pantheon” was published.
Fet immediately declares himself as an original, original poet. Seeing the beauty of the world, he tries to capture and preserve it in his poems. The main thing for Fet is to reflect the impression, which, as you know, is the basis of human feelings. This feature of Fetov's lyrics can be called impressionistic.
The main themes of Fet's poetry are love and nature. They are so closely interconnected that you involuntarily come to the conclusion that nature and man are the main components of the world. The state of nature is reflected in the state of the human soul. Through nature, a person better understands himself, describing it, more fully expresses his own psychological state.
Fet notices the slightest changes in the state of nature, every movement of the human soul. For example, in the poem "Whisper, timid breath", which was published in 1850 in the second collection of poems.
This poem has become almost a symbol of all Fet's poetry. It sounds like music that conveys excitement and growing feelings.
Fet's word is intended to convey smells, sounds, musical tones, light impressions. This was very subtly noted by Alexei Konstantinovich Tolstoy, who wrote: “I finally got acquainted with Fet’s book - there are poems where it smells of sweet peas and clover, where the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of morning dawn shimmers into sound. Fet is a one-of-a-kind poet, unparalleled in any literature.” Fet perceives all natural phenomena in unity.
In the late 1950s, when N.A. Nekrasov, relations between the management of the journal and a group of writers - I.S. Turgenev, A.A. Feta, L.N. Tolstoy, who left the magazine. They did not understand how “pure art” could be rejected in the name of practical use.
In 1859, Fet published an article about Tyutchev's poems in the Russian Word magazine. Its main idea is the following: art should not adhere to any ideological trends, it should not participate in political social struggle, art should serve “pure beauty”.
They begin to consider him a reactionary. The writer leaves for the Stepanovka estate and lives there, turning the estate into a model farm. His last poems are published in the collections "Evening Lights". The themes of the lyrics remained the same as in his youth. The word “evening” in the title of the collection, of course, speaks of the evening of life. But the word “lights” is also important here - Fet’s late lyrics retained the thrill of a heartfelt feeling, the ardor inherent in youth, and acquired the ability to study the light of wisdom.
Exam abstract work
Completed by Pupil of Grade 9 “B” Ratkovsky A.A.
Secondary School No. 646
Moscow, 2004
Creativity A. Fet
A. A. Fet occupies a very special position in Russian poetry of the second half of the 19th century. The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the splendor of poetry and prose, as well as their pronounced civic orientation. Nekrasov gave rise to this movement, declaring that every writer is obliged to "report" to society, to be first of all a citizen, and then a man of art. Fet did not adhere to this principle, remaining out of politics, and thus filled his niche in the poetry of that era, sharing it with Tyutchev.
But if we recall Tyutchev's lyrics, then she considers human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The landscape of the poet is distinguished by calmness, peace. But maybe it's the outside? Indeed, if you look closely, Fet's lyrics are filled with drama, philosophical depth, which have always distinguished "great" poets from one-day authors. One of the main Fetov themes is the tragedy of unrequited love. Poems on such a subject reveal the facts of Fet's biography, more precisely, that he survived the death of his beloved woman. Poems related to this topic have rightly received the name "monologues to the deceased."
You suffered, I still suffer
Doubt I'm destined to breathe
And I tremble, and my heart avoids
Look for what you can't understand.
Other poems of the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: “Death”, “Life flashed by without a clear trace”, “Simple in the haze of memories ...” As you can see, the idyll is not just “diluted” with the poet’s sadness , it is absent altogether. The illusion of well-being is created by the poet's desire to overcome suffering, to dissolve them in the joy of everyday life, obtained from pain, in the harmony of the surrounding world. The poet rejoices with all nature after the storm:
When under a cloud, transparent and pure,
The dawn will tell that the day of bad weather has passed,
You won’t find a blade of grass and you won’t find a bush,
So that he does not cry and does not shine with happiness ...
Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that energizes people and their poems. Fet wrote to Leo Tolstoy: "in a work of art, tension is a great thing." It is not surprising that Fet's lyrical plot unfolds during the greatest tension of a person's spiritual forces. The poem “At dawn, don’t wake her up” demonstrates just such a moment” reflecting the state of the heroine:
And the brighter the moon shone
And the louder the nightingale whistled,
She became more and more pale
My heart was beating harder and harder.
In consonance with this verse - the appearance of another heroine: "You sang until dawn, exhausted in tears." But the most striking masterpiece of Fet, which depicted an internal spiritual event in a person’s life, is the poem “Whisper, timid breathing ...” In this verse, there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the feelings and states of a soul in love, coloring a night date - namely, it is described in a poem - in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by a change in the appearance of the beloved. The last stanza is metaphorically complex, since it is precisely on it that the emotional climax of the poem falls:
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn! ...
Behind these unexpected images are the features of the beloved, her lips, the sparkle of her smile. With this and other fresh poems, Fet is trying to prove that poetry is audacity, which claims to change the usual course of existence. In this regard, the verse "With one push to drive away the living boat ..." is indicative. Its theme is the nature of the poet's inspiration. Creativity is seen as a high rise, a breakthrough, an attempt to achieve the unattainable. Fet directly names his poetic landmarks:
To interrupt a dreary dream with a single sound,
Get drunk suddenly unknown, dear,
Give life a breath, give sweetness to secret torment...
Another super-task of poetry is the consolidation of the world in eternity, a reflection of the random, the elusive (“to feel someone else’s in an instant as your own”). But in order for the images to reach the reader's consciousness, a special musicality is needed, unlike anything else. Fet uses many methods of sound writing (alliteration, assonance), and Tchaikovsky even said: “Fet in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our field.”
So what did Fet's lyrics reveal to us? He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”). Fet is not afraid of life after shocks, he believes and keeps faith in the victory of art over time, in the immortality of a beautiful moment.
A. Fet's poems are pure poetry, in the sense that there is not a drop of prose. Usually he did not sing of hot feelings, despair, delight, lofty thoughts, no, he wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about minute impressions. His poetry is joyful and bright, it has a sense of light and peace. Even about his ruined love, he writes lightly and calmly, although his feeling is deep and fresh, as in the first minutes. Until the end of his life, Fetu did not change the joy that pervaded almost all of his poems.
The beauty, naturalness, sincerity of his poetry reach complete perfection, his verse is amazingly expressive, figurative, musical. Not without reason did Tchaikovsky, Rimsky-Korsakov, Balakirev, Rakhmaninov and other composers turn to his poetry.
"Fet's poetry is nature itself, looking like a mirror through the human soul..."
In traditional world and Russian lyrics, the theme of nature is one of the main, necessarily touched upon topics. And Fet also reflects this theme in many of his poems. The theme of nature in his works is closely intertwined with love lyrics, and with the theme of beauty characteristic of Fet, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly, the images of nature are general, not detailed:
wonderful picture,
How are you related to me?
white plain,
Full moon...
The poets of the 40s, when describing nature, relied mainly on the techniques characteristic of Heine, i.e. separate impressions were given instead of a coherent description. Many early Fet's poems were criticized as "Heine's". For example, "The Noisy Midnight Blizzard", where the poet expresses the mood without a psychological analysis of it and without clarifying the plot situation with which it is connected. The outside world is, as it were, colored by the moods of the lyrical "I", enlivened, animated by them. This is how Fet's characteristic humanization of nature appears; often there is an emotional expression excited by nature, there are no such bright and accurate details that are so characteristic later, allowing one to judge the picture as a whole. Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Probably, his rapprochement with Turgenev influenced his passion for landscape lyrics at that time. The phenomena of nature become more detailed, more specific than those of Fet's predecessors, which is also characteristic of the day of Turgenev's prose. Fet depicts not a birch in general, as a symbol of the Russian landscape, but a specific birch at the porch of his own house, not in general the road with its infinity and unpredictability, but that specific road that can be seen right now from the threshold of the house. Or, for example, in his poems there are not only traditional birds that have a clear symbolic meaning, but also such birds as harrier, owl, blackie, sandpiper, lapwing, swift and others, each of which is shown in its own originality:
Half hidden behind a cloud
The moon does not yet dare to shine during the day.
Here the beetle took off and buzzed angrily,
Here the harrier swam without moving its wing.
The landscapes of Turgenev and Fet are similar not only in the accuracy and subtlety of observations of natural phenomena, but also in sensations, images (for example, the image of the sleeping earth, "resting nature"). Fet, like Turgenev, seeks to fix, describe changes in nature. His observations can be easily grouped or, for example, in the image of the seasons, a period can be clearly defined. Is late autumn depicted:
The last flowers were about to die
And they waited with sadness for the breath of frost;
Maple leaves blushed along the edges,
The peas faded, and the rose fell off, -
or the end of winter:
More fragrant bliss of spring
We did not have time to descend,
More ravines are full of snow
Still at dawn the cart rumbles
On a frozen path...
This can be easily understood, because the description is accurate and clear. 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 "Spring Rain"). Similarly, it can be determined that Fet, for the most part, gives a description of the central regions of Russia.
It is the nature of central Russia that is dedicated to the cycle of poems "Snow" and many poems from other cycles. According to Fet, this nature is beautiful, but not everyone is able to catch this dim beauty. He is not afraid to repeatedly repeat declarations of love for this nature, for the play of light and sound in it "to that natural circle, which the poet many times calls a shelter: "I love your sad shelter and the evening of the village is deaf ...". Fet has always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are sewn together in the artistic world of the poet into a single and indivisible idea of beauty. From everyday life, he goes to “where thunderstorms fly by ...” For Fet, nature is an object of artistic delight, aesthetic pleasure. She is the best mentor and wise adviser of man. It is nature that helps to solve riddles, the secrets of human existence. In addition, for example, in the poem "Whisper, timid breathing ..." the poet perfectly conveys instantaneous sensations, and, alternating them, he conveys the state of the heroes, in harmony with nature to the human soul, and the happiness of love:
Whisper, timid breath,
trill nightingale,
Silver and flutter
Sleepy stream....
Fet was able to convey the movements of the soul and nature without verbs, which was undoubtedly an innovation in Russian literature. But does he also have pictures in which verbs become the main pillars, as, for example, in the poem "Evening"?
It sounded over a clear river,
Rang in the faded meadow "
It swept over the mute grove,
Lit up on that shore...
Such a transfer of what is happening speaks of another feature of Fet's landscape lyrics: the main tone is set by subtle impressions of sounds, smells, vague outlines, which are very difficult to convey in words. It is the combination of concrete observations with bold and unusual associations that makes it possible to clearly represent the described picture of nature. We can also talk about the impressionism of Fet's poetry; it is with the bias towards impressionism that innovation in the depiction of natural phenomena is associated. More precisely, objects and phenomena are depicted by the poet as they appeared to his perception, as they seemed to him at the time of writing. And the description does not focus on the image itself, but on the impression it makes. The apparent Fet describes as real:
Over the lake the swan pulled into the reed,
The forest overturned in the water,
He drowned in the dawn with the teeth of the peaks,
Between two curving skies.
In general, the motif of "reflection in the water" is found quite often in the poet. Probably, a shaky reflection provides more freedom to the artist's imagination than the reflected object itself. Fet depicts the outside world in the form that his mood gave him. With all the truthfulness and concreteness, the description of nature primarily serves as a means of expressing a lyrical feeling.
Usually A. Fet in his poems dwells on one figure, on one turn of feelings, and at the same time, his poetry cannot be called monotonous, on the contrary, it strikes with diversity and a multitude of topics. The special charm of his poems, in addition to the content, is precisely in the nature of the mood of poetry. Muse Fet is light, airy, as if there is nothing earthly in her, although she tells us exactly about the earth. There is almost no action in his poetry, each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your Ray, flying far ...”, “Still eyes, crazy eyes ...”, “The sun is a ray between lindens ...”, “I extend my hand to you in silence ... " and etc.
The poet sang beauty where he saw it, and he found it everywhere. He was an artist with an exceptionally developed sense of beauty, which is probably why the pictures of nature in his poems are so beautiful, which he took as she is, without allowing any decorations of reality. In his poems, the landscape of central Russia is visibly visible.
In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, moods. It is thanks to this that the poet created amazing works that have been striking us for so many years with psychological accuracy, filigree accuracy. Among them are such poetic masterpieces as “Whisper, timid breathing ...”, “I came to you with greetings ... ”,“ At dawn, don’t wake her up ...”, “Dawn says goodbye to the earth ...”.
Fet builds a picture of the world that he sees, feels, touches, hears. And in this world everything is important and significant: the clouds, and the moon, and the beetle, and the harrier, and the corncrake, and the stars, and the Milky Way. Each bird, each flower, each tree and each blade of grass is not just a part of the overall picture - they all have only their characteristic signs, even character. Let's pay attention to the poem "Butterfly":
You're right. One aerial outline
I'm so sweet
All my velvet with its live blinking -
Only two wings.
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.
How long, without purpose, without effort,
Do you want to breathe?
Right now, sparkling, I will spread my wings
Fet's "feeling of nature" is universal. It is practically impossible to single out the purely landscape lyrics of Fet without breaking the ties with its vital organ - the human personality, subject to the general laws of natural life.
Defining the property of his attitude, Fet wrote: “Only a person, and only he alone in the whole universe, feels the need to ask: what is the surrounding nature? Where does all this come from? What is he himself? Where? Where? What for? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him. “Nature created this poet in order to eavesdrop on herself, peep and understand herself. In order to find out what he thinks about her, nature, man, her offspring, how he perceives her. Nature created Fet in order to visit - how the sensitive soul of a person perceives it ”(L. Ozerov).
Fet's relationship with nature is a complete dissolution in her world, this is a state of anxious expectation of a miracle:
I'm waiting... 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.
I'm waiting... Here's a breeze from the south;
It is warm for me to stand and go;
A star rolled to the west...
I'm sorry, golden, I'm sorry!
Let us turn to one of Fet's most famous poems, which at one time brought the author a lot of grief, causing the admiration of some, the confusion of others, numerous ridicule of adherents of traditional poetry - in general, a whole literary scandal. This little poem has become for democratic critics the embodiment of the thought of the emptiness and lack of ideas of poetry. Over thirty parodies have been written of this poem. Here it is:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy creek
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn! ...
Immediately there is a feeling of movement, dynamic changes that occur not only in nature, but also in the human soul. Meanwhile, there is not a single verb in the poem. And how much joyful intoxication with love and life in this poem! It is no coincidence that Fet's favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:
At night, somehow I can breathe more freely,
A little more spacious...
recognized by the poet. He can speak with the night, he addresses her as a living being, close and dear:
Hello! a thousand times my greetings to you, night!
Again and again I love you
Quiet, warm
Silver lined!
Timidly, extinguishing the candle, I go to the window...
You can’t see me, but I myself see everything ...
The poems of A. A. Fet are loved in our country. Time unconditionally confirmed the value of his poetry, showed that we, the people of the 20th century, need it, because it touches the most intimate strings of the soul, reveals the beauty of the surrounding world.
Aesthetic views of Fet
Aesthetics is the science of beauty. And the poet's views on what is beautiful in this life are formed under the influence of a variety of circumstances. Here everything plays its special role - the conditions in which the poet's childhood passed, which formed his ideas about life and beauty, and the influence of teachers, books, favorite authors and thinkers, and the level of education, and the conditions of all subsequent life. Therefore, we can say that Fet's aesthetics is a reflection of the tragedy of the duality of his life and poetic fate.
So Polonsky very correctly and accurately defined the confrontation between the two worlds - the world of life and the poetic world, which the poet not only felt, but also declared as a given. “My ideal world was destroyed a long time ago ...” - Fet admitted back in 1850. And on the site of this destroyed ideal world, he erected another world - a purely real, everyday, filled with prosaic deeds and worries aimed at achieving a far from high poetic goal. And this world unbearably burdened the soul of the poet, never letting go of his mind for a minute. It is in this duality of existence that Fet's aesthetics is formed, the main principle of which he formulated for himself once and for all and never retreated from it: poetry and life are incompatible, and they will never merge. Fet was convinced; to live for life is to die for art, to rise for art is to die for life. That is why, plunging into economic affairs, Fet left literature for many years.
Life is hard work, oppressive melancholy and
suffering:
Suffer, suffer all the time, aimlessly, gratuitously,
Try to fill the void and look
As with each new attempt, the abyss is deeper,
Again go crazy, strive and suffer.
In understanding the relationship between life and art, Fet proceeded from the teachings of his beloved German philosopher Schopenhauer, whose book “The World as Will and Representation” he translated into Russian.
Schopenhauer argued that our world is the worst of all possible worlds, that suffering is inevitable in life. This world is nothing but an arena of tortured and frightened creatures, and the only possible way out of this world is death, which gives rise to an apology for suicide in Schopenhauer's ethics. Based on the teachings of Schopenhauer, and even before meeting him, Fet did not get tired of repeating that life in general is base, meaningless, boring, that its main content is suffering and there is only one mysterious, incomprehensible sphere of true, pure joy in this world of sorrow and boredom. - the sphere of beauty, a special world,
Where the storms fly by
Where the passionate thought is pure, -
And dedicated only visibly
Spring blooms and beauty
(“What sadness! The end of the alley…”)
The poetic state is a cleansing of everything too human, an exit to the open space from the gorges of life, awakening from sleep, but above all, poetry is the overcoming of suffering. Fet speaks about this in his poetic manifesto "Muse", the epigraph to which he takes Pushkin's words "We were born for inspiration, For sweet sounds and prayers."
About himself as a poet, Fet says:
Captivating dreams cherishing in reality,
By your divine power
I call to the high pleasure
And to human happiness.
The key images of this poem and Fet's entire aesthetic system are the words "Divine power" and "high pleasure." Possessing great power over the human soul, truly Divine, poetry is able to transform life, cleanse the human soul from everything earthly and superficial, only it is able to "give life a sigh, give sweetness to secret torments."
The eternal object of art, according to Fet, is beauty. “The world in all its parts,” Fet wrote, “is equally beautiful. Beauty is spilled throughout the universe. The whole poetic world of A. Fet is located in this area of beauty and fluctuates between three peaks - nature, love and creativity. All these three poetic subjects are not only in contact with each other, but are also closely interconnected, penetrate each other, forming a single fused artistic world - Fetov's universe of beauty, the sun of which is the harmonic the essence of the world is music. According to L. Ozerov, “Russian lyrics found in Fet one of the most musically gifted masters. Written on paper in letters, his lyrics sound like notes, true for those who can read these notes.
Tchaikovsky and Taneyev, Rimsky-Korsakov and Grechaninov, Arensky and Spendiarov, Rebikov and Viardo-Garcia, Varlamov and Konyus, Balakirev and Rachmaninoff, Zolotarev and Goldenweiser, Napravnik and Kalinnikov and many, many others composed music to Fet's words. The number of musical opuses is measured in hundreds.
Motives of love in Fet's lyrics.
On the slope of life, Fet "lit the evening lights", lived in the dreams of youth. Thoughts about the past did not leave him, and visited at the most unexpected moments. It was enough for the slightest external occasion, say, to sound words similar to those spoken long ago, to flash on a dam or in an alley of a dress similar to what she had seen on her in those days.
It happened thirty years ago. In the outback of Kherson he met a girl. Her name was Maria, she was twenty-four years old, he was twenty-eight. Her father, Kozma Lazich, was a Serb by origin, a descendant of those two hundred of his compatriots who, in the middle of the 18th century, moved to the south of Russia together with Ivan Horvat, who founded the first military settlement here in Novorossia. Of the daughters of retired general Lazich, the eldest Nadezhda, graceful and frisky, a wonderful dancer, had a bright beauty and a cheerful disposition. But it was not she who captivated the heart of the young cuirassier Fet, but the less flashy Maria.
A tall, slender brunette, restrained, not to say strict, she, however, was inferior to her sister in everything, but she surpassed her in the luxury of black, thick hair. This must have made Fet pay attention to her, who valued the beauty of women, first of all, hair, as many lines of his poems convince.
Usually not participating in noisy fun in the house of her uncle Petkovich, where she often stayed and where young people gathered, Maria preferred to play for those dancing on the piano, because she was an excellent musician, which Franz Liszt himself noted when he once heard her play.
Having spoken with Maria, Fet was amazed at how extensive her knowledge of literature, especially poetry. In addition, she turned out to be a longtime admirer of his own work. It was unexpected and pleasant. But the main “field of rapprochement” was George Sand with her charming language, inspired descriptions of nature and completely new, unprecedented relationships between lovers. Nothing brings people together like art in general - poetry in the broadest sense of the word. Such unanimity is poetry in itself. People become more sensitive and feel and understand what no words are enough to fully explain.
“There was no doubt,” Afanasy Afanasyevich will recall in his later life, “that she had long understood the sincere awe with which I entered her pleasant atmosphere. I also understood that words and silence are equivalent in this case.
In a word, a deep feeling flared up between them, and Fet, filled with it, writes to his friend: “I met a girl - a wonderful home, education, I was not looking for her - she is me, but fate - and we learned that we would be very happy after various worldly storms, if they could live peacefully without any claims to anything. We said this to each other, but is it necessary somehow and somewhere? My funds are known to you - she also has nothing ... "
The material question has become the main stumbling block on the path to happiness. Fet believed that the most tormenting sorrow in the present does not give them the right to go to the inevitable grief of the rest of their lives - once there will be no prosperity.
However, their conversations continued. It happened that everyone would disperse, it was already past midnight, and they could not talk enough. They sit on the sofa in the living room alcove and talk, talk in the dim light of a colored lantern, but they never let out their mutual feelings.
Their conversations in a secluded corner did not go unnoticed. Fet felt responsible for the honor of the girl - after all, he is not a boy who is fond of a minute, and he was very afraid to put her in an unfavorable light.
And then one day, in order to burn the ships of their mutual hopes at once, he gathered his courage and bluntly expressed his thoughts to her about the fact that he considers marriage impossible for himself. To which she replied that she liked to talk with him, without any encroachment on his freedom. As for the rumors of the people, all the more, she does not intend to deprive herself of the happiness of communicating with him because of gossip.
“I will not marry Lazich,” he writes to a friend, “and she knows this, but meanwhile she begs not to interrupt our relationship, she is purer than snow in front of me - to interrupt indelicately and not to interrupt indelicately - she is a girl - you need Solomon.” A wise decision was needed.
And a strange thing: Fet, who himself considered indecision to be the main feature of his character, then unexpectedly showed firmness. However, was it really that unexpected? If we recall his own words that the school of life, which held him all the time in a tight grip, developed reflection in him to the extreme and he never allowed himself to take a step thoughtlessly, then his decision will become clearer. Those who knew Fet well, for example, L. Tolstoy, noted this “attachment to worldly things”, his practicality and utilitarianism. It would be more accurate to say that the earthly and spiritual struggled in him, reason fought with the heart, often prevailing. It was not an easy struggle with one's own soul, deeply hidden from prying eyes, as he himself said, "the rape of idealism towards a vulgar life."
So, Fet decided to end the relationship with Maria, about which he wrote to her. In response came "the most friendly and reassuring letter." This, it seemed, ended the time of "the spring of his soul." After a while he received the terrible news. Maria Lazich died tragically. She died a terrible death, the secret of which has not yet been revealed. There is reason to think, as, for example, D. D. Blagoi believes, that the girl committed suicide. He saw her with some special power of love, almost with bodily and spiritual intimacy, and he realized more and more clearly that the happiness that he experienced then was so much that it was terrible and sinful to wish and ask God for more.
In one of his most beloved poems, Fet wrote:
I dare to mentally caress
Awaken the dream with the power of the heart
And with bliss, timid and dull
Remember your love.
Natural and human in fusion give harmony, a sense of beauty. Fet's lyrics inspire love for life, for its origins, for the simple joys of being. Over the years, getting rid of the poetic stamps of the time, Fet is affirmed in his lyrical mission as a singer of love and nature. The morning of the day and the morning of the year remain symbols of Fet's lyrics.
The image of love-memories in the lyrics of Fet
A. Fet's love lyrics are a very unique phenomenon, since almost all of them are addressed to one woman - Fet's beloved Maria Lazich, who died untimely, and this gives her a special emotional flavor.
The death of Mary finally poisoned the already “bitter” life of the poet - his poems tell us about this. “The enthusiastic singer of love and beauty did not follow his feelings. But the feeling experienced by Fet passed through his whole life to a ripe old age. Love for Lazich vindictively broke into Fet's lyrics, giving her drama, confessional looseness and removing from her a hint of idyllicness and tenderness.
Maria Lazich died in 1850, and more than forty years that the poet lived without her were filled with bitter memories of his "burnt love." Moreover, this metaphor, traditional for designating a departed feeling, in the mind and lyrics of Fet was filled with quite real and therefore even more terrible content.
The last time your image is cute
I dare to mentally caress
Awaken the dream with the power of the heart
And with bliss, timid and dull
Remember your love...
What fate could not connect was connected by poetry, and in his poems Fet again and again refers to his beloved as a living being, listening to him with love,
Like a genius you are, unexpected, slender,
From heaven flew me light,
Subdued my restless mind,
She drew her eyes to her face.
The poems of this group are distinguished by a special emotional flavor: they are filled with joy, ecstasy, delight. Here the image of love-experience dominates, often merged with the image of nature. Fet's lyrics become the embodiment of the memory of Mary, a monument, a "living statue" of the poet's love. A tragic shade is given to Fet's love lyrics by the motives of guilt and punishment, which are clearly heard in many poems.
For a long time I dreamed of the cries of your sobs, -
For a long, long time I dreamed of that joyful moment,
As I begged you - the unfortunate executioner ...
You gave me your hand, asked: “Are you coming?”
Just in the eyes I noticed two drops of tears;
Those sparks in your eyes and cold shivers
I endured forever in sleepless nights.
The steady and infinitely varied motif of love and burning in Fet's love lyrics draws attention to itself. Truly burnt Maria Lazich scorched the poetry of her lover. “Whatever he writes about, even in poems addressed to other women, her image is vengefully present, her short life, burned with love. No matter how banal this image or its verbal expression is sometimes, it is convincing in Fet. Moreover, it forms the basis of his love lyrics.
The lyrical hero calls himself an "executioner", thereby emphasizing the awareness of his guilt. But he is an “unfortunate” executioner, because, having destroyed his beloved, he also destroyed himself, his own life. And therefore, in the love lyrics, next to the image of love-memories, the motif of death persistently sounds as the only opportunity not only to atone for one's guilt, but also to reunite with the beloved. Only death can return what life has taken away:
There are no those eyes - and I am not afraid of coffins,
I envy your silence
And, judging neither stupidity nor malice,
Hurry, hurry into your oblivion!
Life lost its meaning for the hero, turning into a chain of suffering and loss, into a “bitter”, “poisoned” cup, which he had to drink to the bottom. In Fet's lyrics, a tragic in essence opposition of two images arises - a lyrical hero and a heroine. He is alive, but dead in soul, and she, long dead, lives in his memory and in poetry. And he will remain faithful to this memory until the end of his days.
Perhaps Fet's love lyrics are the only area of the poet's work in which his life impressions are reflected. Perhaps that is why love poems are so different from those devoted to nature. They do not have that joy, a feeling of happiness in life, which we will see in Fet's landscape lyrics. As L. Ozerov wrote, “Fet's love lyrics are the most inflamed zone of his experiences. Here he is not afraid of anything: neither self-condemnation, nor curses from outside, neither direct speech, nor indirect, neither forte, nor pianissimo. Here the lyricist judges himself. Goes to execution. It burns itself."
Features of impressionism in the lyrics of Fet
Impressionism is a special trend in the art of the 19th century, which developed in French painting in the 70s. Impressionism means an impression, that is, an image not of an object as such, but of the impression that this object produces, the fixation by the artist of his subjective observations and impressions of reality, changeable sensations and experiences. A special feature of this style was "the desire to convey the subject in fragmentary strokes that instantly capture every sensation."
Fet's desire to show the phenomenon in all its variety of changeable forms brings the poet closer to impressionism. Vigilantly peering into the outside world and showing it as it appears at the moment, Fet develops completely new techniques for poetry, an impressionistic style.
He is interested not so much in the object as in the impression made by the object. Fet depicts the outside world in the form that corresponds to the momentary mood of the poet. For all their truthfulness and concreteness, descriptions of nature primarily serve as a means of expressing lyrical feelings.
Fet's innovation was so bold that many of his contemporaries did not understand his poems. During the life of Fet, his poetry did not find a proper response from his contemporaries. Only the twentieth century truly opened Fet, his amazing poetry, which gives us the joy of recognizing the world, knowing its harmony and perfection.
“For everyone who touches Fet’s lyrics a century after its creation, what is important, first of all, is its spirituality, spiritual intentness, the unspentness of the young forces of life, the thrill of spring and the transparent wisdom of autumn,” wrote L. Ozerov. - You read Fet - and surrender: your whole life is still ahead. How much good promises the coming day. Worth living! Such is Fet.
In a poem written in September 1892 - two months before his death - Fet admits:
The thought is fresh, the soul is free;
Every moment I want to say:
"It's me!" But I am silent.
Is the poet silent? No. His poetry speaks.
Bibliography
R. S. Belausov "Russian Love Lyrics" printed in the printing house Kurskaya Pravda - 1986.
G. Aslanova “In the captivity of legends and fantasies” 1997. Issue. 5.
M. L. Gasparov “Selected Works” Moscow. 1997. Vol.2
A. V. Druzhinin “Beautiful and Eternal” Moscow. 1989.
V. Solovyov “The Meaning of Love” Selected works. Moscow. 1991.
I. Sukhikh “The Myth of Fet: Moment and Eternity // Star” 1995. No. 11.
For the preparation of this work, materials from the site http://www.referat.ru/ were used.
Ministry of Secondary and Special Education
Secondary School No. 646
The main motives of the lyrics in the work of A. A. Fet
/ examination paper /
Completed:
9th grade student “B”
Ratkovsky A.A.
Checked:
literature teacher
Salieva R.A.
Moscow
Table of contents
- Creativity A.A. Feta………………………………………………..p.
- Fet's poetry is nature itself, looking through
the human soul…………………………………………………. page
- Aesthetic views of A. Fet…………………………………… p.
- Motives of love in the lyrics of Fet……………………………………….p.
- The image of love memories in the lyrics of A. Fet………………….. p.
- Features of impressionism in the lyrics of Fet……………………………. page
- List of used literature………………………………..p.
Creativity A. Fet
A. A. Fet occupies a very special position in Russian poetry of the second half of the 19th century. The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the splendor of poetry and prose, as well as their pronounced civic orientation. Nekrasov gave rise to this movement, declaring that every writer is obliged to report to society, to be first of all a citizen, and then a man of art. Fet did not adhere to this principle, remaining out of politics, and thus filled his niche in the poetry of that era, sharing it with Tyutchev.
But if we recall Tyutchev's lyrics, then she considers human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The landscape of the poet is distinguished by calmness, peace. But maybe it's the outside? Indeed, if you look closely, Fet's lyrics are filled with drama, philosophical depth, which have always distinguished great poets from one-day authors. One of the main Fetov themes is the tragedy of unrequited love. Poems on such a subject reveal the facts of Fet's biography, more precisely, that he survived the death of his beloved woman. Poems related to this topic have rightly been called monologues to the deceased.
You suffered, I still suffer
Doubt I'm destined to breathe
And I tremble, and my heart avoids
Look for what you can't understand.
Other poems of the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: Death, Life flashed without a clear trace, Simple in the haze of memories ... As you can see, the idyll is not just diluted with the poet's sadness, it is absent altogether. The illusion of well-being is created by the poet's desire to overcome suffering, to dissolve them in the joy of everyday life, obtained from pain, in the harmony of the surrounding world. The poet rejoices with all nature after the storm:
When under a cloud, transparent and pure,
The dawn will tell that the day of bad weather has passed,
You won’t find a blade of grass and you won’t find a bush,
So that he does not cry and does not shine with happiness ...
Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that energizes people and their poems. Fet wrote to Leo Nikolayevich Tolstoy: in the artistic
tension is a great thing. It is not surprising that Fet's lyrical plot unfolds during the greatest tension of a person's spiritual forces. The poem At dawn, don't wake her up demonstrates just such a moment reflecting the state of the heroine:
And the brighter the moon shone
And the louder the nightingale whistled,
She became more and more pale
My heart was beating harder and harder.
In consonance with this verse - the appearance of another heroine: You sang until dawn, exhausted in tears. But the most striking masterpiece of Fet, which depicted an internal spiritual event in a person’s life, is the poem Whisper, timid breathing ... In this verse there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the feelings and experiences of the hero is given, a change in the states of a lover soul, coloring a night date, namely, it is described in a poem in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by a change in the appearance of the beloved. The last stanza is metaphorically complex, since it is precisely on it that the emotional climax of the poem falls:
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
