"fet and German culture". The IT generation chooses to read! Poetry of A. Feth and German Romantic Culture

In the 50-60s of the XIX century, along with the movement of supporters of civil poetry, a school of poets of "pure art" emerged in Russian literature. The largest representatives of this school were Fyodor Ivanovich Tyutchev (1803-1873) and Afanasy Afanasyevich Fet (1820-1892).

The flowering of creativity Tyutchev and Fet falls on the 40-60s of the XIX century, when "pure art" was loudly rejected in the name of practical use, when the citizenship of poetry was declared, a stake was made on the transformation of the entire social system of Russia, the result of which was to be equality, freedom and social justice.

Tyutchev's lyrics can be defined as philosophical. Philosophical thought permeates poems about the poet and poetry, especially dedicated to Heine, Zhukovsky, Schiller, Byron, whose work was close to Tyutchev's romantic pathos and the desire to learn the secrets of the Universe.

Tyutchev in his poems talks about the transience of life and death, about the happiness of man. Saturation with philosophical thought, perfection of artistic form - the main features of Tyutchev's poetry.

The main features of A. A. Fet's poetry are his appeal exclusively to the world of feelings and "flying" moods, the plotlessness of the verse and his passion for the genre of lyric miniature. Fet constantly emphasized that poetry should not interfere in the affairs of the "poor world." In his poems, there is almost no place for political, social, and civil problems. Fet outlined the circle of his poetry with three themes: love, nature, art.

Tyutchev (1803-1873)	Fet (1820-1892)
The philosophical nature of poetry, in which thought always merges with the image. In poetry Tyutchev seeks to comprehend the life of the Universe, to comprehend the secrets of space and human existence	The tragic nature of the lyrics, the dominant feeling is tension, at the same time light and optimism inherent in Fet's poetry. Dialectic of tragedy and joy, overcoming dramatic situations with a sense of world harmony
Life, according to Tyutchev, is a confrontation between hostile forces. Dramatic perception of reality combined with an inexhaustible love of life	The beauty in his poems is suffering overcome, joy obtained from pain. Life in Fet's verses is a moment fixed in eternity.
The human "I" in relation to nature is not a drop in the ocean, but two equal infinities. The inner, invisible movements of the human soul are in tune with the visible dialectics of natural phenomena.	The impressionistic character of the depiction of feelings, their fragmentation and ultimate imagery. The strict artistic structure of the poems, their inner balance and a sense of sketchiness, deliberate rupture.
The figurative system of Tyutchev's lyrics combines the objective realities of the external world and the subjective impressions of this world produced on the poet. Mastery in depicting the harmony of the objective realities of the external world and the depth of the internal world	Increased metaphoricality of poetry, dynamism and musicality of artistic images. The predominance of mood over thought, thought is “dissolved” in music.
The poet's skill in creating phonetic and pictorial images, combining sound writing with an unexpected palette of colors, color images	Mastery in the use of parallelisms, repetitions, periods, rhythmic pauses, richness and depth of poetic intonations, sound instrumentation

Tyutchev and Fet, who determined the development of Russian poetry in the second half of the 19th century, entered literature as poets of "pure art", expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.
A distinctive feature of the lyrics of these two poets was that they were characterized by the depth of analysis of human emotional experiences. So, the complex inner world of the lyrical heroes Tyutchev and Fet is in many ways similar.

Tyutchev : philosophical romanticism. Man against the world soul, overcoming opposition is a condition for the realization of creative possibilities, since the isolation of the personality is an absolute evil. I did not particularly participate in the ideological literary struggle.

"The gray shadows blended", 1836: opposition of night and day. Daytime - everyday, everyday, earthly, vanity, noise, nighttime - the world of mystical insights, comprehensions of the Cosmos, time for self-comprehension. In this poem - the moment of transition from day to night, the boundaries between man and nature are blurred, the soul longs for merging with the world.

Feelings - a gloom of self-forgetfulness

Overflow! ..

Let me taste destruction

Mix with the dormant world!

Silentium, 1830: there are no clear boundaries between the inner and outer world, man and nature: both that and that world are completely unknowable, man can only approach the mystery. The human soul, even one's own, is a mystery. Loneliness is metaphysical: the incomprehensible mystery of being, hence the confusion of man. Complete understanding in Tyutchev's world is impossible: true knowledge is only in the depths of the "I", it is untranslatable into ordinary language.

Fet : Fet is a practitioner, businesslike, lyrical hero - a singer of Russian nature, a subtle lyricist. He clearly distinguished between poetry and science, life and the beauty of life, poetry and life. "Pure art". The narrowness of the tasks of poetry: themes of love, nature, beauty.

"With one push to drive the boat alive ...", 1887: glorifies poetry, with the help of it you can seem to go into “another life”, “give life a sigh”, “instantly feel someone else's as your own”. Glorifies the poet too.

"Whispers, timid breathing", 1850: verbosity. Poetisms are traditional (nightingale, rose, stars), but he writes in an unusual way. One sentence, not a single verb, but a process, an action is conveyed. The life of nature, its rhythm. A kind of understatement, impressionism (!).

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1 UDC 80: 801 FET TRANSLATOR OF GERMAN POETRY: A PERSONAL ASPECT O. N. Zherdeva, E. A. Savochkina Financial University under the Government of the Russian Federation, Barnaul branch Altai State University Received May 3, 2017 Abstract: the article presents the poetry aspect of search A. A. Fet of metric equivalents when translating the poems of G. Heine into Russian. It is important in this context how the Fet-translator conveys poetic dimensions that are not characteristic of the Russian poetic tradition of the 19th century. Despite the fact that Fet, due to his perfect knowledge of the German language, was well aware of the rhythmic originality of the poems he translated, he does not reproduce the dimensions that are not practiced in the Russian poetic tradition of the 19th century. Thus, both Russian and German verse existed in Fet's creative consciousness as independent systems, which did not exclude the possibility of their interaction at other levels. Fet's German origin does not contradict this situation, but on the contrary, indirectly confirms it: the poet strove not so much to use his reading experience as against the background of the German tradition to better understand the originality of the poetic system of Russian verse, not opposing himself to the latter, but, on the contrary, striving deeper in it take root. Key words: A. A. Fet, literary translation, poetry, national forms of verse, prosody. Abstract: the article focuses on prosodic analyzes of A. A. Fet s worksand meter equivalents offered by the poet when translating H. Heine s poems. The utmost aim was to show the ways Fet as translator used to convey meters not typical of Russian poetry writing in the XIX century. Despite his perfect knowledge of German and wonderful perception of meter in original poems, Fetnever employed meters untypical of Russian poetry writing in the XIX century. Thus the Russian and the German poem existed as two independent systems in Fet s cognition, which still permitted their overlapping at some levels. The German background of Fet doesn t contradict the situation rather supporting the idea that Fet translator prevailed over Fet reader.the striking feature of his approach was to go beyond the scope of German tradition towards thepeculiar resources of the Russian language and to seekhis place in Russian poetry rather than oppose himself to it. Keywords: A. A. Fet, literary translation, study of poetry, national types of verse, prosody. O. N. Zherdeva, E. A. Savochkina, 2017 Translation works of A. A. Feta represent a significant part of the poet's work. It is noteworthy that more than half of his translated heritage is made up of translations of poems by German poets: Goethe, Heine, Schiller, Mericke, Rückert, Uhland, Kerner. Fet's attachment to German poetry, in our opinion, is not accidental and is conditioned, on the one hand, by the laws of the development of literature, on the other hand, by the fact that it is German poetry, in its content and spirit, that is close to Fet, a German in origin. Both in the number of translated poems (38), and in the degree of influence on the original work of the Russian poet (which was written about by the authoritative researchers-fetologists B. Ya.Bukhshtab, D.D. Blagoy, V.M. Zhirmunsky), the name Heine stands out from the general list of names of German poets translated by Fet. To the poetic works of other above-mentioned German poets, Fet turned occasionally, rather his translations of the poems of these poets were translations "in case". In the works of researchers on the history of literary translation in Russia G.I.Ratgauz, Yu.D. Levin, A.V. Fedorov, V. B. Mikushevich and others,,, it is convincingly shown that translation can be understood only in a historical perspective and the requirements for literary translation at one stage or another in the development of Russian literature changed in accordance with the tasks set for national literature by the time. According to Yu. D. Levin, G. I. Ratgauz, E. G. Etkind, the middle of the 19th century. marked by a qualitative shift in the field of poetic translation. The renewed trend towards literal translation in the middle of the 19th century is explained by the general objective orientation of the literature of the middle of the 19th century. Among the supporters of literal translation at this stage, the name of A. A. Fet stands out. His high translation skills, in our opinion, can be explained from two points of view, historical

2 ON Zherdeva, EA Savochkina and individual, personal: firstly, his translations appeared at the moment when Russian literary translation ”. At the same time, under the interlinear of the possible coincidence of forms, without which there is no round was prepared by the historical development of water A. A. Fet means literal translation to create a high-quality literal translation. and does not formally distinguish between these concepts. (We, under By the middle of the century, there was no longer a need to create original works, “shifting” the otherness at the level of linguistic signs, without taking into account the informal translation, we understand here equivalent-linguistic texts, Russian poetry by that time was transmitted at other levels of content. took place, thus, appeared By interlinear translation we mean the alternate translation of each word of the sentence, another task: not just to acquaint the Russian reader with the works of world literature, but to combine them in their main meaning and often convey the original style of the author and the national spirit of a foreign language composition, which Perhaps the contemporary poet's criticism noted the tendency, contrary to the norm and the usus of the target language.) to carry out, striving as accurately as possible to convey Fet's tsation to excessive accuracy at the expense of artistry. Fet's translations are sometimes frankly the form and content of a poetic work, taking into account, however, not only the specific features of the language of the translated text, but “non-professionalism”. In the modern day, they ridiculed them for their "clumsy", "roughness", and the possibilities of their native language, the search for linguistic parallels both in lexical-grammatical and in A. Fet's translations are often viewed as indications of the theory of literary translation at poetic rhythmic levels. material, demonstrating the method of the literal Second, in our opinion, it is not at all accidental that translation in poetry. In our opinion, it was A. A. Fet, who was striving, who became a supporter of the literal Fet principle in his translation activity in poetic translation and achieved high skill in this area. German by origin - translation. A subtle sense of rhythm and accuracy in many respects anticipated modern principles; he knew German from childhood, more than giving meaning, the poet combined with the desire of the one who, from childhood, felt the rhythm of German, to convey the spirit of the original. For all the accuracy of the translations, Fet, however, was not “direct” or, as an addendum (as you know, from the age of seven, Fet translated Kampa's children's fables, trying to translate them into Russian nyato to speak, “naive” literalist, since the language is exclusively in verse ), on the one hand, sought, first of all, to find Russian equivalents to the rhythmic-intonational pattern and lexico-and grew up in Russia, considered Russian as his native language, on the other hand, he was thus in a bilingual situation and, like no one else, the most interesting and poorly studied is the semantic features of the original. the other, it was called upon to cope with this, in our opinion, the poetical aspect of the problem: the Russian poet's search for metric equivalents to the historical task set before literary translation by the time. When translating A. Fet's poems into Russian, comrade takes a special place among Heine's supporters. The results of our research can be accurately translated. He creates, as GI Ratgauz writes, "a completely original theory of translation" are the following abbreviations: D dactyl, present in the form of the following table, where it is used. According to A.A. Fet, the translation differs from I5 iambic pentameter, I3 iambic tricycle, fundamentally from the free interpretation of the original. X4 trochey four-foot, Dk3 three-legged dolnik, Dk4 four-legged dolnik, Dk4-3 In the fight against the liberties of translation. he polemically demanded a "possible literal" translation. Rejecting the Lermontovsky pass, Amf3 amphibrach three-foot, Amf4 four-three-foot dolnik, DKV water dolnik from Goethe ("Mountain Peaks") as unfaithful, Amphibrachian fet four-foot, Amf4-3 amphibrach four-three-foot, 3sl PA V free three-foot “I have always been convinced of the merit of interlinear translation and even more of the need for a complex with variable anacruse. Table 1. Comparative analysis of poems by G. Heine and their translations by A. A. Fet. Heine Y5 X4 Dk3 Dk4 Dk4-3 Dk V Ver-libre Fet Y5 X4 Amph3 Dk3 Y3 D3 Amph4 Amph 4-3 3sl PA V Dk B Table 1 shows the results of a comparative analysis of thirty-five (out of thirty-eight) poems by H. their translations made by A. A. Fet. Most of the 22 VESTNIK VSU. SERIES: PHILOLOGY. JOURNALISM

3 Feth is a translator of German poetry: the poetical aspect of the translated poems (20) were written in a three-copy dolnik, the rhythm of which, as you know, in the middle of the 19th century was unusual for a Russian reader. The translation problem was relatively easy to solve in relation to the sizes that the Russian rhythmic equivalent had: iambic pentameter, trochee with four feet. By the middle of the 19th century, these dimensions were well developed in Russian poetry, and the translation of the corresponding poems by Heine Heine did not present significant technical problems. Of course, there is no need to talk about absolute adequacy here due to the well-known differences between Russian and German syllabo-tonic. As is known, these differences are usually explained by the differences between the German prosody and the Russian one. Quite different tasks were set before Fet by the Dolniks, so characteristic of the German poet. It can be argued with a high degree of confidence that A. A. Fet did not at all strive to literally reproduce the peculiarities of the rhythm of the original. Undoubtedly, feeling well the rhythm of the German dolnik, Fet avoided translating literalism in this case. He seeks to convey the rhythmic originality of the original, making do with the usual means. The closeness of Russian and German versification allowed Fet to create peculiar rhythmic equivalents (impossible, say, when translated from French). But Fet rather inscribes his "Russian" Heine into the system of Russian verse, relying not so much on the experimental translations of Heine's poems already available at that time, as on the traditional system of verse equivalents. So, in particular, in the XIX century. it was customary to translate the three-legged dolnik into tricycle amphibrachium. “The German ballad dolnik, writes M. L. Gasparov, with its fluctuation of 1 and 2-complex interdict intervals could be simplified into 4 3-st. amphibrachium. In German poetry this was rarely done, but in the Russian language, where there are more unstressed syllables, this way of transforming the tonic into a syllabo-tonic suggested itself. " A. A. Fet, as the table shows, mainly followed this tradition. The transformation of Dk3 into Amph3 was all the more natural because the Heine dolniks, translated by Fet as amphibrachium, had a monosyllabic anacrus and, therefore, rhythmically of all three-syllable syllabo-tonic sizes, they most of all resembled amphibrachia. Special mention should be made of those translations from Heine in which iambic is used. Fet has only two such poems, and the appeal of the Russian poet to the tricycle iambic seems to us far from accidental. So, Fet's "Your cheeks are burning" is an arrangement of the poem "Es liegt der heiße Sommer", in which of the eight lines that make up the entire work, only half is a pure dolnik, and the rest are iambic tricytes. Thus, the original itself made the "translation" of Dk3 into R3 completely natural. Obviously, the same reason prompted Fet to translate Heine's “Das Fischermädchen” in iambic tricycle ("The Beautiful Fisherwoman"): 6 of the 12 lines of Heine's poem are iambic tricycles. Moreover, in the last, third stanza, the lines of the dolnik are completely absent. It is more difficult to explain the fact of Fet's appeal to dactyl ("Do I hear the sounds of songs") when translating "Hörich das Liedchen klingen". It seems logical only that the dolnik Heine Feth translates in one of the syllabo-tonic dimensions: of the eight lines of the original poem, only two, one in each stanza, create the rhythm of the dolnik; the rest are iambic tricyttes. Therefore, the tricycle amphibrach, evidently felt by Fet as the main rhythmic equivalent of the German three-legged dolnik, was inappropriate in this case. But Fet's experiments with dolniks were also rather cautious. Thus, when translating “Ich hab imtraum geweinet”, in the poem “I cried in my sleep; I dreamed, ”Fet sets the rhythm of the dolnik with just one line in each of the three stanzas. It occupies a fixed position (third line of the quatrain) and is a refrain. This is the line "And I woke up and for a long time", which, thus, is highlighted with the help of rhythmic italics and, breaking the usual syllabo-tonic rhythm (Amph3), marks the moment of awakening of the lyric hero with a kind of rhythmic dissonance, which, if we take into account the semantic structure of Heine's poem, seems quite natural. The awakening is followed by the present, opposed to the imaginary, dreamed, there is suffering. The rhythm of translation thus emphasizes the paradoxical (since crying in a dream turns into crying in reality) opposition between sleep and reality. Fet is also cautious when translating "Sie liebten sich beide". As you know, M. Yu. Lermontov in 1841 translated this poem into a logaedom. A. A. Fet in his translation of 1857 "They loved each other" retains a clear syllabo-tonic basis (ordinary Amph3), but sets the rhythm of the dolnik with the initial line of each of the two stanzas of the poem. It is worth noting that deviations from the usual rhythm, like rhythmic interruptions, are least noticeable at the beginning of any element of the poetic text. Fet, obviously, could not use the rhythm of a dolnik at the end of a stanza or, even more so, a poem, where it could be perceived as a rhythmic interruption. The initial lines, on the one hand, are VESTNIK VSU. SERIES: PHILOLOGY. JOURNALISM

4 ON Zherdeva, EA Savochkina create an initial, then leveling rhythm, as if noting the rhythmic originality of the original; on the other hand, they highlight the theme of the first ("They loved each other") and the second ("They parted and only" ) stanzas. In the same 1857, referring to another poem by Heine, "Im Traum sah ich die Geliebte", Fet translates the first line in a dolnik. Fet's translated poem "I saw a sweetheart in a dream" in the table we attributed to the group of poems translated by amphibrach, due to the purely quantitative predominance of the lines Amph3 (2-3 versus 1), but the opening line here acts as a kind of sign of the original rhythm. In this case, the location of stressed and unstressed syllables in the first line of the original and the translation completely coincide (U U UU U). A special position in this row is occupied by the poem "You are covered in pearls and diamonds", which is a translation of Heine's "Du hast Diamanten und Perlen". Here, the rhythm of the dolnik is not set at the beginning, as in the poems analyzed above, but, as it were, is gradually born from the syllabo-tonic rhythm. The first stanza is pure Amph3, but already the first line of the second stanza, which is a tricycle iambic, breaks the existing pattern. This is followed by two lines of a pure dolnik, but in the final lines of the second and third stanzas, the original Amph3 is restored. Despite its originality among other Fet translations, this poem emphasizes a general pattern: A. A. Fet strives to inscribe the rhythm of the three-decisive dolnik into the familiar system of syllabo-tonic meters, invariably aligning it at the end of the stanzas. It is curious that in this translation Fet was as accurate as possible in conveying the rhythm of the original. Heine has the first two lines of Amph3. The initial line of the second stanza, as in the translation, is tricycle iambic, but the total number of lines of pure Dk3 is higher: 4 for Heine versus 2 for Fet. In addition, the last line of the original emphasizes the DK3 rhythm (U UU U U). As can be seen from the table, the raznoictic dolnik Fet transforms into the amphibrachial variety (Dk4-3 Amph 4-3), the four-legged dolnik into the four-legged amphibrachium. This fact once again confirms that the Russian amphibrach was perceived by Fet in the era when the Russian dolniks had the status of experimental poems, as the equivalent of the German dolnik. "4 3st. amphibrachium, usually with alternating male and female endings,< > turned out as a result of the alignment of the German and English dolniks. " An example of Fet's translation accuracy and sensitivity is the translation of the quatrain "Sie haben mich gequälet" of the caesura after the sixth syllable, which, despite replacing the dolnik with amphibrachia, contributes to the rhythmic identity of the translation ("When I spoke about my grief") and the original poem. All the more surprising is the sharp rhythmic dissonance in Fet's translation of Heine's poem Die Grenadiere. The opening line of the fifth stanza is a dolnik with a zero anacruse, that is, in sharp contrast to the amphibrach, which the entire poem is written with. Fet's rhythmic interruption occurs at the beginning of the remark of one of the grenadiers, the words "I have no time for children, not for my wife," a key place for the entire work. Fet thus emphasizes the opposition of family and state values, the loyalty of the grenadier to his emperor. In addition, rhythm fluctuations occur in direct speech, which can be considered as an additional justification for its appearance: the conversation is opposed to the narration, while the most expressive place of the conversation is highlighted, a kind of "cry of the soul" that gets out of the intonation of a calm story. It is characteristic that there is a similar place in the original poem. The line “Die Flinte gib mir in die Hand” is highlighted here. Interesting translations of Heine's poems, the most free in terms of rhythm: “Poseidon” (free verse) and “Epilog” (free dolnik). Fet does not seek to mechanically duplicate the rhythm of Heine's poems, but tries to find Russian equivalents here, as if raising the bar for rhythm: he translates vers libre with a free dolnik (Poseidon), a free dolnik with a free trisyllabic with a variable anacruse (Epilogue). It should be noted that the distinction between free verse and free dolnik is conditional here: free dolnik is usually considered as one of the varieties of free verse: the rhythmic difference is almost not felt by ear. However, free verse in the strict sense is a free accent verse. In the free dolnik, the interictal intervals are additionally ordered. Like dolniks, here they cannot be less than one syllable and more than two. This distinction is important for us insofar as Fet, as his translations show, well felt the difference between vers libre and free dolnik in German verses and, translating them into Russian, he could not help but turn to various rhythmic means. In A. Zhovtis's article on the Russian translations of vers libre by G. Heine, the Fetov version was compared with the translation made by M. L. Mikhailov. The material presented in the article makes it possible to place Fet's translation in the context of similar experimental translations of German vers libre made by Russian poets of the 19th century. Fet's experience is not unique and fits well with 24 VESTNIK VSU. SERIES: PHILOLOGY. JOURNALISM

5 Feth is a translator of German poetry: the poetical aspect merges into the history of the development of free sizes in Russia. Along with J. Polonsky and M. Mikhailov, Fet is one of the poets who created in the middle of the 19th century. "Modification of the Russian vers libre", as close as possible at that time to the rhythm of the original. Speaking about Poseidon, one should obviously take into account the fact that due to the greater number of stresses than in Russian, the German free verse could be perceived by ear as a dolnik with an unordered line length, that is, free. At the same time, the free dolnik "Epilog" itself was heard as a more strict rhythm, which required Fet to use a different rhythmic equivalent. His poet was prompted by tradition. It is known that in early experimental experiments on the translation of dolniks in Russian poetry, a three-syllable with a variable anacruse was often used: “Poets are looking for a way, breaking the correct rhythm as little as possible, to make it clear that it should be perceived as wrong. There were, first of all, two ways to this: the variable anacruse and the logaeda ”. The first of the two paths named by the historian of the verse is what Fet chooses in this case, thus organically inscribing his translation into the translation experiments of V. A. Zhukovsky, M. Yu. Lermontov, F. I. Tyutchev. Fet, who was fluent in German, undoubtedly felt well the rhythmic originality of the poems he translated. Dolnik's rhythm, albeit in a German voice, was well known to him. However, this experience is used by him in translations to a very limited extent. It can be assumed that Russian and German verse existed in Fet's creative consciousness in a certain sense as independent systems, which, of course, did not exclude the possibility of their interaction at other levels. Fet's national origin, it seems to us, does not contradict this situation, but, on the contrary, indirectly confirms it: the poet strove not so much to use his German reading experience as against the background of the German tradition to better understand the originality of the poetic system of Russian verse, not opposing himself to the latter, but on the contrary, striving to take root deeper in it. REFERENCES 1. Fedorov A. V. The art of translation and the life of literature. / A. V. Fedorov. L., p. 2. Ratgauz GI German poetry in Russia / GI Ratgauz // Golden pen: German, Austrian and Swiss poetry in Russian translations, M., p. 3. Levin Y.D. Russian translators of the XIX century / Y.D. Levin. L., p. 4. Mikushevich VB Actual problems of the theory of literary translation / V. B. Mikushevich. M., p. 5. Komissarov VN Modern translation studies / VN Komissarov. M., p. 6. Russian writers about translation: XVIII XX century // Ed. Y.D. Levin and 7. A.F. Fedorov. L., Grigoriev A.A. Poetry. Prose. Memories / A. A. Grigoriev. M., p. 9. Zhirmunsky VM Theory of literature. Poetics. Stylistics / V.M. Zhirmunsky. L., p. 10. Gasparov ML Meter and meaning / ML Gasparov. M., p. 11. Zhovtis AL At the origins of Russian vers libre: Poems of the "North Sea" by Heine in the translations of ML Mikhailov / AL Zhovtis // Mastery of translation. SPb., P. 12. Gasparov ML Essay on the history of Russian verse / ML Gasparov. M., p. 13. Fet A. A. Memories / A. A. Fet. M., p. Barnaul branch of the Financial University under the Government of the Russian Federation Zherdeva ON, Ph.D. Sciences, Associate Professor of the Department "Philosophy, History and Law" Altai State University Savochkina EA, Ph.D. Sci., Associate Professor, Head of the Department of German Linguistics and Foreign Languages, Financial University under the Government of the Russian Federation (Barnaul branch) Zherdeva ON, Candidate of Philology, Associate Professor Altai State University Savochkina E.A., Candidate of Philology, Associate Professor, Head of the Germanic Linguistics and Foreign Languages ​​Department VESTNIK VSU. SERIES: PHILOLOGY. JOURNALISM

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The work of Afanasy Afanasyevich Fet (1820-1892) is one of the pinnacles of Russian lyric poetry. Fet is a great poet, a poet of genius. Today, there is no such person in Russia who does not know at least one poem of this greatest poet. For example, poems like "At dawn, don't wake her up ..." and "I came to you with greetings ..." everyone knows. But everyone knows poetry, but few people know about the poet's work. The idea of ​​Fet is distorted, starting even from the external appearance. Someone maliciously constantly reproduces those portraits of Fet, which were made during his dying illness, where his face is terribly distorted, swollen eyes - an old man in a state of agony. Meanwhile, Fet, as can be seen from the portraits made during his heyday, both human and poetic, was the most beautiful of Russian poets.

The birth of A.A. Fet is shrouded in secrets. Father A.A. Feta Afanasy Neofitovich Shenshin in the fall of 1820 took the wife of an official Karl Fet from Germany to his family estate. A month later, a child was born and he was recorded as the son of A.N. Shenshin. Only when A.A. Fet was 14 years old it was discovered that this recording was illegal. He received the surname Fet and in the documents began to be called the son of a foreign citizen. A.A. Fet spent a lot of effort to regain the Shenshin surname and the rights of a hereditary nobleman. Until now, the mystery of his birth has not been fully solved. If he is the son of Fet, then his father I. Fet was a great-uncle of the last Russian empress.

In addition, the life of A.A. Feta is also mysterious. They say about him that in life he was much more prosaic than in poetry. But this is due to the fact that he was a wonderful host. Wrote a small volume of articles on economics. From the ruined estate, he managed to create an exemplary farm with a magnificent stud farm. And even in Moscow on Plyushchikha in his house there was a vegetable garden and a greenhouse, in January vegetables and fruits ripened, which the poet liked to treat guests with.

That is why Fet is most often spoken of as a prosaic person. Fet's death is also shrouded in secrets: it is still unclear whether it was death or suicide. Fet suffered from illness and in the end decided to commit suicide, wrote a suicide note, sent his wife away, grabbed a knife, but the secretary prevented him, and the poet died, but died of shock.

The poet's biography is his poems. Fet's poetry combines a huge number of genres, but the most popular is a lyric poem. The original Fetov genre is considered to be "poems - melodies", which are a kind of response to musical works. multifaceted, its main genre is a lyric poem.

One of the earliest and most popular poems of Fet - "I came to you with greetings":

I came to you with greetings,

That it is hot light

The sheets fluttered;

Each bird has roused

And full of spring thirst ...

This poem is related to love lyrics. Despite the fact that the theme of love is eternal and not new at all, the poem breathes with novelty and freshness. For Fet, this is generally characteristic and corresponds to his conscious poetic attitudes. Fet wrote: "Poetry certainly requires novelty, and nothing for it is more deadly than repetition, let alone oneself ... By novelty, I mean not new objects, but their new illumination by the magic lantern of art."

The beginning of the poem does not correspond to the norms adopted at that time. For example, Pushkin's norm was the utmost accuracy of the combinations of words and the words themselves. Based on this, the very first phrase of the Fetov poem is not quite "correct" and accurate "I came to you with greetings, to tell ...". A.S. Pushkin would certainly not have written it at that time in the poems of A.A. Feta saw poetic audacity. Fet was aware of the inaccuracy of his poetic word, in its closeness to living, sometimes not quite correct, but from that especially vivid and expressive speech. Fet himself called his poems "disheveled". But what is the artistic meaning in the poetry of the "disheveled kind"?

Fet uses imprecise words and seemingly sloppy, "disheveled" expressions in order to embody bright and unexpected images. One gets the impression that Fet does not think about writing a poem at all, they seem to come to him in a stream. The poem is remarkable for its amazing integrity. This is an important virtue in poetry. Fet wrote: "The task of the lyric poet is not the harmony of reproduction of objects, but the harmony of tone." In this poem there is a harmony of objects, and harmony of tone. Everything in the poem is internally connected with each other, everything is one-pointed, it is said in a single impulse of feeling, as if in one breath.

Another early poem is the lyric play "Whisper, timid breath ...":

Whispers, timid breathing

Nightingale trills,

Silver and wobble

Sleepy brook

Night light, night shadows

Shadows without end

A series of magical changes

Lovely face ...

This poem was written by Fet in the late 40s of the 19th century. There are no verbs in the poem; basically, the poet uses nominative sentences. Only objects and phenomena that are named one after another: a whisper - a timid breath - the trills of a nightingale, etc.

But, despite this, one cannot say that this poem is material, objective. This is precisely the feature of Fet's poems. They do not exist by themselves, but as signs of feelings and states. They glow a little, flicker. By naming this or that thing, the poet evokes in the reader not a direct idea of ​​the thing itself, but those associations that can habitually be associated with it. The main semantic field of the poem is between words, behind words.

"Behind the words" the main theme of the poem develops: feelings of love. A subtle feeling, inexpressible in words, inexpressibly strong, So before Fet, no one wrote about love.

The character and tension of the lyrical experience in Fet depend on the state of nature. The seasons change in a circle - from spring to spring. Fet's feelings move along the same peculiar circle: not from the past to the future, but from spring to spring, with its necessary, inevitable return. In the collection (1850), the first place is given to the cycle "Snow". Fet's winter cycle is multi-motive: he also sings about a sad birch in a winter dress, about how "the night is bright, the frost is shining", and "frost has drawn patterns on the double glass". The snowy plains attract the poet:

Wonderful picture

How dear you are to me:

White plain

Full moon,

The light of the high heavens,

And shiny snow

And the sledges distant

Lonely run.

It is clear that A.A. Fet loves winter landscapes. The peculiarity of the "Snow" cycle is that the verses of this cycle depict a shining winter, in the prickly glare of the sun, in snow sparks and diamonds of snowflakes, in the crystal of icicles, in the silvery fluff of frosty eyelashes. The associative array in this lyrics does not go beyond the limits of nature itself, here is its own beauty, which does not need human spiritualization. Rather, it itself spiritualizes and enlightens the personality. It was Fet, following Pushkin, who glorified the Russian winter, only he was able to reveal its aesthetic meaning in such a multifaceted way. Fet introduced a rural landscape, scenes of folk life into poetry, appeared in verses "the bearded grandfather", he "groans and crosses himself", or a coachman on a troika daring.

Feta can be called a singer of Russian nature. The approach of spring and autumn wilting, a fragrant summer night and a frosty day, an endless and endless rye field and a thick shady forest - he writes about all this in his poems. Fet's nature is always calm, quiet, as if frozen. And at the same time, she is surprisingly rich in sounds and colors, lives her own life, hidden from an inattentive eye:

I came to you with greetings,

Tell that the sun is up

That it is hot light

Tell that the forest is awake

All woke up, with each branch,

Each bird has roused

And the spring is full of thirst;

Tell that with the same passion

Like yesterday, I came again

That the soul is still happy

And I'm ready to serve you;

Tell that from everywhere

Fun blows on me

I don't know myself, that I will

Sing - but only the song matures.

This poem is one of Fet's earliest and one of the most popular. It was first published in the journal Otechestvennye zapiski in 1843, in its seventh issue. The magazine opens with a poem - it turns out to be, as it were, the title. This can be only on one condition: if the publishers of the magazine liked it, if they see it as an unconditional artistic value.

The poem is written on the theme of love. The young poet came to tell about the joyful brilliance of a sunny morning, about the passionate thrill of a young, spring life, about a soul in love thirsting for happiness and an irrepressible song.

Feta has always attracted the poetic theme of evening and night. The poet early developed a special aesthetic attitude to the night, the onset of darkness. At the new stage of his creative work, he already began to call entire collections "Evening Lights", in them, as it were, a special, Fet's philosophy of the night.

Fet's "night poetry" reveals a complex of associations: night - abyss - shadows - sleep - visions - secret, intimate - love - the unity of a person's "night soul" with the elements of the night. In his poems, this image receives a philosophical deepening, a new second meaning; in the content of the poem, a second plan appears - a symbolic one. The association "night-abyss" receives a philosophical and poetic perspective from him. She begins to draw closer to a person's life. The abyss - the airway - the path of human life.

Backward clouds fly over us

The last crowd.

Their transparent piece melts softly

At the crescent moon

A mysterious force reigns in spring

With stars on your brow. -

You tender! You promised me happiness

On a vain land.

And where is happiness? Not here, in a wretched environment,

And there it is - like smoke

Follow him! follow him! by air

And we will fly away into eternity.

May night promises happiness, a person flies through life for happiness, night is an abyss, a person flies into an abyss, into eternity.

Further development of this association: night - human existence - the essence of being.

Fet presents the night hours as revealing the secrets of the universe. The poet's night vision allows him to look "from time to eternity", he sees "a living altar of the universe."

Tolstoy wrote to Fet: "The poem is one of those rare in which it is impossible to add, subtract or change words; it is alive and charming. It is so good that, it seems to me, this is not an accidental poem, but that it is the first stream of a long delayed stream ".

Association night - abyss - human existence, developing in the poetry of Fet, absorbs the ideas of Schopenhauer. However, the closeness of the poet Fet to the philosopher is very conditional and relative. The ideas of the world as a representation, of a person as a contemplator of being, thoughts about intuitive insights, apparently, were close to Fet.

The idea of ​​death is woven into the figurative association of Fet's poems about night and human existence (the poem "Sleep and Death", written in 1858). Sleep is full of the hustle and bustle of the day, death is full of stately peace. Fet gives preference to death, paints its image as the embodiment of a kind of beauty.

On the whole, Fet's "night poetry" is deeply unique. His night is no less beautiful than the day, maybe even more beautiful. Fetovskaya night is full of life, the poet feels "the breath of the immaculate night." Fet's night gives a person happiness:

What a night! Transparent air is constrained;

Aroma swirls over the ground.

Oh now I'm happy, I'm excited

Oh, now I'm glad to speak! ...

Man merges with night life, he is by no means alienated from it. He hopes and expects something from him. The association repeated in Fet's verses - night - and expectation and trembling, awe:

The birches are waiting. Their leaf is translucent

Shyly beckons and amuses the eye.

They tremble. So to the newlywed virgin

And her dress is joyful and alien ...

Fet has a nocturnal nature and man is full of expectations of the innermost, which is accessible to all living things only at night. Night, love, communication with the elemental life of the universe, the knowledge of happiness and higher truths in his poems, as a rule, are combined.

Fet's work is the apotheosis of the night. For the Feta philosopher, night is the basis of world existence, it is the source of life and the keeper of the secret of "double existence", the relationship of man with the universe, it is the knot of all living and spiritual ties for him.

Now Feta cannot be called only a poet of sensations. His contemplation of nature is full of philosophical profundity, poetic insights are aimed at discovering the secrets of life.

Poetry was the main business of Fet's life, a vocation to which he gave everything: soul, vigilance, sophistication of hearing, wealth of imagination, depth of mind, skill of hard work and inspiration.

In 1889 Strakhov wrote in his article "The Jubilee of Fet's Poetry": "He is the only poet of his kind, incomparable, giving us the purest and real poetic delight, the true diamonds of poetry ... Fet is a true touchstone for the ability to understand poetry ...".

Lesson objectives:

Educational: to acquaint students with some facts of A. A. Fet's life and the phenomenon of the poet's "duality"., to give an idea of ​​the main features of Fet's lyrics., to introduce the term impressionism., to remind about literary trends - pure and utilitarian art.

Developing: improve the ability to analyze a poetic text, develop the ability to emotionally respond to an artistic word, develop a culture of communication and speech.

Educational: to instill in students a sense of beauty.

Equipment: portrait of A. A. Fet, reproductions of paintings by Claude Monet ("Water lilies", "Street decorated with flags", "Field of poppies"), notes on the board, printouts of Fet's poems for analysis (handout).

During the classes.

Hello guys! Today in the lesson we begin to study the work of A. A. Fet. This is a poet you already know from high school, you all remember his famous poem "Spring", but in high school we analyze Fet's work on a different level. So, in the first lesson, according to tradition, we will talk about the fate of the poet, about his life path and pay attention to the characteristic features of his lyrics. Open your notebooks and write down, please, the topic of our lesson.

Life and art Afanasy Afanasyevich Fet(Shenshina).

(1820 – 1892.)

Write down the years of the poet's life. Guys, now I will tell you about the fate of Fet, this will be my little lecture, please listen carefully and write down the main events, dates, stages of life.

And personality, and fate, and creative biographyFeta unusual and full of mysteries. The poet's life is full of drama and contradictions, and the fact that all these contradictions and paradoxes were intertwined in one person caused an ambiguous attitude towards Fet. It all started literally from the moment of his birth. Fet's mother Charlotte Fet was the wife of the German official Fet, but fled with the Oryol landowner Shenshin to Russia. Then it was an incredibly audacious act, which was discussed for a long time in the living rooms. Already in Russia, in 1920, in the Oryol province, Charlotte Fet gave birth to a son, Afanasy. The boy received the surname Shenshin, which is why we indicated the second surname of Fet in the subject, these two surnames he bore all his life. But when the boy was 14 years old, the Oryol spiritual consistory established that at the time of Fet's birth, the marriage of Charlotte Fet and Shenshin was not registered, so their son was considered illegitimate. The boy was deprived of the Shenshin surname, all the privileges associated with the title of nobleman, and the right to inherit. For Fet, it was a blow, the consequences of which he experienced throughout his life. From that moment on, Fet had a fix idea, to regain the title of nobleman by all means. Fet received his education at a German boarding school and at Moscow University at the Faculty of Philosophy. In his student years, Fet developed a friendship with Apollo Grigoriev, who introduced Fet to Vladimir Soloviev, Yakov Polonsky and other writers. It was at this time that Fet developed an interest in poetry and in 1940 the first poetry collection "Lyric Pantheon" was published. In 1945, Fet graduated from the university, but instead of completely surrendering to creative activity, he goes into military service. He goes to serve not by vocation, but because at that time a certain military rank could return Fet's nobility. But here, too, fate seems to be playing to them, as soon as Fet reaches a certain rank, a decree immediately comes out giving the right to be called a nobleman to those who are higher in the hierarchy of military ranks than Fet himself; as soon as Fet reaches this highest rank, a similar decree is immediately issued. Without regaining his noble dignity, in 1958 Fet left military service. It should be said that during his service Fet did not abandon his literary activity, he was published in Sovremennik, Otechestvennye zapiski, Moskvityanin. (The teacher draws attention to the portrait of Fet)

During his service, Fet experienced a difficult personal drama. He met Maria Lazic and fell in love with her passionately, this feeling was mutual. Maria first fell in love with Fet's poems, and then with the poet himself. Oddly enough, Fet did not offer her his hand and heart. He explained this by the fact that Mary was poor, and he could not offer her anything materially. It should be said that Fet was especially concerned with material wealth. He considered the goal of his life to be the return of the title of nobility and the wealth that would give him independence. Apparently, this prudence, the desire for independence prevailed over his feelings, Fet did not dare to marry and broke off the relationship with Maria, whom he still loved. And after some time, a tragedy occurred - Maria Lazic burned down. The official version was that it was a fire from an inadvertently thrown match (Maria was wearing a light nylon dress that instantly flared up), but those who knew how she survived the break with Fet believed that it was suicide. (reading by the teacher by heart)

I don’t want to believe! When in the steppe, like a miracle,

In the midnight darkness, timeless grief,

In the distance in front of you it is transparent and beautiful

Dawn rose suddenly.

And into this beauty involuntarily the gaze was drawn,

Into that stately shine beyond the entire dark

Surely nothing whispered to you at that time:

There a man burned down!

This is a fragment from the poem "When you read the painful lines" 1887. You have written the name of Maria Lazic on the blackboard and some verses dedicated to her, please rewrite them.

Fet was very upset by the death of Maria Lazic, he felt guilty for her death. The image of Mary in a halo of touching pure feelings and martyrdom chained Fet's poetic talent until his last days, was a source of inspiration, but also of remorse and sadness. Therefore, the Feta theme of love often has a tragic connotation. This can be seen in the verses written on the chalkboard:

"In vain, wonderful, mingled with the crowd" 1850.

“What a night! Transparent air is bound ... "1854.

"In vain!" 1852.

"For a long time I dreamed of the cries of your sobs" 1886.

"When You Read the Painful Lines" 1887.

"Old Letters" 1859.

"You have suffered, I still suffer" 1878.

Later, Fet married an ugly, but rich woman - Maria Botkina, bought an estate, developed his talent as a practitioner, a businesslike, calculating person. To some extent, his dream came true: Fet became a rich and independent man. It should be noted that in his views, Fet was an extremely conservative person. On the eve of the abolition of serfdom, Fet wrote publicistic notes in which he defended the rights of landowners. Many of Fet's contemporaries noted that as a person he was not likable. Listen to what Saltykov-Shchedrin said about him at that time: “Fet hid in the village. There, at his leisure, he partly writes romances, partly hates mankind: first he will write a romance, then he hates man, then he will write a romance again and again hates man. " Thus, there was an abyss between Shenshin the man and Fet the poet. This duality amazed everyone. But, probably, this psychological riddle can be solved to some extent if we turn to Fet's views on the purpose of poetry.

Fet belonged to the direction that we call "pure art" or "art for art", "art for art's sake." This means that in his work, Fet avoided the spite of the day, from acute social problems, which especially worried Russia at that time. Fet believed that there should be no utilitarianism in poetry, poetry cannot be a means of expressing ideas, it is self-sufficient and valuable in itself! (reading by the teacher by heart)

Not into the gloomy hall of the talkative naiad

She came to captivate my proud hearing

The story of shields, heroes and horses

About helmets forged and broken swords.

A different muse showed me a different youth:

………………………………………

The staccato speech was full of sadness

And a woman's whim, and silvery dreams,

Unspoken anguish and incomprehensible tears.

Some kind of mute agonizing excitement

I listened as the words met with a kiss.

And for a long time without her the soul was sick

And full of unspeakable aspiration.

Guys, this was a fragment from Fet's poem "Muse" in 1854. Some of Fet's poems are written on the board, which reveal the theme of the poet and poetry, rewrite them yourself.

"Drive a live boat with one push" 1857

"Muse" 1857

"Muse" (came and sat down ...) 1882.

"Muse" (you want to curse ...) 1887.

Guys, in the first lesson we talk about Fet's poetry only in general terms, we name the main topics and the most revealing, vivid poems - this is a mandatory minimum that you must own, so be sure to read the poems that I indicate to you at home. After reading these verses, you will understand that the main thing in poetry, according to Fet, is the recreation of the world of beauty. Actually, because of this, Fet broke with the magazines in which he was published. Fet's poems were evaluated from the point of view of social significance, and they had to be evaluated according to the laws of art. Be sure to write down that Fet was a supporter of "pure art".

As a poet of pure art, Fet believed that the eternal themes of poetry can only be themes of love and nature. Therefore, the cycles of Fet's poems have natural names: "Snow", "Spring", "Sea", "Summer". The peculiarity of the natural lyrics of Fet is that there is no integral complete image of nature in it. Fet loves to capture the transitional states of nature, some shades of its manifestation. If Tyutchev's natural lyrics can be conditionally divided into "daytime" and "nighttime", then, using this terminology, we can say that Fet's natural lyrics are predominantly "daytime". Fet is dominated by light, cheerful tones and colors.

Let's see the poem "I came to you with greetings" from 1843.

(The teacher recites the poem by heart).

How does this poem make you feel?

It is difficult to express, like Feta, the feeling created as a solid monologue, I want to call, list those emotions that fill us when reading a poem. This is energy, joy, light, happiness, love, ringing.

How does the external world compare with the feelings of the lyric hero?

Everything is internally connected and a whole picture is created. The reader does not distinguish between the external natural and internal world of the lyrical hero. This connection is in a single rush, in one breath.

Guys, you noticed that the poem is very dynamic.

By what means are dynamics created?

The use of verbs, repetitions. The poem is built on repetitions: firstly, each stanza begins in the same way (monotony), and secondly, repetitions are used within stanzas

Tell that the forest is awake

All woke up, each branch.

Each bird has roused

And the spring is full of thirst

Even when reading, repetitions create the feeling that lines and words are "jumping" in front of your eyes. This creates the dynamics of the poem.

Indeed, Fet's admiration for beauty is often expressed in one exclamation. It seems that the poet is unable to say anything other than a simple naming and listing .... (the teacher reads the poem "This morning, this joy").

Where do you see the unusual form of this poem?

The entire poem is one sentence that lists many details. The poem has no verbs at all, but it is very dynamic.

Why do you think there are no verbs in the poem?

The verb denotes an action, a process, and Fet needs to stop a moment, hence a lot of details. We can say that Fet does not paint a picture for us, but captures the moments that create this picture. That is why they talk about the impressionistic style of Fet.

Guys, in the 11th grade you will study the Silver Age, and they will tell you in detail about the directions in poetry, among which there will be impressionism. Now we will try to describe this phenomenon in general terms.

Guys, I want to show you reproductions of paintings by Claude Monet. Claude Monet- French painter who is the founder of Impressionism. Look at the reproductions, in these three paintings you can trace the painting technique of the Impressionists ("Water Lilies", "Street Decorated with Flags", "Field of Poppies"). If you get too close to the picture, it will be difficult for you to discern what is painted on it. The technique of such writing is based on strokes, individual strokes, dots, spots. Therefore, it will seem to you that these are some kind of strokes and spots that do not add up to a complete picture, but if you step back a little, you will see that these strokes and dots create a monolithic canvas on which objects, details, etc. are clearly distinguished. The technique of impressionist writing in poetry is based on the same technique. Impressionism in poetry is the image of objects not in their integrity, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in scraps, and does not seem to add up to a whole picture. Look again at the poem "This morning, this joy", the poet names the objects of the surrounding world, details, without giving any characteristics, but only fixing his view on these details. But these externally unrelated phenomena of the surrounding world create an integral picture. Do you understand this? Let's write a little output.

Recording. Impressionism in poetry is the image of objects not in their integrity, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in scraps, and does not seem to add up to a whole picture.

If they say about Tyutchev that he is the last romantic, then about Fet they say that he was on the way from romantics to symbolists. Therefore, it was the Symbolists who rehabilitated Fet, since Fet's art was understandable and close to them, while Fet's contemporaries did not understand his poems, ridiculed them, and composed parodies. It turned out that in the work of Fet left his contemporaries a generation ahead.

Another bright poem by Fet, which made a lot of noise, caused a literary scandal and served as a target for many ridicule - "Whisper, timid breath" (reading by the teacher by heart).

Can you see the impressionism of Fet's style in this poem?

Yes, you can, because again a chaotic set of visual and auditory impressions creates a complete picture. There is not a single verb in the poem, that is, the process is conveyed through fixation, naming certain phenomena, emotions.

How does the external world of nature compare with the internal world of man?

They are again closely merged, welded together.

Guys, it is on this solidarity and unity that Fet's metaphors are based. If he writes that "the heart blooms," then the heart of a person or a plant blooms vaguely. Fet's similarities are very closely interrelated.

Look at the ending of the poem, as you understand it?

Dawn is not only a natural phenomenon, but in the context of the entire poem it is a metaphor, that is, dawn as the highest expression of feelings, delight, an emotional peak.

Guys, let's write down that metaphorsFeta are based on close interconnection, cohesion of similar phenomena and objects.

Guys, another characteristic feature of Fet's lyrics is its associativity. Objects do not exist by themselves, but as signs of feelings and states. By naming this or that thing, the poet evokes not a direct idea of ​​it, but those associations that may be associated with it. It turns out that the main semantic field of the poem is beyond the words. Let's write this down.

Since words evoke their subjective associations in us, it turns out that Fet's poems express a state, mood, impression.

Sounded over the clear river,

It rang in the faded meadow,

It rolled over the mute grove,

It lit up on the other side.

What sounded, what rang, what rolled, what lit up? We do not know this, and it does not matter to us, the main thing is that there is a feeling of movement, ringing.

Therefore, Fet's poems should be enjoyed as music. And this property of his poetry was noted by many, as the composer Tchaikovsky said about Fet: "This is not just a poet, but rather a poet-musician." Write these words of Tchaikovsky. Indeed, into poetryFeta sung a lot of romances, you probably heard the romances "At dawn you don't wake her up", "The night was shining, the garden was full of the moon" - these are the most famous romances. You and I said that the poems "I came to you with greetings" and "This morning, this joy" are built on repetitions, what do you think, what function do these repetitions perform?

Repetitions rhythmically organize these poems. Based on the example of these poems, one can conclude that the rhythmic pattern in Fet's poetry is obvious.

Let's take a look at the sound organization of the poem "Whisper, Timid Breathing", what can you say?

Fet actively uses sound writing. This is the use of vowels o, a, e, and the active use of consonants l, r, n. These sounds give the text smoothness, melodiousness and melody.

Let's write down the conclusion: In Fet's poetry, the rhythmic organization of the texts and their musicality are important.

So, in your notebooks the following features of Fet's lyrics should be noted:

Using the techniques of impressionism

Metaphorical

Associativity

Musicality, melody.

So interesting was this poet, who divided his life into two halves. Fet is the author of beautiful poetry, an admirer of beauty in all its manifestations, and Shenshin is a campaigner officer, a calculating landowner who hates progress, who has been striving for the title of nobleman and his father's surname all his life. By the way, the title of nobleman was granted to Fet at the end of his life.

Fet's death was also strange. The poet was very ill, suffered from asthma ..., at some point Fet decided to commit suicide, but at the last moment he was saved by a secretary, and at the same moment Fet suffered a heart failure. Fet died at the time that he chose for himself and, thank God, did not take on one of the most terrible sins - suicide. We remember this poet for his amazing poems, which we will still refer to during two lessons.

Introduction .

Fet is the only one of the great Russian poets who convincingly and consistently (with a few exceptions) protected his artistic world from socio-political problems. However, these problems themselves not only did not leave Fet indifferent, but, on the contrary, aroused his deep interest, became the subject of sharp journalistic articles and essays, were constantly discussed in correspondence. In poetry, they very rarely penetrated. Fet, as it were, felt the unpoetic nature of those social ideas that he developed and defended. At the same time, he generally considered unpoetic any work in which there is a clearly expressed thought, an open tendency, especially a tendency of modern democratic poetry that is alien to him. From the late 1850s - early 1860s onwards, the artistic principles of the Nekrasov school aroused in Fet not only ideological antagonism, but also a persistent, heightened aesthetic rejection.

Fet's phenomenon was that the very nature of his artistic gift was most fully consistent with the principles of "pure art". "... Starting to study the poet," wrote Belinsky in the fifth article about Pushkin, "first of all, he must grasp, in the diversity and diversity of his works, the secret of his personality, that is, those features of his spirit that belong only to him alone. This, however, does not mean that these specialties were something private, exclusive, alien to other people: it means that everything common to humanity never appears in one person, but each person, to a greater or lesser extent, will be born for in order to fulfill with his personality one of the infinitely varied aspects of the human spirit, as inseparable as the world and eternity. "

Belinsky considered one of the vital needs of the human spirit to strive for beauty: "Truth and virtue are beautiful and amiable, but beauty is also beautiful and amiable, and one is worth the other, one cannot replace the other." And again: "... beauty itself is a quality and merit, and, moreover, it is still great."

Using Belinsky's definition, we can say that Fet was born to poetically embody man's striving for beauty, this was the "secret of his personality." "I could never understand that art was interested in anything other than beauty," he admitted at the end of his life Belinsky V. G. Poln. collection Op. and letters in 13 volumes. T. VII. M., 2004. S. 307, 322 .. In the article "On the poems of F. Tyutchev" (1859), programmed for his aesthetics, Fet wrote: "Give us, first of all, in the poet his vigilance in relation to beauty."

Biography of A.A. Feta.

Fet (Shenshin), Afanasy Afanasyevich (1820-1892), Russian poet. Born November 23 (December 5) 1820 in the village. Novoselki near Mtsensk. A few months before his birth, his mother fled from her husband (and, in all likelihood, the poet's father, Johann-Peter Feth, Foeth) with the Russian landowner Shenshin, who was being treated on the waters in Germany. At baptism, the boy was recorded as the legitimate son of Afanasy Neofitovich Shenshin. Until the age of fourteen, he was considered such, but then the Oryol spiritual consistory considered the father of the boy, who was born before marriage, the Hesse-Darmstadt subject Fet, and gave him his paternal surname. Until then, he studied at home, where, as he recalled in the book "The Early Years of My Life", "from a handwritten book ... he met most of the first-class and secondary Russian poets ... and remembered the poems that I liked the most"; then he was sent to a German boarding school in Verro (now Võru, Estonia). In 1837 he arrived in Moscow, spent six months at the boarding house of prof. MP Pogodin, preparing to enter the university, and in 1838 entered the Faculty of Philosophy. Fet stayed as a student for six years instead of the prescribed four ("instead of zealously attending lectures, I wrote new poems almost daily").

By the end of his stay at the university, Fet's poetic talent was fully formed: a significant role in this was played by his friend, the future poet and critic A. Grigoriev (Fet lived in their house) and students of his entourage (Ya.Polonsky, S. Soloviev, K. Kavelin and etc.). His views were formed under the influence of the teacher in the Pogodin boarding house, the future translator C. Dickens, who was later associated with the Petrashevites and the young N. Chernyshevsky, I. Vvedensky, to whom he gave a half-joking obligation to continue "rejecting the existence of God and the immortality of the human soul."

In 1840, Fet managed to publish, at his own expense, a collection of poetic experiments called the Lyric Pantheon of A.F. In these rehash of favorite verses, echoes of E. Baratynsky, I. Kozlov and V. Zhukovsky were heard, but the imitation of V. Benediktov was most of all felt. The book received an encouraging review in the Notes of the Fatherland and a mocking one in the Library for Reading on behalf of Baron Brambeus. The Pantheon in no way foreshadows the poems of the poet, whose first journal publication (with full signature) was three translations from G. Heine, published at the end of 1841 in Pogodin's "Moskvityanin". In 1842-1843, eighty-five of his poems appeared in the same place and in Otechestvennye zapiski, many of which were included in the textbook canon of Fet's poetry (Aren't you here a light shadow, On the pastures of the dumb, I know that you, baby, Sad birch, A wonderful picture, the cat sings, squinting eyes, a midnight blizzard rustled, etc.). Already in 1843 V. Belinsky considered it necessary to inform in passing that "of the poets living in Moscow, Mr. Fet is the most gifted", whose poems he puts on a par with Lermontov's.

In 1845, the "foreigner Afanasy Fet", wishing to become a hereditary Russian nobleman (to which the first officer's rank gave the right), entered a non-commissioned officer in a cuirassier regiment stationed in the Kherson province. Torn away from the life of the capital and the literary environment, he almost ceases to be published - especially since the magazines, due to the fall in the reader's demand for poetry, show no interest in his poems. Having received censorship permission to publish the book in 1847, Fet publishes it only in 1850. In the Kherson years, an event occurred that predetermined Fet's personal life: she died in a fire (probably committed suicide) in love with him and his beloved girl-dowry, on which he because of his poverty, he did not dare to marry. The masterpieces of Fet's love lyrics are dedicated to her memory - "In the Long Nights" (1851), "Irresistible Image" (1856), "On a Blessed Day" (1857), "Old Letters" (1859), "In the silence and darkness of a mysterious night "(1864)," Alter ego "(1878)," You have suffered, I am still suffering "(1878)," The dear pages have opened again "(1884)," A ray of the sun between the lindens "(1885)," I have long dreamed of the cries of your sobs "(1886)," No, I have not changed "," Until deep old age "... (1887).

In 1853 Fet transferred to the Uhlan Guards regiment, stationed near Volkhov; in the Crimean campaign was part of the troops guarding the Estland coast. Having received the opportunity to visit St. Petersburg, Fet became close to the new edition of Sovremennik: N. Nekrasov, I. Turgenev, A. Druzhinin, V. Botkin. The half-forgotten name of Fet appears in articles, reviews, chronicles of the leading Russian magazine, since 1854 his poems have been widely published there. Turgenev became his literary mentor and editor. He prepared a new edition of Fet's poems published in 1856, and about half of the poems that made up the 1850 collection were screened out, and two-thirds of the remaining were reworked. Subsequently, Fet said that "the edition from Turgenev's editorship came out as cleaned as it was mutilated," but he made no attempt to return to the rejected texts and versions. This collection made up the first volume of the 1863 edition, the second included translations.

In 1856, Fet left military service without serving the nobility; in 1857 in Paris he married M.P. Botkina; in 1860 he acquired an estate in his native Mtsensk district, “became an agronomist-owner to the point of despair” (Turgenev), and from 1862 he began to regularly publish essays in the reactionary “Russian Bulletin” that denounced the post-reform order in the countryside from the position of a landowner-landowner. In 1867-1877, Fet zealously fulfilled the duties of a magistrate. In 1873 he was given the surname Shenshin and hereditary nobility. Revolutionary democracy and populism aroused horror and disgust in him, about Chernyshevsky's novel What is to be done? he wrote an article so harsh that even Russkiy Vestnik did not dare to publish it. In 1872, Turgenev, breaking off relations with him (later somehow restored), wrote: "You sniffed Katkov's rotten spirit." In the 1860-1870s, Fet's only close friend from among the former "literary Areopagus" was L.N. Tolstoy, they are friends with families, they often see each other and correspond.

Fet again becomes a half-forgotten poet and does not remind of himself in any way, in his spare time he is mainly engaged in philosophy. He returned to literature only in the 1880s, having become rich and bought a mansion in Moscow in 1881. His youth friendship with Ya.P. is renewed. Polonsky, he becomes close to the critic N.N. Strakhov and the philosopher V.S. Soloviev. In 1881, his translation of Schopenhauer's main work, Peace as Will and Representation, was published, in 1882 - a translation of the first part of Faust by J.W. Goethe, in 1888 - the second part. After a long break, poems are written again, they are published not in magazines, but in issues called "Evening Lights" (I - 1883; II - 1885; III - 1888; IV - 1891) with a circulation of several hundred copies. In 1883, his poetic translation of all the works of Horace was published - a work begun as a student. Other Roman classics were translated by him too hastily and sometimes carelessly: in the last seven years of Fet's life, Satires of Juvenal, Poems of Catullus, Elegies of Tibullus, Transformation and Sorrows of Ovid, Elegies of Propertius, Aeneid Virgil, "Satyrs Persia", "Plautus's Pot", Epigrams of Martial. In addition to ancient poets, Fet also translated the poems of Goethe (Hermann and Dorothea), Fr. Schiller (Semele), A. Musset (Dupont and Durand) and, of course, his beloved Heine. In 1890, two volumes of memoirs, My Memoirs, appeared; the third, The Early Years of My Life, was published posthumously, in 1893. The final edition for his work was to be prepared by him in the year of his death, including sections of poems, poems and translations; poems were grouped on a mixed thematic and genre basis. In part, his plan was taken into account in the prepared by N.N. Strakhov and "K.R." (Grand Duke Konstantin Konstantinovich) two-volume collection of 1894 "Lyrical poems of A. Fet with a biographical sketch of K.R.", partly in the three-volume "Complete collection of poems of A.A. Fet" (1901), in full - in the second edition of the large series "Poet's Libraries" (1959).

Fet's work received a worthy assessment during the poet's lifetime in Solovyov's article "On Lyric Poetry" (1890). Soloviev considered his own lines to be programmatic for Fet:

winged words sound

Grabs the soul and suddenly fixes

And the dark delirium of the soul, and the smell of herbs

He himself believed that in the striking figurative and rhythmic richness of Fet's poetry "the general meaning of the universe is revealed": "from the outside, like the beauty of nature, and from the inside, like love." Fet's lyrics, romantic in their origins (“a terrible fascination with Heine’s poems joined the rapture of Byron and Lermontov,” wrote Fet), was a kind of overcoming of romantic subjectivism, transforming it into poetic animation, a special kind of sensitivity of the world view. Researcher of creativity Fet B.Ya. Bukhshtab characterizes his pathos as "an ecstasy of nature, love, art, memories, dreams" and considers it "like a link between the poetry of Zhukovsky and Blok", while noting the closeness of the late Fet to the Tyutchev tradition.

The beginning of the creative path.

Basic collections.

So, when Fet at the end of 1837, by the decision of Afanasy Neofitovich Shenshin, Fet leaves the Kryummer boarding school, he goes to Moscow to prepare for admission to Moscow University. Before Fet entered the university, he lived for six months, studied at the private boarding school of Pogodin. Fet distinguished himself when studying at a boarding house and distinguished himself when entering the university. Initially, Fet entered the law faculty of Moscow University, but soon changed his mind and moved to the verbal department.

Fet begins a serious study of poetry already in the first year. He writes down poetry in a specially wound “yellow notebook”. Soon, the number of poems composed reaches three dozen. Fet decides to show the notebook to Pogodin. Pogodin hands over the notebook to Gogol. A week later, Fet receives the notebook back from Pogodin with the words: "Gogol said, this is an undoubted talent."

Fet's fate is not only bitter and tragic, but also happy. Happy already because the great Pushkin was the first to reveal to him the joy of poetry, and the great Gogol blessed him to serve her. Fet's fellow students were interested in the poems. And at this time, Fet met Apollo Grigoriev. Fet's closeness with A. Grigoriev became more and more close and soon turned into friendship. As a result, Fet moved from Pogodin's house to Grigoriev's house. Later, Fet confessed: "The Grigorievs' house was the true cradle of my mental self." Fet and A. Grigoriev constantly communicated with each other with a keen interest.

They provided support to each other in difficult moments of life. Grigoriev Fetu, - when Fet felt rejection, social and human restlessness especially acutely. Fet Grigoriev - in those hours when his love was rejected, and he was ready to flee from Moscow to Siberia.

The Grigoriev House has become a gathering place for talented university youth. It was visited by students of the Faculty of Literature and Law: Ya. P. Polonsky, S. M. Soloviev, the son of the Decembrist N. M. Orlov, P. M. Boklevsky, N. K. Kalaydovich. Around A. Grigoriev and Fet, not just a friendly company of interlocutors is formed, but a kind of literary and philosophical circle.

During his stay at the university, Fet published his first collection of his poems. It is called somewhat intricately: “The Lyrical Pantheon”. Apollon Grigoriev helped to publish the collection of activities. The collection turned out to be unprofitable. The release of the "Lyric Pantheon" did not bring Fet positive satisfaction and joy, but, nevertheless, noticeably inspired him. He began to write poetry more and more energetically than before. And not only to write, but also to be published. It is readily published by the two largest magazines Moskvityanin and Otechestvennye zapiski. Moreover, some of Fet's poems fall into the then well-known "Reader" by A. D. Galakhov, the first edition of which was published in 1843.

In "Moskvityanin" Fet began to publish at the end of 1841. The editors of this journal were professors of Moscow University - M. P. Pogodin and S. P. Shevyrev. From the middle of 1842, Fet began to publish in the journal Otechestvennye zapiski, the leading critic of which was the great Belinsky. For several years, from 1841 to 1845, Fet published 85 poems in these magazines, including the textbook poem “I came to you with greetings ...”.

The first trouble that befell Fet is connected with his mother. The thought of her aroused tenderness and pain in him. In November 1844, she died. Although there was nothing unexpected in the death of his mother, the news of this shocked Fet. Then, in the fall of 1844, Fet's uncle, brother of Afanasy Neofitovich Shenshin, Pyotr Neofitovich, suddenly dies. He promised to leave his capital to Fet. Now he is dead, and his money has mysteriously disappeared. This was another shock.

And he starts having financial problems. He decides to sacrifice literary activity and enlist in the military. In this he sees for himself the only practically expedient and worthy way out. Service in the army allows him to return to the social position in which he was before receiving that ill-fated letter from his father and which he considered to be his own, rightfully his.

To this it should be added that the military service was not against Fet. On the contrary, sometime in childhood he even dreamed of her.

Fet's first collection was published in 1840 and was called “The Lyrical Pantheon”, was published with only one of the author's initials “A. F. ". It is interesting that in the same year the first collection of Nekrasov's poems - "Dreams and Sounds" was published. The simultaneity of the release of both collections involuntarily prompts their comparison, and they are often compared. At the same time, a commonality is revealed in the fate of the collections. It is emphasized that both Feta and Nekrasova suffered a failure in their poetic debut, that both of them did not immediately find their way, their unique “I”.

But unlike Nekrasov, who was forced to buy up the edition of the collection and destroy it, Fet by no means suffered an obvious failure. His collection was criticized and praised. The collection, as mentioned above, turned out to be unprofitable (because Fet did not even manage to return the money he spent on printing. The Lyrical Pantheon is still a student book in many ways. The influence of various poets (Byron, Goethe, Pushkin, Zhukovsky, Venevitinov, Lermontov, Schiller and a contemporary of Fet Benediktov).

As the critic of Otechestvennye zapiski noted, the collection's verses showed an unearthly, noble simplicity, “grace”. The musicality of the verse was also noted - the quality that will be highly characteristic of the mature Fet. In the collection, the greatest preference was given to two genres: the ballad, so beloved by romantics (“Abduction from the Harem,” “Castle Raufenbach,” etc.), and the genre of anthological poems.

At the end of September 1847, he received a vacation and went to Moscow. Here, for two months, he has been diligently working on his new collection: he compiles it, rewrites it, censors it, and even gets censorship permission to publish it. Meanwhile, the vacation time is running out. He did not have time to publish the collection - he had to return to the Kherson province, to serve.

Fet was able to come to Moscow again only in December 1849. It was then that he completed the case, begun two years ago. Now he does everything in a hurry, remembering his experience two years ago. At the beginning of 1850 the collection was published. The rush affected the quality of the publication: it contains a lot of typos, dark places. Nevertheless, the book was a success. Positive reviews about her appeared in Sovremennik, Otechestvennye zapiski, Moskvityanin, that is, in the leading magazines of that time. She also had success in the reading public. The entire circulation of the book was sold within five years. This is not such a long time, especially when compared with the fate of the first collection. The increased popularity of Fet, based on his numerous publications at the beginning of the 40s, and the new wave of poetry, which was noted in Russia in those years, also affected this.

In 1856, Fet published another collection, which was preceded by the 1850 edition, which included 182 poems. 95 poems were transferred to the new edition, on the advice of Turgenev, of which only 27 were left in their original form. 68 poems were thoroughly or partially edited. But back to the collection of 1856. In literary circles, among connoisseurs of poetry, he was a great success. The well-known critic A.V. Druzhinin responded with a thorough article to the new collection. Druzhinin in the article not only admired Fet's poems, but also subjected them to a deep analysis. Druzhinin especially emphasizes the musicality of the Fetov verse.

In the last period of his life, a collection of his original poems, "Evening Lights", was published. Published in Moscow, in four issues. The fifth was prepared by Fet, but he did not have time to publish it. The first collection was published in 1883, the second - in 1885, the third - in 1889, the fourth - in 1891, a year before his death.

"Evening Lights" is the main title of Fet's collections. Their second name is “Collection of unpublished poems by Fet”. In "Evening Lights", with rare exceptions, included really not yet published before that time poems. Mostly those that Fet wrote after 1863. There was simply no need to reprint the works created earlier and included in the collections of 1863: the edition of the collection was not sold out, those who wished could buy this book. NN Strakhov and VS Soloviev provided the greatest assistance in publishing. So, while preparing the third issue of "Evening Lights", in July 1887, both friends came to Vorobyovka.

The main ideas of A.A. Fet's lyrics.

The image of the landscape in the work of Fet.

Open your arms to me

Dense, spreading forest!

The movement of realism in Russian art of the 19th century was so powerful that all outstanding artists experienced its influence on their work. In the poetry of A.A. Fet, this influence of realism was especially reflected in his poems about nature.

Fet is one of the most remarkable Russian landscape poets.

In his poems, the Russian spring also appears in all its beauty - with flowering trees, the first flowers, with cranes screaming in the steppe. It seems to me that the image of cranes, so beloved by many Russian poets, was first identified by Fet.

In Fet's poetry, nature is depicted in detail. In this regard, he is an innovator. Before Fet, generalization reigned in Russian poetry directed to nature. In Fet's poems, we meet not only traditional birds with the usual poetic halo - like a nightingale, a swan, a lark, an eagle, but also such seemingly simple and unpoetic ones as an owl, harrier, lapwing, swift. For example:

And I hear it in dewy outline

It is significant that here we are dealing with an author who distinguishes birds by voice and, moreover, notices where this bird is. This, of course, is not just a consequence of a good knowledge of nature, but the poet's love for her, long-standing and thorough.

Apparently, in the work on poems about nature, the author must have an extraordinary taste. Because otherwise, he immediately risks falling into imitation of folk poetry, which is replete with such options.

S. Ya. Marshak is right in his admiration for the freshness and spontaneity of Fet's perception of nature: "His poems entered Russian nature, became its integral part, wonderful lines about spring rain, about the flight of a butterfly, heartfelt landscapes."

In my opinion, Marshak definitely noticed one more feature of Fet's poetry: "His nature is like on the first day of the creation of a thicket of trees, a bright ribbon of a river, a nightingale's peace, a sweetly babbling key ... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and acquires a decorative character. "

As an important facet of Fet the landscape painter, I would like to note his impressionism. The impressionist does not shy away from the outside world, he vigilantly peers into it, depicting it as it appears to his instant gaze. The impressionist is not interested in the subject, but in the impression:

You alone slide the azure paths

Everything around is motionless ...

Let the night pour in its bottomless urn

There are myriads of stars to us.

It is clear to the reader that the outside world is depicted here in the form that the poet's mood gave it. With all the concreteness of the description of the details, nature still seems to dissolve in Fet in his lyrical feeling.

Analysis of poems by A.A. Fet.

The poem "Spruce covered my path with a sleeve ..."

Afanasy Fet - the poet of "eternal values" and "absolute beauty", the founder of new poetic genres - songs and lyrical miniatures - was a representative of a galaxy of poets who in their work renounced reality and sang only eternal themes

The lyrical hero in Fet's poetry is the image of that hero, whose experiences, thoughts and feelings are reflected in the work. His character depends on the poet's attitude.

It seems to me that this poetic calmness compensated for the author's real life, full of contradictions. Turgenev also contrasted Fet, the "great poet", landowner and publicist Shishkin, "an inveterate and furious serf-owner, conservative and lieutenant of the old school."

Perhaps that is why we perceive with such sensitivity the “lyrical impudence” of the author of the poem “The fir tree covered my path with my sleeve”.

So how was this audacity expressed?

As in most of his other works, the author draws in front of the readers a seemingly motionless picture, having caught its momentary state. This is all the same, passing from one poem to another, Fet's desire to convey the beauty of the moment, to capture it in his poems. How is a beautiful image created?

The first two lines of each stanza are nominative sentences and sentences with homogeneous members. This allows the reader to see the painted picture, to admire its unique beauty. The last two lines are an emotional response to what he saw. The mood of the lyrical hero is in tune with the state of nature. That is why musical means of influencing the reader have such an important role in the poem: rhythm, onomatopoeia, constructional drawing. Wind is the semantic dynamics in the first part of the poem, therefore alliteration is justified (the abundance of hissing and whistling sounds transmitting the movement of the wind - "Everything buzzes and sways" // "Leaves are spinning at the feet"). And dactyl is this special song rhythm of the verse, unusually combining long and short lines and the stress at the end of every second line:

In the forest alone

I do not understand;

Leaves swirl at your feet

Subtly calling horn

Dead that I have sheets

You greet me affectionately!

It is impossible to determine the exact mood that a picture has seen. Feelings are vague, hence the verb "I do not understand", which is often found in other poems of the poet. The state itself is contradictory: "noisy, and creepy, and sad, and fun." The hero seems to dissolve in the world of nature, plunges into its mysterious depths, tries to understand the beautiful soul of nature. " The confusion arising in the noise of the wind is dispelled in the second part of the poem to the sounds of the human presence "subtly crying horn", "the call of the herald of copper." The mood of the lyrical hero is also changing - two exclamation sentences ("sweet call to me the herald of copper!" And "Dead books for me!") Testify to this. And the inversion (“unexpectedly heard”, “the poor wanderer”) helps to draw attention to the words, which, in the author's opinion, carry the greatest semantic load.

The metaphor "Spruce covered my path with a sleeve" tells that the lyrical hero humanizes nature, sees its beautiful soul, and we understand how the spruce with a mother's hand touched the strings of the author's soul, and the feeling of purification, joy of being, spiritual trepidation and excitement is transmitted from the book pages. Thus, in Fet's poem, the world of nature and human emotions merge, creating a unique phenomenon of Russian poetry. The author, depicting his hero at the moment of the greatest emotional stress, shows the work of the human soul against the background of a beautiful moment of nature, which makes us think once again that man is a grain of sand in the ocean, which is called the "Universe".

The poem "Still spring of fragrant bliss ..."

The lyrics of Afanasy Fet are full of feelings. The poet believed that the main goal of creativity is to glorify the beauty of this world, nature, love. Awe, delight, affection, piercing tenderness sound in his poem "Still spring of fragrant bliss ...". The soulful lyricism of this work won me over. How does a poet manage to express his emotions?

Consider a poem. Before us is the monologue of a lyrical hero, a romantic, dreamy person who is in love with nature, probably of his native land. He anxiously awaits spring, dreams of it, as if about a miracle:

Another spring of fragrant bliss

She did not have time to descend to us ...

Spring is a graceful, delicate, fragile, light creation.

This is what I think the metaphor in the first lines reveals to us. The richness of the sensual image of spring is given by aroma. The author manages to show this with the help of the epithet “fragrant”.

The hero's wishes will certainly come true, because even the denials in this poem (“didn’t have time”, “doesn’t dare”), I think, on the contrary, assert spring, the legitimacy of its blessed arrival, which is about to drink pasta, remains very little.

The final stanza of the work opens with a deep philosophical thought, which is enclosed in a metaphor:

But the news is alive

Already in the flying cranes ...

Nature wakes up from winter sleep, and birds return. They are the joyful messengers of spring, bringing it on their wings. The kurling of cranes also revives everything around, so they can rightfully be called symbols of the rebirth of nature.

And, seeing off with their eyes,

There is a beauty of the steppe

With a bluish blush on the cheeks.

In the last lines of the work, a lyrical character - "steppe beauty" unexpectedly appears before us. I think this image is not accidental. He is a reflection of spring. It is interesting that the "beauty" has a "gray" blush, not pink or red. Why? Probably, this is again a feature of the impressionist style. Fet depicted, fixed, as it were, not the color of the cheeks itself, but his impression, instantaneous, changeable, which this detail made on him. For example, the blush could become "gray" under the influence of bright sunlight.

So gradually the complete picture emerges before us. The main idea of ​​the poem is a premonition of spring. The lyrical hero seems to dissolve in nature, fascinated by the upcoming renewal of the world, which is already happening before his eyes. This simultaneity of what is happening, contradiction, constant movement, development create an extraordinary, special sensual space that reveals the human soul.

Here, as in many other works, Fet is a bold innovator who learns the world intuitively.

The poem “The night was shining. The garden was full of the moon. They lay ... "

The poem “The night was shining. The garden was full of the moon. They were lying ... "- one of the lyrical masterpieces of A.A. Feta. Created on August 2, 1877, it was inspired by the singing of T.A. Kuzminskaya (sister of Sofia Andreevna Tolstoy), who described this episode in her memoirs. The work opens a whole cycle of poems in the collection "Evening Lights", which Fet called "Melodies". Of course, this is no coincidence. The poem is really written in a song-and-song key, unusually musical. The poet believed that beauty - the main idea of ​​the lyrics - is expressed not in lines, not in refined words, but above all “sounds subtle”. This means that one of the most important characteristics of poetry should be melody. The musicality of this work is achieved with the help of repetitions at different levels of the poetic text. Fet compares words similar in sound composition - "sonorous sighs" - giving the poem additional semantic and emotional "overtones".

The composition of the poem also contributes to its melody. In this lyrical monologue, the author uses the ring technique. In the line “To love you, hug and cry over you”, which frames the work, Fet expresses the main feelings of the hero: delight and admiration for the power of vocal art.

Of course, the musicality of the poem is dictated by its theme. After all, this work is not only about love and nature, it is primarily about wonderful singing, about a voice that gives rise to many vivid experiences:

The night was shining. The garden was full of the moon. Lay

Beams at our feet in a living room without lights.

The grand piano was open and the strings were trembling

As well as our hearts behind your song.

You sang until dawn, exhausted in tears,

That you are the only one - love, that there is no other love,

And so I wanted to live so that, without dropping a sound,

Love you, hug and cry over you.

Fet does not depict a specific landscape or interior, but everything merges in him in perfect harmony. The poet creates an integral dynamic picture in which impressions are immediately presented, both visual and auditory, and tactile and sensual. Generalization and combination of images of nature, love, music help the poet to express the fullness of the joy of perception of being.

Autobiographical poem. His lyrical hero is Fet himself. This work tells how the poet experiences two meetings with his beloved, between which there is a long separation. But Fet does not paint with a single stroke a portrait of his beloved woman, does not trace all the changes in their relationship and his condition. He captures only that quivering feeling that captures him under the impression of her singing:

And many years have passed weary and boring,

And blows, as then, in these sonorous sighs,

That you are one - all life, that you are one - love.

The feeling itself is also difficult to describe in words. The lyrical hero conveys the originality, depth and complexity of his experiences with the help of “global” metaphors in the last line.

This poem once again convinces us that only art is capable of truly ennobling a person, purifying the soul, liberating and enriching it. Enjoying a wonderful work, be it music, painting, poetry, we forget about all our problems and failures, we are distracted from the everyday hustle and bustle. The entire human soul opens up to meet beauty, dissolves in it and thus gains strength to live on; believe, hope, love. Fet writes about this in the last stanza. The singer's magic voice frees the lyrical hero from "the grievances of fate and the heart of burning torment", presenting new horizons:

And life has no end, and there is no other goal,

Once you believe in the sounds of crying

Love you, hug and cry over you!

Speaking about the lyrical character of the poem, the author involuntarily touched upon the theme of the creator, his mission. The singer's voice, which awakened a whole gamut of feelings in the hero, sounds so delightful, because the heroine gives herself up to her occupation passionately and is herself fascinated by the magic of music. At the moment of singing the song, it must seem to her that there is nothing more important in the world than these beautiful sounds than the feelings embedded in the work. To forget about everything except creativity is the share of a true creator: poet, artist, musician. This is also said in the work.

The poem “The night was shining. The garden was full of the moon. They were lying ... ”strikes with a variety of themes, depth and brightness of images, extraordinary melody, as well as its idea, which, in my opinion, consists in the author's amazing desire to convey the beauty of art and the world in an all-encompassing manner.

Conclusion.

Fet's work marks not only the completion, but also the decomposition of the noble-estate poetry of the new classicism. Already in the poems of young Fet, other tendencies are growing. From clear plasticity Fet passes to gentle watercolor painting, the "flesh" of the world praised by Fet becomes more and more ephemeral; his poetry is now directed not so much at an objectively given external object as at flickering, vague sensations and the elusive, fading emotions excited by them; it becomes the poetry of intimate states of mind, embryos and reflections of feelings; she "Grabs on the fly and suddenly fixes / And the dark delirium of the soul, and the grass is an obscure smell", becomes the poetry of the unconscious, reproduces dreams, dreams, fantasies; the motive of the inexpressibility of the experience sounds persistently in it. Poetry reinforces an instant impulse of living feeling; the homogeneity of experience is disturbed, combinations of opposites appear, albeit harmoniously reconciled ("the suffering of bliss," "the joy of suffering," etc.). Poems take on the character of improvisation. The syntax, reflecting the formation of the experience, often contradicts the grammatical and logical norms, the verse receives a special suggestiveness, melodiousness, musicality of "trembling tunes". He is less and less saturated with material images, which become only points of support for the disclosure of emotions. This reveals mental states, not processes; for the first time in Russian poetry Fet introduces verbal verses ("Whisper", "Tempest", etc.). Motifs characteristic of this line of F.'s poetry are impressions of nature in all the fullness of sensations (visual, auditory, olfactory, etc.), love longing, incipient, yet unspoken love. This stream of Fet's poetry, continuing the line of Zhukovsky and alienating him from Maikov, Shcherbina, makes him the predecessor of impressionism in Russian poetry (having a particularly strong influence on Balmont). To a certain extent, Fet is consonant with Turgenev.

Towards the end of Fet's life, his lyrics became more and more philosophical, more and more imbued with metaphysical idealism. Fet now constantly sounds the motive of the unity of the human and world spirit, the merging of the "I" with the world, the presence of "everything" in "one", the universal in the individual. Love has become a priestly service to eternal femininity, absolute beauty, uniting and reconciling the two worlds. Nature acts as a space landscape. Real reality, the changing world of movement and activity, social and historical life with its hostile processes to the poet, the "loud bazaar", appear as a "fleeting dream", as a ghost, as Schopenhauer's "world-representation". But this is not a dream of individual consciousness, it is a "universal dream", "one and the same dream of life in which we are all immersed" (Fet's epigraph from Schopenhauer). The highest reality and value are transferred to the resting world of eternal ideas, unchanging metaphysical essences. One of Fet's main themes is a breakthrough into another world, flight, the image of wings. The moment captured now is the moment of intuitive comprehension of the world of essences by the poet-prophet. In Fet's poetry, there appears a shade of pessimism in relation to earthly life; his acceptance of the world is now not a direct enjoyment of the festive jubilation of the "earthly," "fleshly" life of the eternally youthful world, but a philosophical reconciliation with the end, with death as a return to eternity. As the soil escaped from the patriarchal manor world, the material, concrete, real escaped from Fet's poetry, and the center of gravity was shifted to the "ideal", "spiritual". From the aesthetics of the beautiful, Fet comes to the aesthetics of the sublime.

Fet's work is associated with the manor-noble world, he is characterized by a narrow outlook, indifference to the social evil of his time, but there are no direct reactionary tendencies inherent in Fet the publicist (except for a few poems in case). Feta's life-affirming lyrics captivate with its sincerity, freshness, decisively different from the artificial, decadent lyrics of the Impressionists and Symbolists. The best in Fet's legacy is the lyrics of love and nature, subtle and noble human feelings, embodied in an exceptionally rich and musical poetic form.

Bibliography.

1. Aksakov I.S. Biography of A.A. Fet - M., 2005.

2. Belinsky V.G. Full collection Op. and letters in 13 volumes. T. VII. M., 2004.S. 307, 322.

3. Good D., Peace as beauty. About "Evening Lights" A. Fet, M., 2006.

4. Bukhshtab B.Ya., A.A. Fet. Essay on life and work - SPb., 2007.

5. History of Russian literature of the XIX century. Bibliographic index, M. 2004.

Fet. Works. -M., 1982 3. Kozhinov Vadim. ...

Philosophy in poetry Feta

Coursework >> Literature and Russian language

The most characteristic pieces reviewed creation Afanasy Feta... The purpose of the course work ... essential trends in creativity Feta... Here is the text of this poem ... reveals the beauty of the surrounding world. Creation Feta- a textbook example of the difference ...

The general and the different in the poetic vision of F.I. Tyutchev and A.A. Feta

Abstract >> Literature and Russian language

The immediacy of impressions distinguishes creation Feta... For Feta nature is natural ... not to spread to someone else's creation... The ability for creative empathy ... is usually combined. Creation BUT. Feta represents the apotheosis of the night. ...

Afanasy Fet

Biography >> Literature and Russian language

Monuments "). Bukhshtab B. Ya. A. A. Fet... Sketch of life and creativity... - Ed. 2nd - L., 1990. Lotman L. M. A. A. Fet// History of Russian Literature ...