Connection of feta creativity with the traditions of the German school. IT generation chooses reading! The general and the different in the poetic vision of F.I. Tyutchev and A.A. Feta

In the 50-60s of the XIX century, along with the movement of supporters of civil poetry, a school of poets of "pure art" was formed 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 of philosophical thought, perfection of artistic form are 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 "volatile" moods, the plotlessness of the verse and his addiction to the genre of lyric miniature. Fet constantly stressed 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 character 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 nature 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 painting 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 isolation of the personality is an absolute evil. He 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, comprehension 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 everyday 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 as your own." Glorifies the poet.

"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 (!).

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 alien to him. From the late 1850s - early 1860s onwards, the artistic principles of the Nekrasov school evoked 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. 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 peace and eternity. "

One of the vital needs of the human spirit, Belinsky believed, is its striving 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 in 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 "About F. Tyutchev's poems" (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 ran away 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 a boy born before marriage, the Hesse-Darmstadt subject Fet, and gave him his father's surname. Until then, he studied at home, where, as he recalled in his book "The Early Years of My Life," "from a handwritten book ... 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. M.P. 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 to "reject 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 Lyrical 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 "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 that 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, In the pastures of the dumb, I know that you, baby, Sad birch, A wonderful picture, a 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, "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 still suffer "(1878)," The dear pages have opened again "(1884)," A ray of the sun between the lindens "(1885)," I have long dreamed 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 eliminated, 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 made no attempt to return to the rejected texts and versions. This collection constituted 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 caused horror and disgust in him, about Chernyshevsky's novel What to do? 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 1860s-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. Polonsky, he became 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 while still 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 Sorrow of Ovid, Elegies of Propertius, Aeneid of Virgil, "Satyrs Persia", "Plautus's Pot", Epigrams of Martial. In addition to ancient poets, Fet also translated poems by 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, which included sections of poems, poems and translations; poems were grouped according to a mixed thematic and genre basis. In part, his plan was taken into account in the prepared N.N. Strakhov and "K.R." (Grand Duke Konstantin Konstantinovich) two-volume collection of 1894 "Lyric poems of A. Fet with a biographical sketch of K.R.", partly in the three-volume "Complete collection of poems of A.A. Fet" series "Poet's Libraries" (1959).

Fet's work received a worthy assessment even 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 amazing 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 poetry was added to 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 world perception. Researcher of creativity Fet B.Ya. Bukhshtab characterizes his pathos as "an ecstasy of nature, love, art, memories, dreams" and considers it "like a connecting 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 left the Kryummer boarding school, he went to Moscow to prepare for admission to Moscow University. Before Fet entered the university, he lived for six months, studied at a private boarding school 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 his first year. He writes down his poems 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 received 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. Later, Fet confessed: "The Grigorievs' house was the true cradle of my mental self." Fet and A. Grigoriev constantly communicated with each other with an interested soul.

They supported 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 faculties of speech 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 released the 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, the brother of Afanasy Neofitovich Shenshin, Peter 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, once in childhood, he even dreamed of her.

Fet's first collection was published in 1840 and was called “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, 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,” “Raufenbach Castle,” etc.), and the genre of anthological poetry.

At the end of September 1847, he received leave 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 manage 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: there are many typos, dark places in it. 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. This was affected by the increased popularity of Fet, based on his numerous publications in the early 40s, and a new wave of poetry, which was noted in Russia in those years.

In 1856, Fet published another collection, which was preceded by an 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, and 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, Russian spring is also presented 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 his 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 it, long-standing and thorough.

Apparently, when working 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 a butterfly's flight, and 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, 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 path

Everything around is motionless ...

Let the night pour in its bottomless urn

To us are myriads of stars.

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 "A spruce tree 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. Even Turgenev 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 so sensitively perceive 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 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 a semantic dynamics in the first part of the poem, therefore alliteration is justified (an 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 can `t get it;

Leaves swirl at your feet

A subtle calling horn

Dead that I have sheets

You greet me affectionately!

It is impossible to determine the exact mood that the 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 ("you hear unexpectedly", "the poor wanderer") helps to draw attention to the words that, in the author's opinion, carry the greatest meaning.

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, and 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 didn't manage to come down 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 a scent. 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 her 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 steppe beauty

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 his cheeks, but his impression, instantaneous, changeable, which this detail made on him. For example, the blush could become “gray” under the influence of bright sunlight.

This is how the complete picture gradually appears before us. The main idea of \u200b\u200bthe 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 acts as a bold innovator who understands the world intuitively.

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

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 indeed written in a song-and-song key, unusually musical. The poet believed that beauty - the main idea of \u200b\u200bthe lyrics - is expressed not in lines, not in refined words, but above all "subtly sounds". 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, first of all, 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

Rays at our feet in a living room without lights.

The piano was all 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, visual, auditory, tactile, and sensual. Generalization and connection 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 about 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 towards 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 crying sounds

Love you, hug and cry over you!

Speaking about the lyrical character of the poem, the author unwittingly touched upon the theme of the creator, his mission. The singer's voice, which awakened a whole gamut of feelings in the hero, sounds so delightful, because the heroine gives herself passionately to her occupation and is herself fascinated by the magic of music. At the moment the song is performed, it must seem to her that there is nothing in the world more important 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, is 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 end, 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 experience sounds persistently in it. Poetry reinforces an instant impulse of living feeling; the homogeneity of the experience is disturbed, combinations of opposites appear, albeit harmoniously reconciled ("the suffering of bliss," "the joy of suffering," etc.). Poems acquire 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 in the disclosure of emotions. This reveals mental states, not processes; for the first time in Russian poetry Fet introduced verbal verses ("Whisper", "Tempest", etc.). Motifs characteristic of this line of F.'s poetry are impressions of nature in 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 moving him away 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 fusion 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 entities. One of the main themes for Fet 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 is 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", "carnal" life of the eternally youthful world, but a philosophical reconciliation with the end, with death as with 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 inherent in 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). The life-affirming lyrics of Feta captivate with their 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. A.A. Fet's biography - M., 2005.

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

3. Blagoy 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 \u003e\u003e 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 \u003e\u003e Literature and Russian language

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 A. Feta represents the apotheosis of the night. ...

Afanasy Fet

Biography \u003e\u003e 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 ...

Introduction

Chapter I. Memoirs of A.A. Feta in the aspect of studying the images of the German world 18

1.1. German anthroponyms 18

1.2. German geographic toposes 55

1.3. Images of German Culture 63

1.4. The Realities of German Life 68

Chapter II. Images of the German World in the Original Poetry of A. Fet 78

2.1. Poetry by A. Feth and German Romantic Culture 78

2.2. The theme of music in the poetry of A. Fet in the context of romantic musical aesthetics 85

2.3. Images of the German musical world in the poetry of A. Fet (poems "Revel" and "Anruf an die Geliebte Beethoven") 100

2.4. The concept "sweet" in German poetry and in the lyrics of A. Fet 115

Chapter III. Feth - translator of German poetry 121

3.1. A. Fet - translator G. Heine 124

3.1.1. Looking for metric equivalents 124

3.1.2. Means of Transfer of Irony 131

3.2. A. Fet - IW translator. Goethe 150

Conclusion 175

List of used literature 179

Applications 197

Appendix No. 1 (to chapter I) 199

Appendices No. 2-4 (to chapter II) 201

Appendices No. 5-9 (to Chapter III) 214

Introduction to work

A.A. Fet went down in the history of Russian literature as one of the greatest lyric poets, an outstanding poet-translator, and a talented memoirist. At the same time, his paradoxical position in Russian culture is obvious: Fet became the greatest Russian poet, being a German by origin. This circumstance, on the one hand, caused Fet to strive at all costs to take root both in the Russian landlord's life and in the Russian cultural tradition, on the other hand, made him unusually sensitive to the perception of the specifics of both Russian and German culture. Thus, the study of Fet's creativity from the point of view of the problem of the interaction of cultures seems promising within the framework of a comparative historical approach.

Relevance research of national images in the work of A.A. Feta, simultaneously belonging to two cultures, is associated with the interest observed in Russian philology in national pictures of the world. This problem is determined, on the one hand, by the process of globalization that is gaining momentum today, which presupposes the erasure of national borders, on the other hand, the need for national self-identification that has arisen in this situation, to distinguish between the purely national and the national, “ours” and “others”. Literary studies of the images of the national world are a particular aspect of this general problem.

Comparative historical research has always occupied a prominent place in Russian literary criticism. A great contribution to the development of comparative studies was made by such scientists as A.N. Veselovsky, V.M. Zhirmunsky, N.I. Konrad, N.I. Prutskov et al. Having criticized the methodology of the old formalist comparative studies, A.N. Veselovsky, and after him V.M. Zhirmunsky put forward the concept of the unity of the historical and literary process, due to the similarity of the socio-historical development of mankind. “From this point of view,” Zhirmunsky wrote, “we

we can and must compare with each other similar literary phenomena that arise at the same stages of the socio-historical process, regardless of the presence of direct interaction between these phenomena. " Thus, an idea was formed about the need for a typological approach in comparative studies. In his work "Problems of the Comparative Historical Study of Literatures" the scientist emphasized the importance of a comparative study of typological convergences, which "makes it possible to establish the general laws of literary development in its social conditioning and at the same time to reveal the national specifics of the literatures being the subject of comparison." From the point of view of V.M. Zhirmunsky, the presence of similar tendencies, “countercurrents” (as AN Veselovsky called them) in national literatures becomes a precondition for international literary influences, which are possible when in society itself there is a need for such “import” 3. It was of fundamental importance that V.M. Zhirmunsky “Byron and Pushkin. Pushkin and Western Literature "the provision that" the perception of influence is not passive assimilation, but active processing, as a result of which one's own art is created "" 4.

In Soviet literary criticism, the term "comparative studies" acquired an ideological connotation and therefore was withdrawn from use. It was "safe" to use the equivalent formula "comparative historical research", which for a long time replaced the term that had compromised itself. “It was then that one of the world's largest comparativists, A.N. Veselovsky ".

Since the late 1960s, the expression "typological research" has become more readily used in Soviet literary criticism. N.I. Prutskov

1 Zhirmunsky V.M. Comparative Literature. L., 1979.S. 7.

"Zhirmunsky VM Problems of comparative historical study of literatures // Zhirmunsky VM.

Comparative Literature. L., 1979, p. 68,

3 Ibid. P. 7.

4 Zhirmunsky V.M. Byron and Pushkin. Pushkin and Western influences. L., 1978.P. 23 ff.

5 Lonely V.G. On the phenomenological approach to the study of artistic phenomena in the system
Comparative Literature // From Plot to Motive. Novosibirsk, 1996.S. 24.

proposed to single out two directions within the framework of the typological approach - historical-comparative and comparative-historical 6. The first direction involved consideration of the typological similarity of works within national literature, the second - the study of interethnic literary ties. Such a concept eroded the concept of comparative studies, which was put forward by A.N. Veselovsky, considering wandering motives, themes, plots, the study of which was based on taking into account contact links.

At present, a legitimate interest in the comparative historical method and in the personality of the scientists who formed and developed it is reviving in literary criticism. Today, the problem of comparative studies is expanding and becoming more complicated due to the fact that not certain fragments are put forward as objects of research, but integral literary and cultural phenomena that embody moral, psychological, philosophical concepts, which, with all their variability, are manifested within the boundaries of a single structural type. At the same time, the typological approach should be combined with the study of historical poetics, as was characteristic of the works of A.N. Veselovsky 7.

Yu.B. Vipper considers the development of a comparative approach to the study of verbal art to be the most urgent task facing literary science. "Without improving the method of comparative analysis, it is impossible to build a complex history (at least even within the framework of one era), not to mention the complex history of spiritual culture as a whole."

It seems symptomatic that it is in Russia that the problem of the struggle between mentalities and the comprehension of the “national” has acquired special significance in the last decade. This is due to the collapse of the multinational power of the USSR and the socialist system, which for a long time isolated Russia from the West and, as a result, with the desire of modern Russia to understand itself as a part of Europe and a single world system.

6 Prutskov N.I. Historical and comparative analysis of works of fiction. L., 1974.S. 204.

"See about this: Lonely V.G. Decree. Op. P. 25.

8 Vipper Yu.B. Creative destinies and history. M, 1990, S. 285.

The actualization of the problems associated with national self-identification contributed to the emergence of a new wave of interest in national mythology, national psychology, cultures of different countries, the phenomena of the frontier 9, the dialogue of cultures, as evidenced by numerous studies in the humanities: sociology, philosophy, history, psychology, linguistics. , cultural studies, literary studies, etc. 10.

In the context of this problem, the task of identifying national pictures of the world in the cultural systems of different countries becomes obvious. It seems important here to take into account the role of "foreign" participation in the formation of national culture. Germany undoubtedly played the leading role in relation to Russia. Since the times of Peter the Great, Germany has long been the personification of the West for the Russians (it is no coincidence that all Europeans in Russia were called Germans). In the opinion of cultural scientists, historians, literary scholars, Russia and Germany have always been, as it were, in a relationship of complementarity. “The strengths of national cultures, - writes A.V. Mikhailov, - precisely complemented each other, and Russian culture was one of them that culture that readily absorbed the achievements of the German, without changing its essence, but enriching it, complementing its view of being and history through someone else's, other ... " eleven . On the other hand, Russia had the unique ability to turn Germans into Russians 12. According to the same A.V. Mikhailov, relations between Russia and Germany are based on such

This concept comes from the German "Fronte", the word has, among other meanings, the meaning of the border separating one's own land from another's (the expression "front line" is known, it perfectly reflects the semantics) - the named phenomenon in science).

10 See, for example, the work of G. Gachev Mentality of the peoples of the world. M, 2003. Questions of the nature of mentalists, national pictures of the world, interaction of different cultures are the subject of discussion of "round tables", the materials of which, since the 1990s, have been regularly published on the pages of the journal "Problems of Philosophy" in the rubric "Russia and the West" and collections "Russia and the West: Dialogue of Cultures" (1994-2003) "Russia and Germany: Cultural Relations Yesterday and Today // Literary Studies. 1990. September-October. P. 115.

"" Russia and Germany: Cultural Relations Yesterday and Today (Round Table) // Literary Studies. 1990. september October. P. 115.

deep foundations that they can even be called mythological - "they are rooted in layers of consciousness that go back to a very distant past."

Historical and cultural interactions between Russians and Germans could not but be reflected in Russian literature. If we talk about the connection of individual Russian writers with Germany, then we can define the following series: in the XVIII-XIX centuries. this is, first of all, M.V. Lomonosov, V.A. Zhukovsky, I.S. Turgenev, F.M. Dostoevsky, F.I. Tyutchev, A.A. Fet, K. Pavlova, etc. The study of the "relationship" of Russian writers with Germany allows us to single out two directions that illustrate the content of the problem "Russia - Germany" in Russian literary criticism. The first direction is determined by the biographical connection of one or another Russian writer with Germany. Within the framework of this direction, the vector “sent from Germany” 14 operates, which is a component of the general movement, designated in history as “Drang nach Osten” 15. Another direction is associated with the fact that the German world in Russian literature is viewed as an aesthetic problem, which, on the one hand, comprehends the German as an integral part of Russian life, on the other hand, as a kind of alien to the Russian world system.

Due to the centuries-old stay of the Germans in Russia, the problem of studying the work of those writers whose ancestral roots are associated with Germany, who grew up, however, and were brought up in the Russian noble environment and who consider themselves Russian artists of the word (A. Fet, K. Pavlova), arises.

In our opinion, both in the personality and in the literary work of these writers, their national two-facedness cannot but manifest itself. The poet's contemporaries wrote about the dual unity of A. Fet's consciousness, in particular

13 Ibid. P. 117.

14 "Poems sent from Germany" - this is how A.S. Pushkin poems by F.I. Tyutchev, who
he published in Sovremennik. This name marks the "alien", namely the German "presence" in
poetry F.I. Tyutchev. COP. Turgenev wrote about Tyutchev in a letter to Fet: “<...> he was also a Slavophile, but not in
his poetry<...>... Its most essential essence is purely Western - akin to Goethe ... "(Turgenev I.S.Poly. Collected works and
letters: In 28 volumes. Letters: In 13 volumes. M; L., 1961.T. 3.S. 254-255.)

15 "Drang nach Osten" (literally: an onslaught to the east). G. Gachev writes: "Drang nach Osten - constantly
active factor and tendency in the being of Germany). (Gachev G. The mentality of the peoples of the world. M, 2003. S.
122) The expression characterizes Germany's tendency to militarism) ". In this case, we mean
Germany's desire to make a breakthrough into other cultural systems and establish its positions there.

I.S. Turgenev, noting the clear opposite Shenshin the landownerand Feta poet.In one of his letters, Turgenev directly points to the German origin of Fet: "... well, German blood responded" 16. L.M. In his article "Turgenev and Fet", referring to the analysis of Turgenev's editorial corrections, Lotman points out the following peculiarity: "As the editor of one of Fet's collections, Turgenev tries to present the poet, depriving him of his poem of national identity:" The collection of 1850 was opened with the poem "I am Russian , I love the silence given by filthy ", painting the beauty of the northern night landscape and conveying<...> affection for homeland<...>, but it was these words, at the request of Turgenev, were removed<...>... This work in the new edition did not open the collection, and many of the poems that accompanied him in the series "Snow" and "Fortune-telling" were removed from the collection. " F.M. Dostoevsky in his article "Mr. Bov and the Question of Art" also noted a certain foreignness of Fet in relation to the direction that dominated Russian culture at that time. Therefore, obviously, Dostoevsky considers the author of the poem "Whisper, timid breath ..." not as a national, but as an all-European poet, a sign of which can be considered present in the "parable", where there is an unequivocal reference to the poetry of Fet, the European topos 18.

However, on the other hand, Fet himself, for whom it was fundamentally important to be aware of himself russianpoet, as if challenging the thesis of F.M. Dostoevsky about the "reincarnation of his spirit into the spirit of foreign peoples" 19, wrote to him in a letter: "Kolomenskaya cabbage in Vorobyovka - only by the name of the people Kolomenskaya, in essence it is still Vorobievskaya<...> and it is in vain that you, it seems, are Litvinka, and I am a Tatar (a hint of the Tatar roots of the Shenshins. - O. Zh.),

16 Turgenev I.S. Poly. collection op. and letters: In 28 volumes. M-L., 1964-69. Letters. T. II. P. 165.

1 "Lotman L.M. Turgenev and Fet // Lotman D.M. Turgenev and Russian writers. L., 1977. P. 33.

P In "parable" Dostoevsky refers to the Lisbon earthquake of 1700: the city is shaken

disaster, half the population died. The next day appears in the Lisbon newspaper

a poem in the spirit of Fet's "Whisper, light breath ...". The writer writes that the inhabitants of Lisbon,

perhaps they would have executed the famous poet because “they experienced not the nightingale trills, but a completely different kind

vibrations - an earthquake. " Dostoevsky comes to the conclusion that it was not art that was to blame, but the poet,

abusing art at a time when it was not up to him.

19 Dostoevsky F.M. Poly. collection cit .: In 30 volumes, L., 1984.Vol. 26.P. 146.

but we are both Russians. " For Fet, not a folk poet is a “contradiction in data”: “you can be a dull, mediocre poet, but you cannot be a folk poet” 21.

A.A. Fet is one of the well-researched poets in Russian literary criticism. However, only in recent decades there have been attempts to reinterpret Fet as a poet and a person. In studies devoted to the study of the biography and creativity of A.A. Feta, the following trends can be distinguished:

1. Biographical research.

The works of B.Ya. Bukhshtaba, D.D. Blagoy, V.V. Kozhinova, L.M. Lotman, G.P. Blok, V. A. Shenshina,

E.A. Maymin, G. Aslanova and others. Fundamental in this aspect are the works of B.Ya. Bukhshtab and D.D. Good. In addition to the traditional presentation of the biography, the works of the above researchers touch upon the still controversial questions about the secret of Fet's origin and the contradiction between the Fet-poet and the Fet-man. G. Aslanova and G. Nikitin express an unconventional view of the Fet-man in their articles, destroying the stereotypical image of Fet, a calculating man, a conservative landowner, that has developed in literary criticism. In particular, the motives of Fet's marriage to M.P. Botkina 23. An important component in the study of Fet's biography is the study of his personal and creative ties with his contemporaries. The works of D. Nikolsky, L.M. Lotman, S. Rozanova, G.P. Kozubovskaya, L.I. Cheremisinova, E.A. Maymina and others 24.

: about Fet A. Poems, prose, letters. M., 1988.S. 385. 21 In the same place. P. 386.

~ Bukhshtab B.Ya. A.A. Fet. Essay on life and work. L., 1990; Good D.D. The world as beauty // Fet A.A. Evening lights. M., 1979; V.V. Kozhinov About the secrets of A. Fet's origin // Problems changed the life and work of A.A. Feta. Sat. Art. Kursk, 1992; Lotman L. Afanasy Fpt. Boston, 1976; Block G.P. Chronicle of A.A. Feta // A.A. Fet. Study traditions and problems. Sat. scientific. works. Kursk. 1985; Maymin E. A. A. Fet. Biography of the writer. M, 1989; Aslanova G. Captured) "legends and fantasies // Voprosy literatury. 1997. September-October.

23 Aslanova G. Decree. cit .; Nikitin G. Fet - landowner (To the biography of the poet) // friendshippeoples. 1995. No. 3. "4 See, for example, Lotman L.M. Turgenev and Fet. L., 1977; Maimin E.A., A.A. Fet and L.N. Tolstoy // Russian Literature. 1989. No. 4; Kozubovskaya G.P. A.Fst and Y. Polonskiy // Problems of studying the life and work of A.A.Fet. Collection of works. K) rsk, 1993.

As for the study of the poet's memoirs, it should be noted that this aspect, in our opinion, is important for understanding Fet's personality (although, according to Aslanova, in the poet's memoirs, as in his poems, it is impossible to see the true face of Fet), is little developed ... Researchers (G. Aslanova, G. Nikitin) often use Fet's memories to confirm any facts of the poet's biography, in particular, to identify Fet's friendly and creative contacts with contemporaries. However, the study of Fet's memoirs from the point of view of clarifying the psychological makeup of the writer, as well as from the point of view of their poetics, still remains outside the framework of literary studies 25.

2. Peculiarities of A. Fet's poetics.

Despite the sufficient attention of Russian literary scholars to this problem, the question of Fet's creative method and its genres is largely controversial. The presence of sections in the Fetov collections, which have both genre designations ("Elegies and Thoughts"), and thematic ("Snows"), actualizes this problem: as you know, the name of the Fetov cycles was given by Ap. Grigoriev, in the last issues of "Evening Lights" Fet abandoned this principle of the arrangement of poems. Both the desire to create cycles and the lack of this desire are equally attributed to Fet's poetry.

Exploring the peculiarities of poetic language, scientists pay attention to Fet's violation of the linguistic poetic norm that was defined in the 19th century, which is expressed primarily in the violation of the usual logic of textual content, as well as in an unusual combination of words, unexpected metaphors and metonymy, an abundance of individual paraphrases, "verbalism", organization of texts on the basis of the "details" chosen by the author, deepening the background of poetic texts that determine their symbolic rethinking. The study of the linguistic aspect of Fet's poetry is devoted to

25 Perhaps the only work of this kind is the article by G.P. Koz) Bovskaya "The mythology of the estate and the" estate text "in the epistolary prose of A. Fet"

works by D.D. Blagoy, M.L. Gasparova, A.D. Grigorieva, M. Ya. Polyakova N.P. Sukhovoy, D.N. Shmeleva and others 26

Researchers call the mythopoetic aspect important in the poetics of Fet. The studies of G.P. Kozubovskaya 27, which emphasize the idea of \u200b\u200bthe mythological nature of Fet's poetics, largely related to the peculiarities of the poet's worldview, with his interest in the "ancient ideal", which had a huge impact on the formation of Fet's aesthetics.

Particular problems arising in connection with the analysis of individual poems by A. Fet, we find in the articles of M.M. Girshman, E.N. Kirnosov, S.A. Makarova, L. Ozerova, N.P. Generalova and others 29.

3. Worldview of A. Fet.

Fet's worldview positions are studied in articles by V.A. Shenshina, N.M. Severikova, V.N. Kasatkina 30. Analyzing the poet's worldview, scientists most often actualized his position as a minister of "pure art". The research of V.A. Shenshina. The results of her analysis are far from the tradition outlined in the previous literary criticism.

26 Good D.D. Decree. op. ; Gasparov M. Fet verbalized // Literary) "Cheba. 1979. No. 4; Grigorieva A.D. A.A. Fet and his poetics // Russian speech. 1988. No. 3; Sukhova N.P. Emancipation of the word // Russian speech 1970. No. 6; Polyakov M. Ya. Questions of poetics and artistic semantics. M., 1978; Shmelev D. N. Several remarks about the poetics of Fet // Russian language in school. 1980. No. b.

"7 Kozubovskaya G.P. Poetry of A. Fet and mythology. Textbook. Manual. Barnaul - M., 1991; Kozubovskaya G.P. Fet and the problems of mythologism in Russian poetry of the 20th century - the beginning of the 20th centuries: Author's abstract of thesis ... St. Petersburg, 1994; Kozubovskaya GP Mythology of the estate and the "estate text" in A. Fet's epistolary prose // Bulletin of BSPU. Issue 3. 2003.

2 * “The preconditions of mythology,” writes G.P. Kozubovskaya, - in the worldview of Fet, for whom the predetermination of the incomprehensibility of the high ideal is absolute: “The answer to all questions is there, in the eternal ideal, and not here, in the scattered, incoherent, incomprehensible activity.” spilled everywhere in the world<...>For Fet, antiquity is a measure and expression of the type of behavior that is based on the predominance of aesthetic<...>"(Kozubovskaya G. P. Poetry of A. Fet and mythology. P. 8, 10, 11).

:9 Kirnosova E.N. Musical embodiment of Fet's poetic images // Problems of studying the life and work of A.A. Feta: Sat. articles. Kursk, 1993.S. 268-278; Makarova S.A. The ratio of poetic and musical melodies in the genre of romance (based on the poem by A. Fet “The night shone, the moon was full of

garden ") // Philological sciences. 1993. No. 2. S. 80-87; L. Ozerov. Three notes about Feta // Russian speech 1970.

No. 6. S. 29-34; Generalova N.G. Commentary on one "poem in case" A. Fet // Russian literature. 1996. No. 3.168-180.

30 Shenshchina V.A. Fet as a metaphysical poet // A.A. Fet. Poet and thinker. Sat. scientific. works. M., 1999; Ssvsrikova N.M. A.A. Feta // Vestnik Mosk .. at n-ta. Series 7, Philosophy. 1992. No. 1; Kasatkina V.N. The movement of A.A. Feta // Russian literature. 1996. No. 4.

considering Fet as a poet of sensations, unconscious poetic contemplations, an apologist for beauty. In her works, she presents A. Fet as a philosophically erudite thinker, an original philosopher in poetry, following the traditions of Russian and Western European metaphysical lyrics 31. In the new book of the researcher “Fet-Shenshin. Poetic outlook ”32 deals with the ontological, religious, ethical and aesthetic problems of the poet's work, reveals Fet's understanding of time and eternity, movement and peace, truth, beauty, good and evil. One of the main objectives of this book is to show that Fet's metaphysical poetry includes an ontological, religious vision. “A special merit of Shenshina,” writes V.N. Anoshkina, - in comprehending the Christian, Orthodox foundations of Fet's poetry, which has not been studied before. " Shenshina's work in this aspect seems to be even more relevant due to the fact that it is one of the few serious studies that refute the view of Fet as an atheist rooted in literary criticism, which was first called into question in 1984 by A.E. Tarkhov 34, and then M. Makarov and N.A. Struve 35.

The study of the influence of Schopenhauer's philosophy on the poetry of Fet has occupied and continues to occupy a prominent place in fetology. Studies are known, for example, D.D. Good, B. Ya.Bukhstaba 36. The article by M.A. Monin's "Tolstoy and Fet: Two Readings of Schopenhauer", the novelty of which, from our point of view, is determined both by the original interpretation of individual poems by Fet, colored by Schopenhauer's philosophy, and

The metaphysical aspect of Fet's lyrics, as Shenshina writes, was ignored in both Western and Russian literary criticism. Fet's perception as a metaphysical poet was hampered by his reputation as a poet of "pure lyricism." Modern scientists are trying to "get away" from this cliche, claiming that in the center of his work is "not a dead statue, but a living person" (V. Bryusov). See about this: Kozhinov V.V. The place of A. Fet's creativity in the national culture // A.A. Fet. Poet and thinker. P. 20.

32 Shenshina V.A. A.A. Fst-Shsnshchin. Poetic outlook. M., 2003.

33 Anoshkina V.N. Foreword // Shenshina V.A. A.A. Fet-Shenshin. Poetic outlook. M., 2003.
S. 5.

34 A.E. Tarkhov Foreword // Fet A.A. Op. T. 2.M., 1982.S. 390.

35 Struve N.A. About A. Fet's worldview: Was Fet an atheist? // Bulletin of the Russian Christian Movement. No. 139. Paris, 1984. S. 169-177; Makarov M. On the polemic about the worldview of A.A. Feta: "Shenshin and Fet" // Bulletin of the Russian Christian Movement. No. 142. Paris, 1984. S. 303-307.

35 Bukhshtab B.Ya. A.A. Fet // Fet A.A. Poems and poems. L., 1986. S. 19. and further; Good D.D. World like
beauty // A.A. Fet. Evening lights. M., 1979. S. 540 and further; Monin M.A. Tolstoy and Fet. Two readings
Schopenhauer // Questions of Philosophy. 2001. No. 3.

the fact that the view on the philosophical lyrics of the poet is presented not by a literary critic, but by a philosopher.

4. Fet in the context of the traditions of Russian and foreign literature: problems of literary influences.

Lyrics A. Fet is associated with the traditions of poets of the golden age, such as A.S. Pushkin, K.N. Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, V.G. Benediktov, as well as poets of the Silver Age: A. Bely, A. Block, VL. Bryusov, A.A. Akhmatova, O.E. Mandelstam, M.I. Tsvetaeva and others. Researchers find similarities with the work of F.M. Dostoevsky, L.N. Tolstoy, M.M. Prishvina. The problems of literary influences are touched upon in the works of A.M. Broide, N.K. Kashina, V.A. Kosheleva, E.A. Nekrasova, E. Sergeeva, A.N. Smirnova, N.V. Trufanova, V.A. Shenshina. Articles by O. Simchich and Yu.L. Tsvetkov, in which the connection of A. Fet's lyrics with the work of G. di Lampedusa and with European impressionist poetry (in particular with the poetry of Paul Verlaine) is indicated 38.

A. Fet's work has practically not been studied in the aspect of studying the images of the German world, meanwhile, they occupy an important place both in the memoir work and in the poetic system of the Russian poet.

Problems of identifying national images of the world, issues related to identifying the nature of mentalities, their influence on culture are outlined in the works of G. Gachev 39. Gachev examines national pictures of the world,

"Shenshina VA AA Fet-Shenshin. Poetic world outlook. M., 2003. S. 170-202; Koshlsv VA Fet and Batyushkov (to the problem of literary influences) // AA Fet. Poet and thinker: collection of scientific works. M., 1999. S. 131-146; Nekrasova E. A. Fet and I. Annensky. Typological aspect of description. M., 1991; Broyde A. M. Druzhinin and Fet // A.V.Druzhinin, life and work.Copengagen. 1986. S. 392-398; Smirnov A.N. About two romantic concepts of time (Pushkin and Fet) // Problems of historical criticism. Petrozavodsk, 1992; Kashina N K. Once again about Fet's reminiscences in the poetry of Russian symbolists // A.A. Fet. Poet and thinker: collection of scientific works. M, 1999. S. 91-114; Sergeev E. Mayakovsky and Fet // In the world Russian classics.Sat.Art.M, 1984. S. 256-277; Trufanova N.V. A. A. Fet's prose in the context of Russian prose // A. A. Fet. Poet and thinker. Collection of scientific works M., 1999.S. 115-139.

38 Simcic O. Fet and J. di Lampedusa: death, night and stars; Tsvetkov Yu.L. Lyrics by A. Fet in context
European impressionistic poetry // A.A. Fet. Poet and thinker. M., 1999.S. 140-170.

39 Gachev G. National images of the world. Lecture course. M., 1998; Gachev G. Mentality of the peoples of the world. M., 2003;

relying on the "cosmopsychologos" of a particular country, implementing an approach from a philosophical and, in his own words, "ethnographic" position. In the literary aspect, the works of M.F. Muryanova "Pushkin and Germany", D.A. Chugunova “L.N. Tolstoy and Germany ”, N.V. Butkova “The image of Germany and the images of the Germans in the works of I.S. Turgenev and F.M. Dostoevsky ”, A.P. Zabrovsky "On the problem of the typology of the image of a foreigner in Russian literature" 41.

From our point of view, the national picture of the world, the components of which are national images, is the basis self-awarenessthis or that nation, the foundation of its national culture and mythology. National identity of a people, nation, personality is expressed in language, art, religion, customs and customs. Therefore, we will be mainly interested in mythopoetics, in which mental features were captured; national-cultural semantics of linguistic units, the national aspect of cultural development.

Scientific novelty of the work consists in the fact that for the first time an attempt is made in it to isolate and analyze German national images inthe work of Fet, a poet whose biography is the intersection of two worlds - Russian and German.

Object of our research are memoirs, original poetry and translations of A.A. Feta.

Thing research - images of the German world in the work of A.A. Feta, demonstrating values, attitudes, stereotypes and mythologemes inherent in German culture.

The purpose this work is the reconstruction of the images of the German world in different types of literary creativity A. Fet, the definition of their functions in

40 “Any national integrity,” writes Gachev, “is a Cosmo-Psycho-Logos, that is, unity of national
nature, mentality and thinking ”. (Gachev G. National images of the world. M., 1995. S. 11.)

41 Muryanov M.F. Pushkin and Germany M., 1999; Chugunov D.A. L.N. Tolstoy and Germany // Bulletin
Voronezh state un-that. 2003. No. 2. S. 42-53; N.V. Butkova The image of Germany and the images of the Germans in art
I.S. Turgenev and F.M. Dostoevsky. Author's abstract. diss ... cand. philol. sciences. Volgograd. 2001; Zabrovsky A.P. TO
the problem of the typology of the image of a foreigner in Russian literature // Russia and the West: dialogue of cultures. M., 1994.
Issue 1.S. 87-105.

the limits of autobiographical prose and Fet's poetic system. It was important for us to fit the “German world of Fet” into the context of Russian culture of the middle of the 19th century, to show through the prism of private biography and creativity how the images of the German world enter the Russian world, how “ours” and “aliens” are differentiated and integrated, to identify the place and role this "alien" in the history of Russian culture and Russian literature.

The set goal defines a number of specific tasksdissertation research:

To systematize the images of the German world that are present in Fet's memoirs, to designate their national content and the peculiarities of the functioning of each group of images in the text.

Consider German images in Fet's memoirs both in the aspect of the originality of their embodiment in the work of this particular writer, and in the context of the traditions of creating a Russian tribal noble epic, relying on the autobiographical prose of L.N. Tolstoy, ST. Aksakova, K.N. Leontyev.

3. Understand subjective (personal) and objective (historical) motives
Fet's appeal to German images.

4. Consider the peculiarities of Fet's poetics in connection with traditions
German romanticism.

Reveal the national specifics of certain concepts that are most often found in the original poetry of Fet and mark the German mentality (for example, the concept "sweet").

Consider the means of transmission by Fet of the basic poetic techniques of the German poets he translated.

Reveal the national specifics of Fet's translations at the rhythmic-metric level.

Analyze the features of Fet's translations and identify the role of German poetry in Fet's search for his own aesthetic position.

The theoretical and methodological basis of the research is determined mainly by the comparative-historical approach to the study of artistic

text. Leading in the work are the comparative typological and comparative genetic methods. In addition, a mythopoetic approach is partially used.

The following provisions are submitted to the defense:

The images of the German world organically fit into the traditions of the Russian noble epic.

The musicality of Fet's lyrics, noted by researchers as the main distinguishing feature of his poetic work, is closely related to the traditions of the German romantic concept of music.

The high frequency of the use of the concept "sweet", which is one of the main concepts of the German logosphere, in A. Fet's original poetry reveals a close connection with German culture at the linguistic level.

The ways in which Fet the translator conveyed the basic poetic techniques and metric features of the German poets he translated testify to the poet's ambivalent attitude: on the one hand, he seeks to follow the original exactly, which manifests itself on the lexical, syntactic, and semantic levels, fromon the other hand, he reinterprets the original work within the framework of the traditions of the Russian poetic system.

Translations of German poetry played a significant role in the formation of the poet's own aesthetic position, which is important in the light of the prospects for the development of Russian lyrics.

Practical significance research is determined by the possibility of using dissertation materials in the educational process, in the preparation of basic and special courses on the history of Russian literature of the 19th century, in the work of special seminars.

Approbation of work: Dthe study was discussed at a meeting of the Department of Russian and Foreign Literature of Altai State University. The main provisions of the dissertation research were reflected in the reports at the Interuniversity Scientific and Practical Conference "Literature and Public Consciousness: Options for the Interpretation of Literary Text"

(Biysk, 2002), the All-Russian scientific-practical conference "Natural written Russian speech: research and educational aspects" (Barnaul, 2003), the All-Russian conference of young scientists at the Institute of Philology SB RAS (Novosibirsk, 2003).

Work structure: The dissertation consists of an introduction, three chapters, a conclusion, annexes and a bibliographic list of 299 titles. The total volume of the research is 178 pages.

German anthroponyms

Memoirs of A.A. Feta, on the one hand, represent a part of his literary work, on the other hand, are of primary importance as a biographical source. The poet's memoirs are perhaps the only original text that allows the reader to get reliable information about the life of Fet from the mouth of the author himself.

In our opinion, the very fact of Fet's desire to remember the past, moreover, to tell the reader about it, seems strange. After all, we are talking about the desire to trace his life, full of hardships, representing, in the words of Fet himself, "an endless chain of suffering", a life from the harsh reality of which Fet fled to a completely different in its nature the world of beauty, the world of his poetry, not accidentally named by researchers "Light".

Due to this circumstance, the reasons that prompted the poet to write memoirs are important. Fet himself does not leave unanswered the question of the motives for contacting them. In the preface to the first book of memoirs - "My Memories" - he points to the motive that moves, in our opinion, any author who dares to write about his life: is: what does this long life mean? "1. An analysis of biographical research, the poet's own statements about the motivations for creating memories, as well as the text of Fet's memoirs directly, allows us to put forward an assumption about the reasons that forced the poet to look back at the past.

These reasons are deeply personal and are connected, from our point of view, with those changes that have taken place in the life of an already middle-aged person, thanks to which the fate that deprived Fet of the dearest one, in the second half of his life, consistently began to return what was taken away. It is about the return of the poet's lost financial position, noble rank and family name.

There is one more important reason. At the end of his life, when the author of the memoirs officially returns to himself everything that "belonged to him by right," he thus has the opportunity and, probably, the need to touch upon that forbidden topic, which the poet was silent about for many years: Fet speaks openly about his German roots, about "German", which occupied a significant place in his life, which, on the one hand, he hated and considered a shameful spot in his biography, on the other hand, he was aware of a part of himself and associated the happy moments of his life with it.

However, along with personal (subjective) reasons, there are, in our opinion, objective reasons. Against the background of autobiographical narratives of the mid - second half of the 20th century, Fet's memoirs are distinguished by their undoubted originality: they were written without taking into account the leading tendencies of the contemporary poet of memoiristics. As you know, in the 60s, literature, including memoirs, seeks to actively intervene in social reality, becomes more and more topical and historically significant. A.I. Herzen wrote in 1855: “At the present time there is no country in which memoirs would be as useful as in Russia. Thanks to censorship, we are very little used to publicity. She scares us. " In memoirs, including autobiographical narratives of the generic type, the historical self-awareness of the individual is especially fully expressed. Private details of personal life are of interest to memoirists only in the sense in which they allow them to "come to the realities of the era." The author's self-presentation is entirely focused on public perception, the desire to capture oneself in history. In the memoirs of raznochintsy (N.A. Dobrolyubov, N.G. Chernyshevsky) and dedicated to raznochintsy ideal, historical and biographical space are combined together. Often such memories are a hagiographic version of the narrative, in which each episode, even connected with the "unknown period" of the hero's life, is projected onto his future asceticism. The most indicative in this respect, according to T.I. Pecherskaya, are the memoirs of F.V. Dukhovnikov on Chernyshevsky 3.

Fet's memories seem apolitical, devoid of any bias or historical scale. However, in our opinion, they indirectly nevertheless express a quite definite “political” position of the author. (We use the word "political" tentatively, since Fet emphatically moved away from this sphere). The fact is that Fet's memoirs carry a certain idealistic idea of \u200b\u200bthe monarchical way of life of Russian life: with rapture Fet writes about the landlord's life, about his activities as a landowner and magistrate, describes in detail army life, while noting that the army is the best school of life and every young person must go through this school. (Here Fet's insincerity is obvious, because, as the biographers note, Fet hated his service, was forced to be in the army in order to receive the rank that allowed him to become a Russian nobleman) 4. The very fact of such insincerity of Fet in his memoirs is alarming and allows us to say that, while creating his memoirs, Fet solves a certain aesthetic problem due not so much to subjective as to objective reasons, which, from our point of view, are connected with the “noble” position of the poet and hence with his idealization of the "noble era". Fet's memoirs, which do not fit into the memoirs of the middle of the 19th century, are a form of protest against the new era, which shook the foundations of the monarchy. One gets the impression that Fet's memoirs become a kind of attempt to hold back a moment dear to the poet, which is embodied for him, on the one hand, in a happy childhood in the estate of his father, landowner Shenshin, on the other hand, in the achieved dream associated with the return of his lost financial position and noble title ...

German geographic toposes

Among the German images, we single out geographic topos. These include the German cities that Fet visited in different years of his life. Fet, judging by his memoirs, has been to Germany more than once. His trips to Germany were connected with family affairs (Fet went for his sister Carolina at the request of his mother), as well as with holidays in Europe, including in the resorts of Germany. Feth mentions several German cities in his memoirs: Darmstadt, Carlsbad, Franzesbad, Baden-Baden, Dresden, Stenin, Svinemurde, Lubeck.

It is striking that Fet's travel notes differ from the traditional ones, which, as a rule, described in detail the beauty and sights of places visited for the first time, especially since the poet himself writes that in the fifties (it was precisely this time that Fet's trips for border) “trips abroad were not such an easy and everyday business as they have become today” (late 80s - 90s, when Fet wrote the second part of his memoirs), “and an eyewitness wanted to tell about him unseen before, but to the unprecedented - to hear about all sorts of curiosities ”102. However, Fet does not at all talk about "all sorts of curiosities." Describing his stay in France, he gives a close-up view of his meeting and conversation with Turgenev, acquaintance with Viardot and the impressions of her concert, in which the singer also performed Russian romances. A trip to Italy is also colored not by impressions of Rome, Naples and the amphitheater, although the poet casually mentions some of the sights of Italy, to see which, as he writes, his sister pulled him out. He remembers the meeting in Rome with Nekrasov and Panaeva. Fet writes about Carlsbad that he had to be bored there decently, "despite the pleasant meeting with Dr. Edman." 3. Thus, it seems that Fet is more likely to be interested not in spatial realities (especially since Fet writes in his memoirs that the most hateful for he had to move from one place to another), not pictures, but the faces he met in one place or another. Most of the German cities are also mentioned by the poet in connection with specific persons. Franzesbad is connected with Fet's sister Nadia, who was being treated in this German city and sent a telegram to Fet asking him to come. Fet, who felt deep sympathy for his sister (Fet wrote more than once in his memoirs about his friendship with Nadia, calling her "my friend Nadia"), immediately rushed to Franzesbad. The image of the city consists of the three realities mentioned by Fet: parade ground, kurhauz, bench. Despite the fact that they are somehow connected with Nadya, nevertheless these objects give, in our opinion, although incomplete, but sufficient for a person unfamiliar with this place, an idea of \u200b\u200bthe city: Kurhaus (literal translation - a house for treatment) , and this word denotes Francesbad as a resort town. The platz (square) testifies to the fact that this city is European, since squares have been (and still are) a necessary architectural attribute of a city in Europe since the Middle Ages, the bench, as you know, symbolizes relaxation. Moreover, the named realities may, in our opinion, indicate that Franzesbad is a German city. Its Germanness is evidenced primarily by the fact that two objects (kurhaus and parade ground) are named in German, the German word parade ground is one of the nationally colored German words, its mentality is associated with the fact that all European cities, including German ones, starting from the Middle Ages, they were built according to a certain principle: in the center of the city, a square was built up, on which the most important city objects were located: the rathaus (town hall, city administration building), the church (church) and the market (market). Thus, the area was of particular importance to the Germans. The word kurhaus characterizes Germany of the 20th century, where the main European resorts were concentrated, which is probably why the very word resort (a place of spa treatment), which came into other languages \u200b\u200bfrom German, became international. Modern culturologists Stefan Seidenitz and Ben Barkow in the brochure "These Strange Germans" note the presence of a large number of resorts in Germany today, which, from their point of view, clearly demonstrates such a feature of the Germans as a serious attitude "towards restoring their bodily and mental health." Perhaps that is why the author of the memoirs does not explain the meaning of these German words to the reader.

German cities: Frankfurt, Dresden, Stenin and Swinemünde are mentioned by Fet in connection with some everyday circumstances. For example, the poet remembers Frankfurt, because there he “stocked up on a fur coat for his sister,” knowing that they were moving towards “dear snow and frost” 106. Fet also mentions Dresden in connection with his sister. From here he and Nadia were supposed to go to Warsaw, but were forced to stay in this city because of the sudden illness of their sister. Fet recalls the state of his sister, that he hired a nurse for Nadia for the night, but does not write a word about the city itself. About the cities of Shtenin and Svinemyurd, relying on Fet's memoirs, we can only say that they are port cities, the author writes that a steamer arrived to these cities from St. Petersburg.

Fet describes only one German city in the most detail in his travel notes - Lubeck. In our opinion, this author's "choice" is not at all accidental: Lubeck is one of the oldest cities in Germany, moreover, in this city, according to Fet's observations, the spirit of the Middle Ages has been preserved. Having visited Lubeck in the 50s. and continuing memories in the 90s. XIX century, Fet writes that "Lubeck is still a medieval city in character ...". This author's remark that Lubeck does not change over time, but retains its original appearance and character, in our opinion, may be a sign that this particular German city has retained its national-German content.

Poetry of A. Feth and German Romantic Culture

In our opinion, there are grounds to say that the concept of music by A. Fet, which existed in the mind of the poet and embodied by him in his poetic work, contains signs of German perception and understanding of music. First, Fet's concept of music is close to the romantic aesthetics of musical art, created, as you know, by the Germans - theorists of the aesthetics of musical romanticism (Wackenroder, Hoffmann, Schopenhauer, Tieck, Schelling, Schlegel, etc.) and most vividly embodied in the music of German romantic composers (Weber, Schumann, Wagner, etc.). An important judgment for our study is the opinion of music critics, in particular the authoritative critic-musicologist V.D. Konen, about the fact that it was in the age of romanticism that music first acquired "national outlines" 1.

Secondly, the presence of images of the German musical world in Fet's poetic work seems symptomatic: Fet has two poems that mention the names and works of German composers - Beethoven and Weber. Indicative for us is the fact that, according to music critics, in particular V.P. Botkin, A. Keningsberg, V.V. Stasov and the famous German composer R. Wagner, in the music of these two composers the "German spirit" was most clearly manifested. V.P. Botkin noted that Beethoven "is a complete and perfect manifestation of Germanic music" 2. About Weber's opera "Free Shooter", mentioned in one of Fet's poems, V.V. Stasov wrote the following: "... before" Free shooter "there was no opera, nor music in general with a national direction and mood ..." 3. Before proceeding directly to identifying the similarity of Fet's poetic concept of music with the aesthetics of musical romanticism and analyzing the images of the German musical world embodied in the poetry of A. Fet, it is necessary, in our opinion, to clarify the nature of Fet's “musicality” and characterize the romantic concept of music.

A.A. Fet is rightfully considered one of the most "musical" poets not only of his era, but of the history of Russian literature in general. Musicality, as a distinctive feature of Fet's lyrical talent, was noted both by contemporary critics of the poet (Ap. Grigoriev, A.V. Druzhinin, V.P. Botkin, N.N.Strakhov, V.S. Soloviev, etc.) 4 and researchers of the 20th century ... (B.Ya.Bukhshtab, D.D. Blagoy, B.M.Eikhenbaum and others) 5. Famous composers also wrote about the poet's extraordinary musicality, who, thanks to Fet's poetic works, created excellent examples of Russian romance (P.I.Tchaikovsky, A.E. Varlamov, A.S. Arensky, etc.) 6.

Perhaps the most famous judgment on the musicality of Fet's poetry is the statement of the Russian composer, a contemporary of the poet, P.I. Tchaikovsky: “There is no way to compare him with other first-class Russian or foreign poets. Fet, in his best moments, goes beyond the limits specified by poetry, and boldly takes a step into our field. ... this is not just a poet, but rather a poet-musician, as if avoiding even those topics that are easy to express in words ”7.

Fet himself agreed with this wonderful review: “Tchaikovsky kind of spied on the artistic direction in which I was constantly drawn and about which the late Turgenev used to say that he expects a poem from me, in which the final verse will have to be conveyed by a silent movement of his lips. Tchaikovsky is a thousand times right, since I was always drawn from a certain area of \u200b\u200bwords into an indefinite area of \u200b\u200bmusic, into which I went as far as my strength was.

Interestingly, in his memories of childhood, the poet writes about his complete lack of musical talent. Playing the piano, "which his father put him to teach, realizing that in every significant house where it would be interesting for a young man to enter, there is a piano", Fet calls "torment" ("I suffered so much with pianos for a whole year ...", " But the daily musical torment did not move things in the least, and it seemed that the more I repeated the pieces I had memorized on my fingers, the more often my fingers got confused ... "). The poet recalls how one day the director of the boarding school where Fet studied, Krummer, laughed at his playing: "Are you big, or is it still the same play that you have been playing for two years?" “The chalice of sorrow,” writes Fet, “overflowed: the next day, plucking up courage, I went to the director’s office and announced to him that I was ready to go to the punishment cell and anywhere, but I wouldn’t play any more. So we parted forever with the goddess of music, to our mutual pleasure ”9.

A fact from childhood associated with the poet's inability, with all his efforts to learn to play a musical instrument, as well as the irony of others in this regard, probably associated with a sense of guilt towards his father, who wanted to see him musically educated, could not but form in Fet- a child of a certain complex. “Suddenly, at the end of December, my father appeared completely unexpectedly for me to take me to Moscow to prepare for the university. “Come on, play the piano,” my father said when I went to his hotel. I had to tell him what had happened, much to my father's annoyance. " In the case of Fet, in our opinion, the children's complex of "musical inconsistency" found a way out in another form - in "musical" poetry, which allows one to explain Fet's paradoxical musicality.

However, despite the history of learning to play the piano, which left unfavorable memories, Fet still deeply loved and respected music, sharing the "musical passions" of the era. This is evidenced by the repeated mentions in the poet's memoirs of the names of world-famous composers, the description of the "everyday musical evenings" and concerts he attended, as well as his enthusiastic impressions of listening to music or singing.

Fetov's poetic concept of music, in our opinion, is closely related to the romantic aesthetics, created, as is known, by the Germans and widespread in German romantic culture. Music has a special place in the romantic concept of the arts. In it, the romantics saw the most adequate form of art for life and placed it above all other arts: "No other art," writes Wackenroder, "can so mysteriously fuse in itself the depth of content, and sensual power, and vague, fantastic significance." eleven. Similar judgments can be found in Hoffmann, Schopenhauer, Wagner, Liszt, Schumann, Odoevsky, and others. “In particular, two fundamental properties of music were of decisive importance for romantics: its emotionality and its non-pictorial character” 12.

Romantics considered human feelings, moods, feelings, passions - in a word, mental states - to be the direct source of the content of music. Despite the fact that this position can be found in all directions in the history of aesthetics, with the exception of extreme formalism, romanticism introduced new moments in the interpretation of the emotionality of music.

For romantics, music is an expression of the emotional element that lives a person who is not satisfied with reality and strives for an ideal, a person striving for “other worlds”. And music is able to lift him to these "other worlds", to lift the veil over them to the extent that no other art can do it. Romantics constantly emphasize the “unearthly”, “divine” character of musical emotions13. The view of music as an art capable of elevating above the ordinary, filling the soul with yearning for the ideal, transferring it to “unearthly spheres” was widespread primarily in German aesthetics14.

A. Fet - translator G. Heine

The table below shows the results of a comparative analysis of thirty-five (out of thirty-eight) poems by G. Heine and their translations by A.A. Fet. Most of the translated poems (20) were written in a three-liqueur dolnik, the rhythm of which, as you know, in the middle of the 19th century. was unusual for a Russian reader. The translation task was relatively easy to solve in relation to the sizes that the Russian rhythmic correlate had: the iambic pentameter, the chorea tetrameter. These sizes by the middle of the XIX century. were well developed in Russian poetry, and translation of the corresponding poems by G. 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-tonics. As is known, these differences are usually explained by the differences between German prosody and Russian9. Quite different tasks were set before Fet by the Dolniks, so characteristic of the German poet.

We can say with a great deal of confidence that 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 proximity of Russian and German versification allowed Fet to create a kind of 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 ХЕХ century. it was customary to translate the three-legged dolnik into the three-foot amphibrachium. “A German ballad dolnik,” writes M.L. Gasparov, - with his fluctuation of the 1st 2-complex interictal 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 ”1. A. Fet, as the table shows, mainly followed this tradition. The transformation of DKZ into AmphZ was all the more natural because the Heine dolniks, translated by Fet as amphibrachium, had a monosyllabic anacrus and, therefore, rhythmically out of all three-syllable syllabo-tonic sizes, they most closely 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 heiBe Sommer ...", in which of the eight lines that make up the entire work, only half is a pure dolnik, and the rest are tricycle iambic. Thus, the original itself made the “translation” of DKZ into YZ completely natural.

Obviously, the same reason prompted Fet to translate Heine's "Das Fischermadchen" with iambic tricycle ("Beauty Fisherwoman"): 6 of the 12 lines of Heine's poem are iambic tricytes. Moreover, in the last, third stanza, the dolnik lines 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 "Nog ich 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 quite careful. So, when translating "Ich hab im Traum 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 (AmfZ), marks the moment of awakening of the lyric "I" with a kind of rhythmic dissonance, what if it seems quite natural to take into account the semantic structure of Heine's poem. The awakening is followed by the present, opposing the imaginary, dreamed, suffering. The rhythm of the translation thus emphasizes the paradoxical (since crying in a dream turns into waking cry) 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. Fet in his translation of 1857 "They loved each other ..." retains a clear syllabo-tonic basis (ordinary AmphZ), but sets the rhythm of the dolnik with the initial line of each of the two stanzas of the poem. It should be noted that deviations from the usual rhythm, as well as 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, create an initial, then leveling rhythm, as if marking 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 nothing more) in rhythmic italics. ... ") stanzas.

Khomyakov Valery Ivanovich

In memory of Afanasy Afanasyevich Fet (1820-1892)

Afanasy Afanasyevich Fet - a famous Russian poet with German roots, lyricist, translator, author of memoirs. Corresponding Member of the Academy of Sciences of St. Petersburg

In the Oryol province, near the town of Mtsensk, in the 19th century, the Novosyolki estate was located, where on December 5, 1820, in the house of a wealthy landowner Shenshin, a young woman Charlotte-Elizabeth Becker Fet gave birth to a boy named Afanasy.

Charlotte-Elizabeth was a Lutheran living in Germany and was married to Johann-Peter-Karl-Wilhelm Feth, assessor of the Darmstadt city court. They married in 1818, and a girl named Caroline-Charlotte-Dahlia-Ernestina was born in the family. And in 1820, Charlotte-Elizabeth Becker Fet abandoned her little daughter and husband and left for Russia with Afanasy Neofitovich Shenshin, being seven months pregnant.

In the pastures of the dumb I love the crackling frost
In the light of the sun I am the sun prickly shine,
Forests under the caps or in hoarfrost
Yes, a ringing river under the dark blue ice.
How they love to find pensive looks
Wind-blown ditches, mountain-inspired
Sleepy epics among naked fields,
Where the hill is quaint, like some kind of mausoleum,
Sculpted by midnight, - or clouds of distant vortices
On the white shores and mirror ice holes.

Afanasy Neofitovich was a retired captain. During a trip abroad, he fell in love with a Lutheran Charlotte Elizabeth and married her. But since the Orthodox wedding ceremony was not performed, this marriage was considered legal only in Germany, and in Russia it was recognized as invalid. In 1822, the woman converted to Orthodoxy, becoming known as Elizaveta Petrovna Fet, and soon they married the landowner Shenshin.

When the boy was 14 years old, the Oryol provincial authorities discovered that Afanasy was written down in the name of Shenshin earlier than his mother.
i was married to my stepfather. In this regard, the guy was stripped of his surname and title of nobility. This hurt the teenager so deeply, because in an instant he turned from a wealthy heir into a nameless person, then he suffered all his life because of his dual position.

From that time on, he bore the surname Fet, as the son of a foreigner unknown to him. Athanasius took it as a shame, and he had an obsession,which became decisive in his life path - to return the lost surname.

Afanasy received an excellent education. Studying was easy for a talented boy. In 1837 he graduated from a private German boarding school in Verro, Estonia. Even then, Fet began to write poetry, showed interest in literature and classical philology. After school, in order to prepare for entering the university, he studied at the boarding house of Professor Pogodin, a writer, historian and journalist. In 1838, Afanasy Fet entered the law department, and then - the philosophy department of Moscow University, where he studied at the history and philology (verbal) department.

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.

At the university, Afanasy became close to student Apollo Grigoriev, who was also fond of poetry. Together they began to attend a circle of students who were intensively engaged in philosophy and literature. With the participation of Grigoriev, Fet released his first collection of poems "Lyrical Pantheon". The work of the young student was approved by Belinsky. And Gogol spoke of him as "an undoubted talent." This became a kind of "blessing" and inspired Afanasy Fet for further creativity. In 1842 his poems were published in many publications, including the popular magazines Otechestvennye zapiski and Moskvityanin. In 1844, Fet graduated from the university.

The spruce covered my path with its sleeve.
Wind. Alone in the forest
Noisy and creepy and sad and fun, -
I do not understand anything.

Wind. Everything around is buzzing and swaying,
Leaves swirl at your feet.
Chu, there is suddenly heard in the distance
A subtly calling horn.

Sweet is the call of the herald of copper!
Dead sheets to me!
It seems from afar a poor wanderer
You greet me affectionately.

After graduating from university, Fet entered the army, he needed this in order to regain his title of nobility. He ended up in one of the southern regiments, from there he was sent to the Uhlan Guards regiment. And in 1854 he was transferred to the Baltic regiment (this period of service he later described in his memoirs "My memoirs").

In 1858, Fet finished his service as a captain and settled in Moscow.

In 1850, the second book with poetry was published Feta, which was already criticized positively in the Sovremennik magazine, some even admired his work. After this collection, the author was accepted into the environment of well-known Russian writers, which included Druzhinin, Nekrasov, Botkin, Turgenev. Literary earnings improved Fet's financial situation, and he went to travel abroad.

In the poems of Afanasy Afanasievich Fet, three main lines were clearly traced - love, art, nature. The next collections of his poems were published in 1856 (edited by I. Turgenev) and in 1863 (two-volume collected works at once).

Despite the fact that Fet was a sophisticated lyricist, he was able to perfectly manage economic affairs, buy and sell estates, making a fortune.

In 1860, Afanasy Fet bought the Stepanovka farm, began to manage, lived there without a break, only appearing in Moscow for a short time in winter.

In 1877, Fet bought the Vorobyovka estate in the Kursk province. T 18
8 1 he bought a house in Moscow, he came to Vorobyovka only for the summer cottage. He again took up creativity, wrote memoirs, translated, released another lyric collection of poems "Evening Lights".

Afanasy Afanasyevich Fet left a significant mark on Russian literature. In the first poems, Fet sang the beauty of nature, wrote a lot about love. Even then, a characteristic feature was manifested in his work - Fet spoke about important and eternal concepts in hints, was able to convey the subtlest shades of moods, awakening pure and bright emotions in readers.

After the tragic death sweetheart Fet dedicated the poem "Talisman" to Maria Lazic. It is believed that all of Fet's subsequent verses about love are dedicated to her. In 1850 the second collection of his poems was published. It attracted the interest of critics, who were generous with positive reviews. At the same time, Fet was recognized as one of the best modern poets.

The night was shining. The garden was full of the moon. Lay
Rays at our feet in a living room without lights.
The piano was all open and the strings were trembling
As well as our hearts for 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.
And many years have passed, weary and boring,
And in the stillness of the night I hear your voice again,
And blows, as then, in these sonorous sighs,
That you are one - all life, that you are one - love.
That there are no grievances of fate and a heart of burning torment,
And life has no end, and there is no other goal,
Once you believe in crying sounds
Love you, hug and cry over you!

Afanasy Fet remained a convinced conservative and monarchist until the end of his life. In 1856 he published his third collection of poems. Fet glorified beauty, considering it the only goal of creativity.

In 1863 the poet released a two-volume collection of poems, and then there was a twenty-year break in his work.

Only after the poet's stepfather's surname and the privileges of a hereditary nobleman were returned to the poet, he took up creative work with renewed vigor.

Towards the end of his life, the poems of Afanasy Fet became more philosophical. The poet wrote about the unity of man and the Universe, about the highest reality, about eternity. In the period from 1883 to 1891 Fet wrote more than three hundred poems, they were included in the collection "Evening Lights". The poet published four editions of the collection, and the fifth came out after his death. With a wistful smile on his brow.

1.5 A.A. Fet - the representative of "pure art"

While for most poets and literary figures of the middle and second half of the nineteenth century. hobby of I.V. Goethe is only a stage of their romantic youth, three major lyric poets of this era remain faithful to the ideology that raised them throughout their development: A.A. Fet, A.N. Maikov, Al. Tolstoy. Representatives of the reactionary wing of Russian noble literature, conservatives for political convictions and romantics for literary sympathies, they maintain a connection with the German poetic tradition that prevailed in the 30s and early 40s, and oppose the socially active poetry of the revolutionary democratic direction with the aristocratic slogan “ pure art ", based on Goethe's dictum:" I sing like a bird on the branches. " As lyric poetry par excellence, moreover, the lyrics of an intimate experience, they echo the lyrics of I.V. Goethe - each, of course, in his own way, within the limits of their own artistic experience.

Afanasy Fet, associated with German culture on the maternal side, in his youth, as Y.P. recalls him. Polonsky, “admired not only N.M. Language, but also poems by V.G. Benediktov, read by G. Heine and I.V. Goethe, since the German language was perfectly familiar to him ... A. Fet was destined to enter the literary field in the era of the 40s, the dominance of aesthetic and philosophical views, in an era when all of us, without distinction of literary parties and trends, worshiped German poetry and philosophy, when to admire I.V. Goethe and G. Hegel were considered as natural as obligatory not only for a writer, but also for an educated person in general ”. A. Fet also spoke about his "hobby for Goethe and Heine": "Goethe with his" Roman Elegies "and" Hermann and Dorothea "and in general masterful works under the influence of ancient poetry carried me away to the point that I translated the first song" Hermann and Dorothea ". Over time, G. Heine ceases to "satisfy" and interest A. Fet, but I.V. Goethe until the end of his life remains for him "the subject of constant surprise and pleasure."

A.A. Fet opposes the revolutionary democratic criticism of the late 50s - early 60s, as a defender of the slogan of "pure art". “Only one side of objects is dear to the artist: their beauty,” he declares. Defending the intimate lyrics of personal experience, the poetry of "bird singing", in the terminology of revolutionary democratic criticism, he puts forward the ideal of art, consciously alien to modern political content, not pretending to be an expression of "quasi of high thought", choosing "the subject of the song - the eternal phenomena of the inner world or external: the moon, dream, maiden ... ". In his theoretical statements about art and poetry, A.A. Fet invariably relies on the example of I.V. Goethe and the authority of his judgments. “As for me, referring non-believers to the authorities of such poets-thinkers, such as: F. Schiller, I.V. Goethe and A.S. Pushkin, who clearly and subtly understood the meaning and essence of their work, I will add on my own that questions: about the rights of citizenship of poetry, among other human activities, about its moral significance, about modernity in a given era, etc. forever got off. "

“For such a deep all-embracing mind like I.V. Goethe, the whole world presented (das offene Geheimnis) an open secret ... But for ignorance everything is simple, everything is clear, everything is easy ... ". “If, according to the deeply artistic expression of I.V. Goethe, "the universe is an open secret," then artistic creation is the most amazing, the most incomprehensible, the most mysterious secret. " Quote from I.V. Goethe reinforces the declaration of aestheticism, the primacy of beauty over good and truth: “Goethe says: Das Schöne ist höher als das Gute; das Schöne schließt das Gute ein [Beauty is above good, beauty includes good] ”. He, with equal right, says the same thing to justify song lyrics and thus his own creativity: “Poetry and music are not only related, but inseparable. All eternal poetry from the prophets to Goethe and Pushkin inclusive - in essence - musical works - songs. " Analysis of the ballad by I.V. Goethe's "Fisherman", at one time translated by A. Fet himself, should show that poetic feeling precedes thought - "behind the image, feeling rushes and behind the feeling, thought already shines, as, for example, in Goethe's Rybak" ["Der Fischer" ] ". “Behind the external form of the ballad there is a spontaneous feeling: the seductive area of \u200b\u200bmoisture, and at the bottom of this feeling, the thought of an irresistible, mysterious force that attracts a person to an unknown world. I ask immediately forgiveness from the shadow of the great poet for translating into prose what he so artistically said with his Rybak. I just wanted to point out the presence in the work of what really is in it, and, without going into new definitions, to deduce in an example an element of feeling, which I do not want to dwell on ... ”.

Even the negative example of I.V. Goethe introduces himself to A.A. Fetu instructive. The second part of Faust testifies to the danger of the poetry of thought: Goethe "ruined his second part of Faust with philosophy." The attempts of the German poet to respond to political modernity were also unsuccessful. “Great poets, yielding to requests or their own sympathy for the present, like I.V. Goethe, wrote dozens of Gelegenheitsgedichte ["occasional poems"] and wrote them badly; others, what is worst of all, carried away by the present, made it possible to suspect them of addiction, and, perhaps, even more shameful feelings. " Thus, for A. Fet, Goethe is a poet of "pure art" and, above all, a lyric poet.

From this side A. Fet has something in common with I.V. Goethe in his translations. Among the numerous and varied translations of A. Fet, German lyrics occupies a very prominent place. In addition to I.V. Goethe, A. Fet translated G. Heine, Uhland, Mörike, F. Schiller and others. Among these poets G. Heine and I.V. Goethe undoubtedly occupied the first place. Of the eighteen lyric poems by I.V. Goethe, translated by A. Fet, only six were included in his first collection (Lyrical Pantheon, 1840); thus A. Fet translates I.V. Goethe not only in his early youth, like most of the poets of the 40s, - he remains faithful to his passion in the future.

In the translations of A. Fet I.V. Goethe is represented primarily by intimate lyrics, most akin to his own work. Beautiful Night, On the Lake, May Song, First Loss, Traveler's Night Song are examples of this approach.

Romantic I.V. Goethe is included in A. Fet's repertoire with traditional ballads: "Singer", "Fisherman", "Forest Tsar". From philosophical odes, he translates "The Frontiers of Humanity" and "Winter Trip to the Harz". On these poems, as well as on translations from the cycle "North Sea" by G. Heine, A. Fet studied free verse without rhyme, which plays an essential role in his own work: cf. "Waterfall", "When the cock ...", "Neptune Leverrier" and others. In the last two poems of Ap. Grigoriev notes the direct influence of I.V. Goethe. Under the sign of enthusiasm for ancient forms, the translation of "Herman and Dorothea" was begun in his youth, published in full in "Sovremennik" in 1856.

The influence of I.V. Goethe's opinion on the work of the young A. Fet was extremely significant and was stated unanimously by all contemporaries. It is found mainly in two directions: on the one hand, in the anthological genre, on the other hand, in intimate song lyrics. About A. Fet's hobby for "Roman elegies" I.V. Goethe is attested by his own confession. The reviewer of Otechestvennye zapiski P. Kudryavtsev (1840) notes this influence in the work of the author of the Lyric Pantheon: “For us all the most gratifying and comforting in this case is acquaintance, and, as it seems at first glance, acquaintance is very close and kindred to the author of these poems with the ancient lyric muse, and then with the inspired muse of Goethe, who in calm grandeur often comes so close to her, already burdened by years, but eternally young friend. The translations from Goethe and Horace are proof of this. " Ten years later, A. Fet's closest friend, Ap. Grigoriev, in his review of the "Poems" 1849 "G. Fet is an original talent, formed only under the influence of classical models and mainly under the influence of Goethe. Anthological poems [Feta] are closest to Goethe, if only one can be close to Goethe, and the best of his anthological poems are those where he is a student of the ancients and Goethe. "

On the other hand, criticism notes the similarity of young A. Fet and I. V. Goethe in the field of intimate song lyrics. In the opinion of the author of the obituary published in Russkaya Mysl, A. Fet's early poems were "written in the spirit of Goethe's small lyric poems." True, in this respect G. Heine's influence was no less significant for A. Fet. But Ap. Grigoriev rightly points out that A. Fet lacks essential elements of Heine's lyrics - “sadness”, “poisonous mockery,” “wit and harshness,” in other words, an ironic exposure of a romantic illusion. “With the exception of direct and masterful translations, and two or three poems” Ap. Grigoriev does not see "a strong reflection of this poet in the poems of Mr. Fet." “Not Heine, but Goethe mainly educated the poetry of Mr. Fet; the influence of the great old teacher owes the understanding student both the inner dignity and remarkable success of his poems and, finally, the very isolation of his place in Russian literature. This isolation is an advantage or a disadvantage, in any case it can be the lot of a bright and remarkable talent and is a direct result of the student's penetration with the spirit of the teacher, as if the fulfillment of his covenant ... ".