Artistic features of the lyrics of feta. Characteristic features of feta lyrics, its innovative features. Features of landscape lyrics

- a poet of the nineteenth century, who made a huge contribution to the development of Russian literature. Reading his work, you begin to understand the peculiarity of his work. What are they?

In poems, the real world is idealized, endowed with special features. Thanks to his poems, we can escape from problems, plunging into the world of beauty and wonder. All Fet's works are overflowing with feelings, he did not just write, but sang the surrounding beauty of love and nature. This is the main features of Fet's work. You read the works of the poet and feel how the notes of different emotions and moods sound, which evoke wonderful feelings. This is an author who tried to avoid social and political topics, he was a poet of pure art, whose works described nature and love. Subtle poetic mood intertwined with artistic skill, allowing you to create pure poetry. Basically, his works are love and landscape lyrics, and only at the end of his life path did he resort to philosophical lyrics. Let's take a closer look at the characteristic features of the writer's lyrics.

Features of Fet's love lyrics

Getting acquainted with Fet's love lyrics, we can indicate that the writer's love is a fusion of contradictions in a harmonious union. The peculiarity of his love lyrics is that there are no notes of drama and tragedy here. His lyrics about love sound musically and subtly with peculiar notes, where there is no love languor, no jealous torment, no passion. Here there is only a description of the beauty of this extraordinary and unearthly feeling of love. His love lyrics are sublimely ideal, pure, youthfully reverent poems, which, strange as it may sound, were written mainly in old age.

Features of landscape lyrics

Nature is what the poet also liked to write about. At the same time, the landscapes in the writer's work come to life, and nature is always calm and quiet. His paintings seem to freeze, but at the same time everything around is filled with sounds, where a fidgety woodpecker knocks, an Easter cake groans or an owl. The peculiarity of the landscape lyrics is that the writer endows the landscapes with human properties, where the rose smiles, the stars pray, the pond dreams, and the birch trees are waiting. At the same time, the author often uses images of birds that are unusual for us. So in his poems often appear swifts, lapwings, owls, blackies. In addition, the author does not endow nature and animals with any symbolic meaning. With him, everything is endowed only with those properties that representatives of the living world of nature possess in reality.

R.G. Magina

Literary position of A.A. Feta is well known. In modern literary criticism, the position about the romantic nature of his lyrics, about the one-sidedness of the themes of his poetry, about the poet's disposition to perceive only the beautiful is proven.

This last feature determined the aestheticism of Fet, and it determined, in our opinion, the main features of the romantic style of his lyrics.

Like a spring day, your face dreamed again, -

I greet the familiar beauty, And along the waves of the caressing word

I'll carry your lovely image...

A characteristic feature of Fetov's intonation - its simultaneous nakedness and restraint - is due to the invariability of the character of the lyrical hero of his poems, based on a pronounced subjective perception of reality, on the belief in the autonomy of art and the unacceptability of prosaic earthly life for the poet.

Romantic detailing, its fragmentation, some pretentiousness and pretentiousness create a stylistic correspondence between Fet's extreme philosophical subjectivism and the poetic embodiment of this subjectivism. This happens for two reasons: firstly, Fet's romantic detail is never impassive. This almost obligatory rule for all romantics is manifested in Fet's lyrics especially clearly. He plays with words, finding shades, colors, sounds in their unusual perspective, in an unexpected, sometimes paradoxical semantic relationship (singing torment, suffering bliss, insanely happy grief) and does it on purpose.

Secondly, the romantic detail in Fet always carries a subjective-evaluative element, and its varieties should be determined according to the signs: traditional and unconventional, figurative concreteness and abstractness. Of course, the presence of non-traditional abstract and concrete-figurative details in romantic poetry is not yet proof of the originality and uniqueness of poetic creativity. The whole question is in what proportion are the traditional and non-traditional romantic details and how, in what individual manner, non-traditional verbal and pictorial means are used in the context of a poetic work, in what way the word is connected in the context of the poem with the general poetic worldview of the author, with the main poetic intonation works and creativity in general.

It is known that Fet was a subtle observer, able to capture transitional moments in the life of nature, its halftones, complex interweaving of shades, colors, sounds. Researchers have long paid attention to this, sometimes calling Fet in connection with such an individual manner “an impressionist poet, first of all, a poet of subtle hints, barely audible sounds and barely noticeable shades. In this he is the direct forerunner of the decadents, the symbolists. And, as D.D. The good, “almost from the very beginning, from the 40s, Fet’s romanticism is his poetry, capable of capturing ... subtly musical impressions, unsteady spiritual movements in them, as in nature surrounding a person, “trembling”, “trembling ", the lively dynamics of the play of colors and sounds, the "magic changes of a sweet face", "continuous fluctuations", "transitions, shades", the dialectical combination of opposites - was colored with features that much later were called "impressionism".

No, don't expect a passionate song. These sounds are vague nonsense,

The languid ringing of the string; But, full of dreary flour,

These sounds evoke

Sweet dreams. They flew in a ringing swarm, flew in and sang

In the bright sky. Like a child I listen to them

What happened to them, I don't know.

And I don't need...

The whole universe, as if in focus, focused in Fet on the consciousness of his "I" and on the desire to find the necessary verbal embodiment of such a perception of reality.

From the general romantic conception of Fet, another feature of his poetry follows: the sublime romantic detail in the context of one work is adjacent to the prosaic detail and, moreover, to the realistically convincing detail. This feature is a consequence of the fact that Fet does not turn away from the real world, he only selectively extracts from it the impressions he needs:

Sleep - still dawn

Cold and early;

The stars behind the mountain

Shine in the mist;

Roosters recently

Sang for the third time

From the bell tower smoothly

Sounds flew...

Brilliant misty stars and floating gentle sounds of a bell (the details are clearly romantic) stand next to the recently crowed roosters in the context of the poem. True, Fet's roosters "sing", but the realistic coloring of this detail is nevertheless obvious. As a result, a lexical discrepancy is created, which determines the unique style of Fetov's lyrics and at the same time greatly expands the semantic possibilities of Russian romantic lyrics of the 19th century.

Fet's lyrics in style and intonation remained basically within the Russian romanticism of the middle of the 19th century, although there is an essential feature in it of expressing lyrical feelings that brings Fet closer to the poetry of the early 20th century: this is a combination of concepts of a different logical series in a single phrase (for example , in Blok: “... There the face was covered in a multi-colored lie”, “At the pensive door the harlequin laughed”, “The queen has blue riddles”; in Bryusov: “On the swell of the furious instant we are two”, “the silent cry of the desire of the captive .. .").

Fet uses this technique more widely and boldly than the Symbolists, and a classic example of this is the poem "To the Singer":

Carry my heart into the ringing distance

Where, like a month behind a grove, sadness;

In these sounds on your hot tears

The smile of love gently shines...

In this poem, in our opinion, the individual poetic manner of the author, all the most characteristic features inherent in his lyrics were reflected to the greatest extent: the apotheosis of the personality and the subjective author's consciousness, the reflection of the impressions of the objective world in an absolutized idealistic romantic hero; extensive use of evaluative romantic details, strong impressionistic overtones and, finally, the combination of concepts of various logical series in a single phrase (ringing distance, invisible swells, silvery path, voice burning, a rush of pearls, meek sadness). The metrical drawing of the verse, strictly and to the end, sustained, determines from the very beginning the given intonation of the poem written in anapaest. Fet generally widely used the anapaest with its rising intonation (“Everything around and motley is so noisy”, “Shaggy branches of pines were frayed from the storm”, “I won’t tell you anything”, “He wanted my madness”, “Forbade you to go out”, "Evening", "From the lights, from the merciless crowd", etc.).

The poem “Fragrant Night, Gracious Night” is another example typical of Fet’s lyrics, which largely repeats the style of the poem “Singer”: the same strict alternation of four-foot and three-foot anapaest with the same masculine endings, the same classical quatrains and even more noticeable impressionistic overtones:

fragrant night, blessed night,

Irritation of the sick soul!

Everyone would listen to you - and I can not be silent

In the silence that speaks so clearly...

In this poem, against a traditional romantic background (azure heights, unblinking stars, an impenetrable shadow of branches, a sparkling key, a whisper of jets), semantic turns characteristic only for Fet sound: the moon looks straight in the face, and it is burning; the night, filled with beauty, becomes silvery, and everything around burns and rings. Sound and visually tangible details are combined in one general idea, in one almost fantastic picture. It appears in indefinite, vague outlines just at the moment when the concept of “impossible dream” appears in the poem:

As if everything is burning and ringing at the same time,

To dream impossible to help;

As if, trembling slightly, the window will open

Look into the silvery night.

The idea (or dream) of a window opening in a silvery night is associated with dreams of love. So, thanks to the chain of associative details that arise in the human mind, Fet creates the lyrical subtext of the poem, reflecting the complex state of the soul, in which the life of nature and the movement of human thought merge into a single stream of lyrical consciousness.

Using the details of the outside world, which at first glance cannot be combined into one logical series, Fet often comes to unexpected associative connections, deliberately emphasizing this in his poems, easily moving from an object to an abstract concept, sometimes not connected in any way. It is important for the poet, first of all, to express his subjective perception, albeit illogical, poorly explained and fragmentarily reproduced:

I stood still for a long time

Looking into the distant stars,

Between those stars and me

Some connection was born.

I thought... I don't remember what I thought;

I listened to the mysterious choir

And the stars trembled softly

And I love the stars since then ...

There are five personal pronouns in the eight lines of this poem; four of them are pronouns of the 1st person im. case - make up a single semantic series with amplifying sound from the first to the last phrase: I stood, I thought, I listened, I love . This gives a special confidence to the intonation and emphasizes the romantic subjectivity of the entire poem.

The subjectivity and illogicality of the narrative determine another feature of Fet's poetry - its fragmentation. The fragmentary nature of the narration, as a rule, was only stated by the researchers and reproached Fet without trying to explain this phenomenon in any way, to find its roots. Moreover, many parodies of the poet's poems focused on this particular feature of his lyrics, using it as a pretext for ridicule and negative critical assessments. Meanwhile, we are convinced that this phenomenon is an intentional position of the author, an attitude towards emphasizing the subjectivity of the narrative, towards a certain universal freedom of lyrical feeling and its reflection in poetry. Fet gives numerous examples of such freedom (from logic, from generally accepted poetic patterns, from stable semantic rows of words), which the Russian Symbolists so stubbornly - mainly in theoretical terms - declared after Fet. They elevated this freedom to an absolute and, in its extreme manifestations, brought it to the point of absurdity. For Fet, the main thing is to create a sincere intonation in a lyrical poem, a poetic mood, an emotional subtext, even if based on illogical, absurd information, using it as an almost neutral background, as a faceless building material; the main thing is to create an impression, this is the essence of expressing feelings in Fet's lyrics.

B. Ya Bukhshtab notes: “Fet released his first collection in the same year as Lermontov, and the last one in the era when the symbolist movement had already begun. The long creative path of Fet, as it were, links the romanticism of Zhukovsky with the romanticism of Blok in the history of Russian poetry. This connection is quite clearly traced in the verse forms of Fet's lyrics.

Fet builds much in the form of verse, relying on authoritative poetic canons and traditions of Russian poetry (for example, the stanza of most of his poems is determined by their romance). Nevertheless, Fet's verse variations are quite diverse and interesting in all respects: both in the field of rhyme, and in the syntactic construction of the verse, and in stanza, and in sound writing, and especially in metrics. As a rule, it is the meters that determine Fet's main rhythmic pattern of the verse, its originality. The main difference between the poet's metrics is the lack of rhythmic uniformity within a particular work. Fet very boldly varies the rhythm by combining and alternating in one verse or in one work of various poetic meters. Three-syllables are the main source of rhythmic variations of the verse for the poet. Most of the new forms he developed for the first time are combinations of three-syllables and two-syllables, both in different verses and within a verse, but always within the same work.

Fet wrote a new page in the history of Russian free verse. In essence, he is its discoverer, since isolated cases of free verse before Fet (Sumarokov, Zhukovsky, Glinka) remain just isolated cases, but after Fet, free verse is firmly included in the practice of Russian versification. Fet's free verse has not yet been sufficiently studied, although one of the works devoted to the history of free verse says that "a significant page in the history of free verse in Russia was written by Fet."

With a relatively small number of free verse, Fet developed in them a certain characteristic commonality, reflected, in our opinion, in the later poetic experiments of Russian poets - he determined for many decades to come the distinctive qualities of Russian free verse as a special form of national verse.

What is the reason for the poet's appeal to free forms? After all, he rather strictly follows the traditional syllabo-tonic rhythms; deviation from them is rather an exception to the rule. Ver libres, on the other hand, crossed out in the most decisive way the traditional clear rhythm and metrics, not to mention the musicality of the verse, which was important for Fet.

In our opinion, the most important reason for the appearance of free forms in Fet is the general philosophical nature of his poetry and the consequent desire of the poet to focus on the semantic side of the work (this trend is very noticeable in works written in free verse). In the traditional measured-musical verse, he did not always find words that were accurate in terms of meaning - impressionistic uncertainty and understatement interfered. Philosophy (most often emphasized) and the simultaneous conciseness and refinement of poetic thought so successfully "fit" into the new ametric forms that there is no doubt that their non-random appearance in Fet's poetry.

The form of free verse allowed Fet, first of all, to make a start from the old verse tradition, and it was in free verse that the philosophical sound of his poetry came to the fore, philosophy appeared here as if in its pure form, devoid of metrical and musical framing (the poem “I love a lot that is close to my heart”, “At night, somehow I breathe more freely”, “Neptune Leverrier”, etc.).

The poetry of A. Fet completes the development of Russian philosophical and psychological romanticism in the lyrics of the 19th century. The indisputable originality of this poetry, the sincerity and depth of lyrical experience, a special bright view of the world, captured in the music of the verse - this is the main thing that we appreciate in Fet's lyrics.

On November 23, 1820, in the village of Novoselki, located near Mtsensk, the great Russian poet Afanasy Afanasyevich Fet was born in the family of Caroline Charlotte Fet and Afanasy Neofitovich Shenshin. His parents got married without an Orthodox ceremony abroad (the poet's mother was a Lutheran), because of which the marriage, legalized in Germany, was declared invalid in Russia.

Deprivation of the title of nobility

Later, when the wedding was performed according to the Orthodox rite, Afanasy Afanasyevich already lived under his mother's surname - Fet, being considered her illegitimate child. The boy was deprived, in addition to his father's surname, and the title of nobility, Russian citizenship and inheritance rights. For a young man for many years, the most important life goal was to regain the Shenshin surname and all the rights associated with it. It was only in his old age that he was able to achieve this by regaining his hereditary nobility.

Education

The future poet in 1838 entered the boarding school of Professor Pogodin in Moscow, and in August of the same year he was enrolled in the verbal department at Moscow University. In the family of his classmate and friend, he lived his student years. The friendship of young people contributed to the formation of their common ideals and views on art.

First attempts at pen

Afanasy Afanasyevich begins to compose poetry, and in 1840 a poetic collection entitled "Lyrical Pantheon" published at his own expense was published. In these poems, echoes of the poetic work of Yevgeny Baratynsky were clearly heard, and since 1842 Afanasy Afanasyevich has been constantly published in the journal Otechestvennye Zapiski. Already in 1843, Vissarion Grigorievich Belinsky wrote that of all the poets living in Moscow, Fet was “the most gifted,” and puts this author’s poems on a par with the works of Mikhail Yuryevich Lermontov.

The need for a military career

Fet strove for literary activity with all his heart, but the instability of the material and social situation forced the poet to change his fate. Afanasy Afanasyevich in 1845 entered as a non-commissioned officer in one of the regiments located in the Kherson province in order to be able to receive hereditary nobility (the right to which was given by a senior officer rank). Cut off from the literary environment and metropolitan life, he almost ceases to be published, also because, due to the fall in demand for poetry, magazines do not show interest in his poems.

A tragic event in Fet's personal life

In the Kherson years, a tragic event happened that predetermined the poet's personal life: his beloved, Maria Lazich, a dowry girl, whom he did not dare to marry because of his poverty, died in a fire. After Fet's refusal, a strange incident happened to her: a candle caught fire on Maria's dress, she ran into the garden, but could not cope with putting out the clothes and suffocated in the smoke. This could be suspected of a girl's attempt to commit suicide, and in Fet's poems, echoes of this tragedy will sound for a long time (for example, the poem "When you read the painful lines ...", 1887).

Admission to L Abe Guards Lancers Regiment

In 1853, a sharp turn took place in the fate of the poet: he managed to enter the guard, in the Ulan regiment stationed near St. Petersburg. Now Afanasy Afanasyevich gets the opportunity to visit the capital, resumes his literary activity, begins to regularly publish poems in Sovremennik, Russkiy vestnik, Otechestvennye zapiski, and Library for Reading. He becomes close to Ivan Turgenev, Nikolai Nekrasov, Vasily Botkin, Alexander Druzhinin - the editors of Sovremennik. The name Fet, by that time already half-forgotten, reappears in reviews, articles, the chronicle of the magazine, and since 1854 his poems have been published. Ivan Sergeevich Turgenev became the poet's mentor and even prepared a new edition of his works in 1856.

The fate of the poet in 1856-1877

In the service, Fet was unlucky: each time the rules for obtaining hereditary nobility were tightened. In 1856, he left the military career without having achieved his main goal. In Paris, in 1857, Afanasy Afanasyevich married the daughter of a wealthy merchant, Maria Petrovna Botkina, and acquired an estate in the Mtsensk district. At that time he wrote almost no poetry. Being a supporter of conservative views, Fet took a sharply negative view of the abolition of serfdom in Russia and, starting in 1862, began to regularly publish essays in the Russkiy Vestnik, denouncing the post-reform order from the position of a landowner-landowner. In 1867-1877 he served as a justice of the peace. In 1873, Afanasy Afanasyevich finally received hereditary nobility.

Fet's fate in the 1880s

The poet returned to literature only in the 1880s, having moved to Moscow and became rich. In 1881, his old dream was realized - he created a translation of his favorite philosopher, "The World as Will and Representation", created by him. In 1883, a translation of all the works of the poet Horace, begun by Fet in his student years, was published. The period from 1883 to 1991 includes the publication of four issues of the poetry collection "Evening Lights".

Fet's lyrics: general characteristics

The poetry of Afanasy Afanasyevich, romantic in its origins, is, as it were, a link between the work of Vasily Zhukovsky and Alexander Blok. The later poems of the poet gravitated towards the Tyutchev tradition. Fet's main lyrics are love and landscape.

In the 1950s and 1960s, during the formation of Afanasy Afanasyevich as a poet, Nekrasov and his supporters almost completely dominated the literary environment - apologists for poetry glorifying social, civic ideals. Therefore, Afanasy Afanasyevich with his work, one might say, spoke somewhat untimely. Features of Fet's lyrics did not allow him to join Nekrasov and his group. After all, according to representatives of civil poetry, poetry must necessarily be topical, performing a propaganda and ideological task.

Philosophical motives

Feta permeates all his work, reflected in both landscape and love poetry. Although Afanasy Afanasyevich was even friends with many poets of the Nekrasov circle, he argued that art should not be interested in anything other than beauty. Only in love, nature and art itself (painting, music, sculpture) did he find everlasting harmony. The philosophical lyrics of Fet sought to get as far away from reality as possible, contemplating beauty that was not involved in the vanity and bitterness of everyday life. This led to the adoption in the 1940s by Afanasy Afanasyevich of romantic philosophy, and in the 1960s - the so-called theory of pure art.

The prevailing mood in his works is intoxication with nature, beauty, art, memories, delight. These are the features of Fet's lyrics. Often the poet has the motive of flying away from the earth following the moonlight or enchanting music.

Metaphors and epithets

Everything that belongs to the category of the sublime and beautiful is endowed with wings, first of all, a love feeling and a song. Fet's lyrics often use such metaphors as "winged dream", "winged song", "winged hour", "winged word sound", "winged with delight", etc.

Epithets in his works usually describe not the object itself, but the impression of the lyrical hero from what he saw. Therefore, they can be inexplicable logically and unexpected. For example, a violin might be labeled "melting". Fet's characteristic epithets are "dead dreams", "incense speeches", "silver dreams", "weeping herbs", "widowed azure", etc.

Often the picture is drawn with the help of visual associations. The poem "Singer" is a vivid example of this. It shows the desire to embody the sensations created by the melody of the song into specific images and sensations, of which Fet's lyrics consist.

These verses are very unusual. So, "the distance rings", and the smile of love "meekly shines", "the voice burns" and fades in the distance, like a "dawn beyond the sea", in order to splash pearls again with a "loud tide". At that time, Russian poetry did not know such complex bold images. They established themselves much later, only with the advent of the symbolists.

Speaking about the creative manner of Fet, they also mention impressionism, which is based on the direct fixation of the impressions of reality.

Nature in the poet's work

Fet's landscape lyrics are a source of divine beauty in eternal renewal and diversity. Many critics mentioned that nature was described by this author as if from the window of a landowner's estate or from the perspective of a park, as if specifically to arouse admiration. Fet's landscape lyrics are a universal expression of the beauty of the world untouched by man.

Nature for Afanasy Afanasyevich is a part of his own "I", a background for his experiences and feelings, a source of inspiration. Fet's lyrics seem to blur the line between the outer and inner worlds. Therefore, human properties in his poems can be attributed to darkness, air, even color.

Very often, nature in Fet's lyrics is a night landscape, since it is at night, when the bustle of the day calms down, that it is easiest to enjoy the all-embracing, indestructible beauty. At this time of day, the poet does not have glimpses of the chaos that fascinated and frightened Tyutchev. Majestic harmony, hidden by day, reigns. Not the wind and darkness, but the stars and the moon come first. By the stars, Fet reads the "fiery book" of eternity (the poem "Among the Stars").

The themes of Fet's lyrics are not limited to the description of nature. A special section of his work is poetry dedicated to love.

Fet's love lyrics

Love for the poet is a whole sea of ​​​​feelings: timid longing, and enjoyment of spiritual intimacy, and the apotheosis of passion, and the happiness of two souls. The poetic memory of this author knew no bounds, which allowed him to write poems dedicated to his first love even in his declining years, as if he was still under the impression of such a desired recent date.

Most often, the poet described the birth of a feeling, its most enlightened, romantic and reverent moments: the first contact of hands, long glances, the first evening walk in the garden, contemplation of the beauty of nature that gives rise to spiritual intimacy. The lyrical hero says that no less than happiness itself, he cherishes the steps to it.

Fet's landscape and love lyrics form an inseparable unity. Heightened perception of nature is often caused by love experiences. A vivid example of this is the miniature "Whisper, timid breathing ..." (1850). The fact that there are no verbs in the poem is not only an original technique, but also a whole philosophy. There is no action because in fact only one moment or a whole series of moments, motionless and self-sufficient, is described. The image of the beloved, described in detail, seems to dissolve in the general range of feelings of the poet. There is no complete portrait of the heroine here - it must be supplemented and recreated by the reader's imagination.

Love in Fet's lyrics is often complemented by other motives. So, in the poem "The night was shining. The garden was full of moon ..." three feelings are united in a single impulse: admiration for music, intoxicating night and inspired singing, which develops into love for the singer. The whole soul of the poet dissolves in music and at the same time in the soul of the singing heroine, who is the living embodiment of this feeling.

This poem is difficult to classify unambiguously as love lyrics or poems about art. It would be more accurate to define it as a hymn to beauty, combining the liveliness of experience, its charm with deep philosophical overtones. This worldview is called aestheticism.

Afanasy Afanasyevich, carried away on the wings of inspiration beyond the limits of earthly existence, feels himself a master, equal to the gods, overcoming the limitations of man with the power of his poetic genius.

Conclusion

The whole life and work of this poet is the search for beauty in love, nature, even death. Could he find her? This question can only be answered by someone who really understood the creative heritage of this author: he heard the music of his works, saw landscape paintings, felt the beauty of poetic lines and learned to find harmony in the world around him.

We examined the main motives of Fet's lyrics, the characteristic features of the work of this great writer. So, for example, like any poet, Afanasy Afanasyevich writes about the eternal theme of life and death. Neither death nor life frightens him equally ("Poems about death"). By physical death, the poet experiences only cold indifference, and Afanasy Afanasyevich Fet justifies earthly existence only by creative fire, commensurate in his view with "the whole universe." Both ancient motives (for example, "Diana"), and Christian ones ("Ave Maria", "Madonna") sound in verses.

You can find more detailed information about Fet's work in school textbooks on Russian literature, in which the lyrics of Afanasy Afanasyevich are considered in some detail.

The work of Afanasy Afanasyevich Fet (1820 - 1892) is one of the pinnacles of Russian poetry. Fet is a great poet, a poet of genius. Now in Russia there is no person who would not know Fet's poems. Well, at least “I came to you with greetings” or “Don’t wake her up at dawn…” At the same time, many do not have a real idea of ​​the scale of this poet. The idea of ​​Fet is distorted, starting even with the appearance. Someone maliciously constantly replicates those portraits of Fet that were made during his terminal illness, where his face is terribly distorted, swollen eyes - an old man in a state of agony. Meanwhile, Fet, as can be seen from the portraits made during his heyday, both human and poetic, was the most beautiful of Russian poets.

The drama is connected with the secret of Fet's birth. In the autumn of 1820, his father, Afanasy Neofitovich Shenshin, took the wife of the official Karl Feth from Germany to his family estate. A month later, a child was born and was recorded as the son of A.N. Shenshin. The illegality of this record was discovered when the boy was 14 years old. He received the surname Fet and in the documents began to be called the son of a foreign citizen. A. A. Fet spent a lot of effort to return the name of Shenshin and the rights of a hereditary nobleman. Until now, the mystery of his birth has not been fully solved. If he is the son of Fet, then his father I. Fet was the great-uncle of the last Russian empress.

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

In this regard, they like to talk about Fet as a prosaic person. But in fact, his origin is mysterious and romantic, and his death is mysterious: this death was, and was not, suicide. Fet, tormented by illness, finally decided to commit suicide. Sent his wife away, left a suicide note, grabbed a knife. The secretary prevented him from using it. And the poet died - died of shock.

The biography of the poet is, first of all, his poems. Fet's poetry is multifaceted, its main genre is a lyrical poem. Of the classical genres, there are elegies, thoughts, ballads, messages. As an "original Fetov genre" one can consider "melodies" - poems that are a response to musical impressions.

One of Fet's earliest and most popular poems is "I came to you with greetings":

I came to you with greetings

Tell that the sun has risen, that it is a hot light

The sheets fluttered;

Tell that the forest woke up

All woke up, each branch,

Startled by every bird

And full of spring thirst ...

The poem is written on the theme of love. The theme is old, eternal, and Fet's poems breathe freshness and novelty. It doesn't look like anything we know. For Fet, this is generally characteristic and corresponds to his conscious poetic attitudes. Fet wrote: "Poetry certainly requires novelty, and there is nothing more deadly for it than repetition, and even more so of itself ... By novelty, I do not mean new objects, but their new illumination with the magic lantern of art."

The very beginning of the poem is unusual - unusual in comparison with the then accepted norm in poetry. In particular, Pushkin's norm, which required the utmost precision in the word and in the combination of words. Meanwhile, the initial phrase of Fetov's poem is not at all accurate and not even quite "correct": "I came to you with greetings, to tell you ...". Would Pushkin or any of the poets of Pushkin's time have allowed himself to say so? At that time, these lines were seen as poetic insolence. Fet was aware of the inaccuracy of his poetic word, its proximity to living, sometimes seeming not quite correct, but from that especially vivid and expressive speech. He called his poems jokingly (but not without pride) poems "in a disheveled kind." But what is the artistic meaning in the poetry of the "disheveled kind"?

Inaccurate words and, as it were, sloppy, "disheveled" expressions in Fet's poems create not only unexpected, but also vivid, exciting images. One gets the impression that the poet does not seem to deliberately think about the words, they themselves came to him. He speaks in the very first, unintentional words. The poem is remarkably complete. This is an important virtue in poetry. Fet wrote: "The task of the lyricist is not in the harmony of the reproduction of objects, but in the harmony of tone." In this poem there is both harmony of objects and harmony of tone. Everything in the poem is internally connected with each other, everything is unidirectional, it is said in a single impulse of feeling, as if in one breath.

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

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

Sweet face...

The poem was written in the late 40s. It is built on one nominal sentence. Not a single verb. Only objects and phenomena that are named one after another: whisper - timid breathing - nightingale trills, etc.

But for all that, a poem cannot be called objective and material. This is the most surprising and unexpected. Fet's objects are non-objective. They exist not by themselves, but as signs of feelings and states. They glow a little, flicker. Naming this or that thing, the poet evokes in the reader not a direct idea of ​​the thing itself, but those associations that can usually be associated with it. The main semantic field of the poem is between words, behind words.

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

Fet liked the reality of life, and this was reflected in his poems. Nevertheless, Fet can hardly be called a realist, noticing how he gravitates in poetry to dreams, dreams, intuitive movements of the soul. Fet wrote about beauty spilled in all the diversity of reality. Aesthetic realism in Fet's poetry in the 1940s and 1950s was really directed towards the mundane and the most ordinary.

The nature and tension of Fet's lyrical experience depend on the state of nature. The change of seasons occurs in a circle - from spring to spring. In the same kind of circle, the movement of feelings in Fet takes place: not from the past to the future, but from spring to spring, with its necessary, inevitable return. In the collection (1850) the cycle "Snow" is given the first place. Fet's winter cycle is multi-motive: he also sings about a sad birch tree in winter attire, about how "the night is bright, frost shines," and "frost drew patterns on double glass." Snowy plains attract the poet:

wonderful picture,

How are you related to me?

white plain,

Full moon,

the light of the heavens above,

And shining snow

And distant sleigh

Lonely run.

Fet confesses his love for the winter landscape. Fet's poems are dominated by a radiant winter, in the prickly brilliance of the sun, in the diamonds of snowflakes and snow sparks, in the crystal of icicles, In the silvery fluff of frosty eyelashes. The associative series in this lyric does not go beyond nature itself, here is its own beauty, which does not need human spiritualization. Rather, it spiritualizes and enlightens the personality. It was Fet who, following Pushkin, sang the Russian winter, only he managed to reveal its aesthetic meaning in such a multifaceted way. Fet introduced into his poems a rural landscape, scenes of folk life, appeared in the poems "grandfather bearded", he "grunts and crosses himself", or a coachman on a daring troika.

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

Fet's "night poetry" reveals a complex of associations: night - abyss - shadows - sleep - visions - secret, intimate - love - the unity of the "night soul" of a person with the night element. This image receives a philosophical deepening in his poems, a new second meaning; in the content of the poem there is a second symbolic plan. Philosophical and poetic perspective is given to him by the association "night-abyss". She begins to get closer to human life. The abyss is an air road, the path of human life.

MAY NIGHT

Retarded clouds are flying over us

Last crowd.

Their transparent segment melts gently

At the crescent moon

Mysterious power reigns in spring

With stars on my forehead. -

You gentle! You promised me happiness

On a vain land.

Where is happiness? Not here, in a miserable environment,

And there it is - like smoke

Follow him! after him! air way-

And fly away to eternity.

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

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

Fet represents the night hours revealing the secrets of the universe. The night insight of the poet allows him to look "from time to eternity", he sees "the living altar of the universe."

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

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

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

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

What a night! Transparent air is bound;

Fragrance swirls over the earth.

Oh now I'm happy, I'm excited

Oh, now I'm glad to speak! …

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

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

Now it is impossible to call Fet only a poet of sensations. His contemplation of nature is filled with philosophical profundity, poetic insights are aimed at discovering the secrets of being.

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

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

An analysis of the innovation of Fet's poetry should begin with the identification of the features of his poetic worldview. With the similarity of Fet's poetry with the romantic lyrics of the beginning of the century (the predominance of the emotional element over the rational, the desire to express the "inexpressible", the striving for the ideal, etc.), there is a fundamental difference. If for the romantic tradition the most important concept is duality, discord, disharmony (dreams and reality, man and nature, loving and beloved, etc.), then for Fet's poetry the fundamental concept is unity, fusion, harmony.

Analysis of the poem Another May night"convinces that a person appears in Fet as the center of the universe, a favorite and chosen one of nature, for whom everything in it trembles joyfully and shines with beauty. A grateful song in response is all that nature expects from a poet. For Fet, nature is not a sphinx or an indifferent goddess with a metallic voice. He does not need to assure himself that it "has a soul ... freedom ... love and language." Every minute Fet hears this voice in the disturbing song of the nightingale, sees this soul in the meek gaze of the stars, feels this love in the shy trembling of birch leaves. Nature for Fet is alive and spiritualized. But the poet himself is extremely open to all natural elements. His soul is like a perfect musical instrument tuned to the harmony of the universe. The poet is literally permeated with these currents, ripples, sounds.

The same unity is characteristic of those who love. They can be separated by unspoken words, years of separation, even death, but the merging of souls knows no limits and obstacles. The fragrant night, the fire of the fireplace, the maple leaf, the sobbing sounds of the piano speak for people.

It is in this feature of Fet's attitude that the key to his poetics. Hence the apparent "isolation" of the poet on himself, his attentiveness to the subtlest overflows of his own experiences. Hence the unwillingness to speak out in full syntactic constructions, to develop a thought consistently, to “explain”. Emotional resonance is the action to which the poet aspires and to which all the specific methods of his lyrics are subordinated (by which they are conditioned). For example, referring to the poem " This morning, this joy...”, we can identify some features of its shape:

The simplicity of the composition: without any introduction, signs are strung, signs are listed, and the last line sums up: "This is all - spring."

Uniformity of repetitive syntactic constructions (combinations of demonstrative pronouns this all with new nouns) and against the background of their repetitiveness, which sets the fast, flying rhythm of the poem, intonation lines stand out, where uniformity is broken each time in a different way (either by definition: “this blue vault”, then by the addition: “this dialect of waters”, then a special sign that gives a different meaning to the line: "these drops - these tears" (instead of enumeration - an explanation with a touch of opposition), then a negative turn "this fluff is not a leaf"). This is how a sense of diversity is achieved in unity, movement in a static image at first glance.

The wordlessness of poetic speech is Fet's favorite technique, which violates the usual ideas about the possibilities of language.

Another of his favorite tricks is the mixing of rhythms, a variety of strophic patterns. In this case, the general choreic pattern is diversified by the rather complex structure of each stanza, in which four-foot pairwise rhymed lines are interrupted by shortened lines 3 and 6, rhyming with each other, and in verses 1-2 and 4-5 the rhyme is feminine , and in the 3rd-6th - male.

Dynamics lies in the movement of the lyrical plot from morning to daylight, to evening dawn and night darkness with nightingale trills.

In the string of spring signs, the images of nature (flocks, willows, birches, midges, bees) and the designations of human states (joy, tears) are mixed, given in a single stream.

Just as paradoxically mixed are just the names of objects, phenomena that in themselves are not connected precisely with spring time (willows, birches, mountains, dales), and metaphors, personifications (the power of light, the sound of waters, drops - tears), depicting the features of spring. Thanks to this, the feeling is created that the mountains and valleys have re-emerged, have just been born along with the spring.

Lack of agreement, non-manifestation of images (this tongue and whistle, this sigh of the nocturnal village, this haze and heat of the bed), allowing for multiple interpretations.

As a result, all the features of the poem are subordinated to one goal: to create a unique feeling of spring choking joy, deafening sounds, overflowing with obscure but powerful feelings. Once again, we note that Fet is far from a thorough recreation of spring paintings. The instantaneous impression is conveyed by the disintegration of the finished (formed) image into picturesque details (willows - birches - drops - tears - fluff - leaf). If you try to “restore” the completeness of the image in an “academic manner”, you get something like “on the leaves of willows and birches, tender as green fluff, drops like tears glisten.” After Fet's impressionistic strokes, such an image seems old-fashioned heavy and too rationalistic. Of course, Fet's lyrics are not limited to these airy visions, weightless images. It contains the embodiment of a very real life experience, and reflections on human destiny, and specific signs of the times. However, it is precisely the poetry of elusive moments that constitutes its innovative feature and therefore is at the center of our attention.

The innovation of poetic language was not an end in itself for Fet, it was not poetic experimentation. The originality of the lyrics was due to the special spiritual image of the poet, as if he left everything “material”, rationally mundane to his double Shenshin and as a result reached inhuman subtlety and sensitivity in poetry.

Used book materials: Yu.V. Lebedev, A.N. Romanova. Literature. Grade 10. Lesson developments. - M.: 2014