The main themes of feta lyrics table. The main themes and ideas of A.A.’s lyrics Feta. Deprivation of a noble title

19.08.2020

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After Pushkin, there was another “joyful” poet in Russia - Afanasy Afanasyevich Fet. In his poetry there are no motives of civil, freedom-loving lyrics; he did not raise social issues. His work is a world of beauty and happiness. Fet's poems are permeated with powerful streams of energy of happiness and delight, filled with admiration for the beauty of the world and nature. The main motive of his lyrics was beauty. It was her that he sang in everything. Unlike most Russian poets of the second half of the 19th century, with their protests and denunciations of the existing order, Fet considered poetry the “temple of art”, and himself a priest in it. Later, this point of view was adhered to by symbolist poets at the turn of the 19th and 20th centuries. They considered Fet their brilliant teacher.

Nature, love and musical art are fused together in Fet's lyrics. The poet reflects the world of feelings and moods in all their endless diversity. Each poem by Fet is created as an original melody. Composers immediately sensed this and created many romances based on Fet’s poems. This is the poem “Fantasy”:

We are alone; from the garden to the glass windows

The moon is shining... our candles are dim;

Your fragrant, obedient curl,

Developing, falls on the shoulders.

Fet brilliantly knew how to depict a moment, a moment of feeling, transitions from one mood to another. For this, contemporary critics called his poems “plotless.” Researchers of the 20th century already called Fet’s work impressionism in Russian poetry for the author’s ability to convey the slightest shades of feelings. The poet was best in the genre of lyrical miniatures:

In this mirror under the willow tree

He caught my jealous glance

Lovely features...

Softer is your proud gaze...

I'm shaking, looking happy,

Just like you tremble in the water.

Fet's love lyrics are an ocean of sun, happiness and joy. He idolizes a woman, wants to fulfill her every desire, is caring and gentle towards her:

Don't wake her up at dawn

At dawn she sleeps so sweetly;

Morning breathes on her chest,

It shines brightly on the pits of the cheeks.

Fet's feeling of love is devoid of destructive passion, like Tyutchev's. The poet admires his beloved, filling the world of beauty and peace with her existence. The lyrical hero is kind and attentive, he is a real protector from everything evil for his beloved. He is solid, reliable and calmly happy, nothing threatens his love:

Tell me that with the same passion,

Like yesterday, I came again,

That the soul is still the same happiness

And I’m ready to serve you.

Fet’s nature is alive and thinking: “the morning is breathing,” “the forest is waking up,” “the moon is playing,” etc. Using the technique of personification, the poet achieves an amazing effect of communication, the unity of man with nature:

The garden is all in bloom

Evening on fire

I feel so refreshingly happy!

Here I stand

Here I go.

I'm waiting for a mysterious speech.

The masterpiece of Fet’s lyrics is the poem “Whisper, timid breathing...”. The landscape painting includes a scene of lovers meeting. The communication of people and the life of nature are conveyed in dynamics, although there is not a single verb in the poem. Nature reflects the passionate feelings of lovers:

Whisper, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

In the smoky dots there is a purple rose,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

Following his artistic style, the poet does not show the development of relations between young people, but depicts moments of supreme delight, the most significant for them.

Fet's landscape poems are usually full of life, sounds and smells, but sometimes he manages to create a majestic picture of evening nature:

The mirror moon floats across the azure desert,

The steppe grasses are covered with evening moisture,

The speeches are abrupt, the heart is again more superstitious,

Long shadows in the distance sank into the hollow.

In his lyrics, the poet sought to depict not objects, but the feelings they evoke. His innovation lies in his ability to convey the moment-to-moment variability of the world. That is why the poet turns familiar images into something new and unusual, surprising readers. Fet, like no one else, was able to describe the world of beautiful human feelings; his poems became classics of Russian poetry of the 19th century.

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 depth […]
Others have inherited from nature a prophetically blind Instinct: They smell, hear the waters And in the dark depths of the earth. Beloved by the great mother, Your destiny is enviable a hundredfold: More than once, under the visible shell, You have seen it. F.I. Tyutchev Afanasy Afanasyevich Fet was sincerely convinced that you need to create only by following your inspiration and emotional impulse. He denied the leading role of reason in the cause of the “liberal arts.” The subject of art, in his opinion, can be, first of all, nature, love, beauty, and here the main […]
Impressionism emphasizes the impact of creativity on human feelings. It is based on feelings - impressions. The Russian word “impression” (like the French “impression”) comes from the words “print”, “imprint”, which means some internal imprint of past events and images. Sunset and sunrise, birds singing, snow - these are just statements of facts. A bloody sunset, a spring dawn, the trills of a nightingale, sparkling snow - this already affects the feelings of readers. “First snow...” Someone, for example, […]
The work of the great Russian poet Afanasy Afanasyevich Fet is a world of beauty. His poems are permeated with powerful streams of energy of happiness and delight, filled with admiration for the beauty of the world and nature. The main motive of his lyrics was beauty. It was her that he sang in everything. Fet's love lyrics are an ocean of sun, happiness and joy. He idolizes a woman, wants to fulfill her every desire, he is caring and gentle towards her: At dawn, don’t wake her, At dawn she sleeps so sweetly; The morning breathes on her [...]
Fet's literary fate is not entirely ordinary. His poems written in the 40s. XIX century, were received very favorably; they were reprinted in anthologies, some of them were set to music and made the name Fet very popular. And indeed, the lyrical poems, imbued with spontaneity, liveliness, and sincerity, could not help but attract attention. In the early 50s. Fet was published in Sovremennik. His poems were highly appreciated by the editor of the magazine Nekrasov. He wrote about Fet: “Something strong and fresh, pure [...]
Afanasy Afanasyevich Fet is a famous Russian poet. The first collection of his poems, “Lyrical Pantheon,” was published in 1840. By the early 1860s, when social forces associated with the revolutionary situation were demarcated in Russia, Fet defended the rights of landowners. He wrote little at this time. Only in his declining years did the poet return to creativity, releasing four collections of poems under the general title “Evening Lights.” In his work, he is a supporter of the doctrine of “pure art”, which avoided resorting to […]
The poem “The Night Shined...” is one of Fet’s best lyrical works. Moreover, this is one of the best examples of Russian love lyrics. The poem is dedicated to a young, charming girl who went down in history not only thanks to Fet’s poem, he was one of the real prototypes of Tolstoy’s Natasha Rostova. Fet's poem is not about Fet's feelings for dear Tanya Bers, but about high human love. Like all true poetry, Fet’s poetry generalizes and elevates, leads into the universal - into the big […]
A. N. Maykov and A. A. Fet can rightfully be called singers of nature. In landscape lyricism they reached brilliant artistic heights and true depth. Their poetry attracts with its sharpness of vision, subtlety of image, and loving attention to the smallest details of the life of their native nature. A. N. Maikov was also a good artist, so he loved to poetically depict the bright, sunny state of nature in his poems. And what could be brighter and sunnier than a singing spring or summer day? Waking up, [...]
Afanasy Fet is a wonderful Russian poet, the founder of the poetic genre - lyrical miniature. The subject matter of his poetry is limited. His poetry is “pure poetry”; it contains no social issues of reality, no civic motives. He chose a stylistic storytelling device that allowed him to hide his soul from the reader behind the external flow of events. Fet cares only about beauty - nature and love. He considers poetry to be the temple of art, and the poet to be the priest of this temple. These two themes of Fet’s poetry are closely related [...]
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In Fet's poems, contemporaries “read” human revelations and secrets. In Fet they saw a poet who “dares to look into the depths of the soul.” According to V. Bryusov, Fet glorified the greatness of man: “No matter what great claims poetry expresses, it could not do more than express the human soul.” The poet really composed enthusiastic hymns of personality.

Two worlds have ruled for centuries,

Two equal beings:

One envelops a man,

The other is my soul and thought...

The fates of the poets are largely similar. For them, poetry is not a profession, not an everyday matter, but a need to express in words their innermost thoughts about the “eternal problems” of human existence. Fet entered literature victoriously. The freshness, harmony, and enchanting beauty of his poems immediately captivated his contemporaries. He did not pose the burning questions of the century and said that Fet’s poems “lay like beneficial dew on the souls of the younger generation.”

Fet showed the charm and beauty of the world. The discovery of beauty is the greatest achievement of humanity. The feeling of beauty gave freedom and elevated the spirit. The bodily and spiritual joy of life, the fullness of feelings, delight in God’s world - this is the element of Fetov’s lyrics. In the most mundane everyday life, the poet finds something mysteriously beautiful and knows how to convey this feeling to us:

In my hand - what a miracle! -

Your hand

And on the grass there are two emeralds -

Two fireflies.

Delight and intoxication with the beauty of the world is expressed in the frequent exclamatory beginnings of Fetov’s poems. But there are moments when a person loses all his strength, hope changes, faith wavers. And only beauty, as a healing source, can revive us:

Thanks to life! May it be by the will of fate

Tormented, deeply offended,

The soul is sometimes immersed in sleep, -

But only spiritual beauty will touch

Tired eyes - the immortal will wake up

And it will vibrate sonorously, like a string.

If we compare his landscape sketches with the paintings of the Impressionists, we will find a lot in common: the same desire of the artist to show the ordinary and unusual and the same subjectivity of worldview and form of expression. Fet's poetry is dominated by light, cheerful tones. The poet sees in nature what others have not noticed: he reveres the birch tree, admires the snow, listens to the silence.

Love and nature are A. Fet’s favorite themes. The discreet beauty of Russian nature is reflected in poetry in a unique way. Fet notices its elusive transitional states: like a landscape artist, he “paints” with words, finding more and more new shades and sounds.

For the poet, nature is a source of joy, philosophical optimism and unexpected discoveries:

What a night! What bliss there is in everything!

Thank you, dear midnight land!

From the kingdom of ice, from the kingdom of blizzards and snow

How fresh and clean your May leaves!

If we compare his landscape sketches with the paintings of the Impressionists, we will find a lot in common: the same desire of the artist to show the ordinary and unusual and the same subjectivity of worldview and forms of expression. Fet's colors are dominated by light, cheerful tones. The poet sees in nature what others have not noticed: he reveres the sad birch tree, admires the snow, listens to the silence.

In the 50s, Fet's romantic poetics was formed, in which the poet reflected on the connection between man and nature. Dissolving in nature, the hero Fet gains the opportunity to see the beautiful soul of nature. This happiness is a feeling of unity with nature:

Night flowers sleep all day long,

But only the sun will set behind the grove

The leaves are quietly opening,

And I hear my heart bloom.

The blossoming of the heart is a symbol of spiritual connection with nature. The characteristic state of the hero Fet is a state of aesthetic enthusiasm. Nature helps solve riddles and mysteries of human existence. Through nature, Fet comprehends the subtlest psychological truth about man. Man looks into nature and learns his laws and possibilities. Nature is man's wise adviser and his best mentor. Fetov's nature with soul - in its humanization he knows no equal.

Oh yes, the rock is silent; but really

You think: not at all

All the storms to her, all the showers and snowstorms

Don't they tear your chest?

Psychologically rich elements of the landscape are often expressed in poetry

Feta into whole pictures of expanded personification. Now the day is fading, and the last rays of dawn say this:

As if sensing a double life

And she is doubly fanned, -

And they feel their native land,

And they ask for the sky.

Many beautiful poetic lines about rain have been written by different poets of the world; Fet paints a very heartfelt and endlessly touching picture:

A cloud is reaching home,

Just to cry over her.

The uniqueness of Fet’s psychological landscape lies in the fact that natural phenomena are presented not only in parallel with human feelings and thoughts, but are fused with them.

Fet’s poems about love were sublime and wise in Pushkin’s way. Many of them became romances. Almost all poems about love are written in the first person, in the form of a monologue, as a memory of love left in the past:

Really, stunned,

Seeing nothing around

Risen, removed by the blizzard,

Am I knocking at your heart?..

Fet's love poems open up a new facet of relationships between lovers - life and death are determined by the possibility or impossibility of existing simultaneously with a crowd of ordinary people. The judgment of the surrounding world, envy, intrigue for Fet are the worst things that fate has in store. Fet admires his loved ones, repeating that the light that burst into their happiness did not defeat a strong personality. Having lost his beloved woman, he remembers her for many years, creating an ideal image. The lyrical hero Feta mourns the loss, but hopes that after death he will unite with her:

That grass that is far away on your grave.

Here, in my heart, she

The older it is, the fresher it is.

Most of Fet's love lyrics are of a pronounced musical nature. He often emphasized the need for musical sound in lyrics. It is oriented towards romance, created in the tradition of romance and is perceived in line with this tradition.

In the middle of the 19th century, Fet began what later came to be called associative poetry. Syncretism is one of Fet’s main innovations. The unity, the indivisibility of diverse characteristics in one image, the transition of the spatial plane into the temporal one and their instant merging were achieved through unprecedented fusions. By shifting semantic plans and emancipating the word, Fet opened up new associative possibilities for Russian poetry.

Everything around is tired: the color of the sky is tired too...

Fet loved to convey transitional states, elusive movements, light and shade, play of colors, feelings and moods. The details of the natural and human world interpenetrate, pain and delight are inseparable from each other. The integrity of associative images presupposes a focus on the rapidity of the reader's perception and imagination.

The forest has crumbled its peaks,

The garden exposed its brow,

September has died, and dahlias

The breath of the night burned.

In his desire to figuratively capture the moving and changeable world, Fet foreshadows a special direction in art that arose in the late 19th - early 20th centuries and was called impressionism. This is another feature of his innovative poetics.

Two drops splashed onto the glass,

The linden trees smell of fragrant honey,

And something came to the garden,

Drumming on fresh leaves.

The poems of Afanasy Afanasyevich Fet are unusual, as is his biography. Adopted by a Russian landowner, the boy was forced all his life to seek recognition of the title of nobility.

For many years, Fet sought independence - spiritual, material: both when he studied at the university and when he served in the Kirabir regiment. His first poetic experiments date back to 1840, when his first collection “Lyrical Pantheon” was published.

Fet immediately declares himself as a unique and original poet. Having seen the beauty of the world, he tries to capture and preserve it in his poems. The main thing for Fet is to reflect the impression, which, as is known, is the basis of a person’s feelings. This feature of Fetov’s lyrics can be called impressionistic.

The main themes of Fet's poetry are love and nature. They are so closely connected with each other that you involuntarily come to the conclusion: nature and man are the main components of the world. The state of nature is reflected in the state of the human soul. Through nature, a person understands himself better, describing it, and more fully expresses his own psychological state.

Fet notices the slightest changes in the state of nature, every movement of the human soul. For example, in the poem “Whisper, Timid Breath,” which was published in 1850 in the second collection of poems.

This poem became almost a symbol of all of Fet’s poetry. It sounds like music, conveying excitement and growing feelings.

Fet's word is designed to convey smells, sounds, musical tones, and light impressions. This was very subtly noticed by Alexei Konstantinovich Tolstoy, who wrote: “I finally got acquainted with Fet’s book - there are poems where the smell of sweet peas and clover is there, where the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of dawn shimmers into sound. Fet is a one-of-a-kind poet who has no equal in any literature.” Fet perceives all natural phenomena in unity.

At the end of the 50s, when N.A. became the head of Sovremennik. Nekrasov, relations between the magazine’s management and a group of writers worsened – I.S. Turgeneva, A.A. Feta, L.N. Tolstoy, who left the magazine. They did not understand how “pure art” could be rejected in the name of practical benefit.

In 1859, in the magazine “Russian Word”, Fet published an article about Tyutchev’s poems. Its main idea is the following: art should not adhere to any ideological trends, it should not participate in political social struggle, art should serve “pure beauty.”

He is beginning to be considered a reactionary. The writer leaves for the Stepanovka estate and lives there, turning the estate into a model farm. His latest poems are published in the collections “Evening Lights”. The themes of the lyrics remained the same as in his youth. The word “evening” in the title of the collection, of course, speaks of the evening of life. But the word “lights” is also important here - Fet’s late lyrics retained the thrill of heartfelt feeling, the ardor inherent in youth, and acquired the ability to study the light of wisdom.

Examination abstract work

Completed by 9th grade student “B” Ratkovsky A.A.

Secondary school No. 646

Moscow, 2004

Creativity of A. Fet

A. A. Fet occupies a very special position in Russian poetry of the second half of the 19th century. The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the pomp of poetry and prose, as well as their pronounced civic orientation. Nekrasov gave rise to this movement by declaring that every writer is obliged to “report” to society, to be first of all a citizen, and then a person of art. Fet did not adhere to this principle, remaining outside of politics, and thus filled his niche in the poetry of that era, sharing it with Tyutchev.

But if we remember Tyutchev’s lyrics, then they consider human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The poet’s landscape is distinguished by calmness and peace. But perhaps this is the external side? Indeed, if you look closely, Fet’s lyrics are filled with drama and philosophical depth, which have always distinguished “great” poets from ephemeral authors. One of Fetov’s main themes is the tragedy of unrequited love. Poems on this topic reveal the facts of Fet’s biography, or more precisely, the fact that he survived the death of his beloved woman. Poems related to this topic rightly received the name “monologues to the deceased.”

You suffered, I still suffer,

I'm destined to breathe with doubt,

And I tremble, and my heart avoids

Seek what cannot be understood.

Other poems by the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: “Death”, “Life flashed by without an obvious trace”, “Simply in the darkness of memories...” Apparently, the idyll is not just “diluted” by the poet’s sadness , it is absent altogether. The illusion of well-being is created by the poet’s desire to overcome suffering, to dissolve it in the joy of everyday life, extracted from pain, in the harmony of the surrounding world. The poet rejoices along with all nature after the storm:

When, under a cloud, it’s transparent and clean,

The dawn will tell you that the day of bad weather has passed,

You won’t find a blade of grass and you won’t find a bush,

So that he does not cry and does not shine with happiness...

Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that charges people and their poems. Fet wrote to Lev Nikolaevich Tolstoy: “in a work of art, tension is a great thing.” It is not surprising that Fet’s lyrical plot unfolds at a time of greatest tension in man’s spiritual powers. The poem “Don’t wake her up at dawn” demonstrates just such a moment,” reflecting the heroine’s state:

And the brighter the moon shone,

And the louder the nightingale whistled,

She became paler and paler,

My heart beat more and more painfully.

In consonance with this verse is the appearance of another heroine: “You sang until dawn, exhausted in tears.” But Fet’s most striking masterpiece, which reflected an internal spiritual event in a person’s life, is the poem “Whisper, timid breathing...” In this poem there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the hero’s feelings and experiences is given, a change states of a soul in love, coloring the night date - namely, it is described in the poem - in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by the change in the appearance of the beloved. The last stanza is metaphorically complex, since it is the emotional climax of the poem:

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!...

Behind these unexpected images are hidden the features of the beloved, her lips, the sparkle of her smile. With this and other fresh poems, Fet is trying to prove that poetry is audacity, which claims to change the usual course of existence. In this regard, the verse “With one push can drive away a living boat...” is indicative. Its theme is the nature of the poet's inspiration. Creativity is seen as a high takeoff, a leap, an attempt to achieve the unattainable. Fet directly names his poetic guidelines:

Interrupt a dreary dream with a single sound,

Suddenly revel in the unknown, dear,

Give life a sigh, give sweetness to secret torments...

Another super-task of poetry is to consolidate the world in eternity, to reflect the random, elusive (“Instantly feel someone else’s as your own”). But in order for the images to reach the reader’s consciousness, a special, unique musicality is needed. Fet uses many sound writing techniques (alliteration, assonance), and Tchaikovsky even said: “Fet, in his best moments, goes beyond the limits indicated by poetry and boldly takes a step into our field.”

So what did Fet’s lyrics show us? He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this, he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”). Fet is not afraid of life after shocks, he believes and retains faith in the victory of art over time, in the immortality of a beautiful moment.

A. Fet's poems are pure poetry, in the sense that there is not a drop of prose. Usually he did not sing about hot feelings, despair, delight, lofty thoughts, no, he wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about momentary impressions. His poetry is joyful and bright, it is characterized by a feeling of light and peace. He even writes about his ruined love lightly and calmly, although his feeling is deep and fresh, as in the first minutes. Until the end of his life, Fet was not changed by the joy that permeates almost all of his poems.

The beauty, naturalness, and sincerity of his poetry reach complete perfection; his verse is amazingly expressive, imaginative, and musical. It is not for nothing that Tchaikovsky, Rimsky-Korsakov, Balakirev, Rachmaninov, and other composers turned to his poetry.

“Fet’s poetry is nature itself, looking mirror-like through the human soul...”

In traditional world and Russian lyrics, the theme of nature is one of the main, necessarily addressed topics. And Fet also reflects this theme in many of his poems. The theme of nature in his works is closely intertwined with love lyrics and with Fet’s characteristic theme of beauty, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly; the images of nature are general and not detailed:

Wonderful picture

How dear you are to me:

White plain,

Full moon...

When describing nature, poets of the 40s relied mainly on techniques characteristic of Heine, i.e. Instead of a coherent description, individual impressions were given. Many of Fet's early poems were considered "Heine" by critics. For example, “The midnight blizzard was noisy,” where the poet expresses the mood without psychological analysis of it and without clarifying the plot situation with which it is connected. The outside world is, as it were, colored by the moods of the lyrical “I”, enlivened, animated by them. This is how Fet’s characteristic humanization of nature appears; emotional expression, excited by nature, often appears; there are no bright and precise details that are so characteristic later, allowing one to judge the picture as a whole. Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Probably, his passion for landscape poetry at that time was influenced by his rapprochement with Turgenev. The phenomena of nature become more detailed, more specific than those of Fet’s predecessors, which is also characteristic of Turgenev’s prose of the day. Fet depicts not a birch tree in general, as a symbol of the Russian landscape, but a specific birch tree at the porch of his own house, not a road in general with its infinity and unpredictability, but that specific road that can be seen right now from the threshold of the house. Or, for example, in his poems there are not only traditional birds that have a clear symbolic meaning, but also birds such as harrier, owl, little scutum, sandpiper, lapwing, swift and others, each of which is shown in its own uniqueness:

Half hidden behind the cloud,

The moon doesn't dare shine during the day yet.

So the beetle took off and buzzed angrily,

Now the harrier swam by without moving its wing.

The landscapes of Turgenev and Fet are similar not only in the accuracy and subtlety of observations of natural phenomena, but also in sensations and images (for example, the image of a sleeping earth, “resting nature”). Fet, like Turgenev, strives to record and describe changes in nature. His observations can be easily grouped or, for example, in the depiction of the seasons, the period can be clearly defined. Is late autumn depicted:

The last flowers were about to die

And they waited with sadness for the breath of frost;

The maple leaves turned red around the edges,

The peas faded and the rose fell, -

or end of winter:

More fragrant spring bliss

She didn’t have time to come down to us,

The ravines are still full of snow,

Even before dawn the cart rattles

On the frozen path...

This can be easily understood, because... The description is given accurately and clearly. Fet likes to describe precisely a certain time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in “Spring Rain”). In the same way, it can be determined that Fet, for the most part, gives a description of the central regions of Russia.

The cycle of poems “Snow” and many poems from other cycles are dedicated to the nature of central Russia. According to Fet, this nature is beautiful, but not everyone is able to capture this dim beauty. He is not afraid to repeatedly repeat declarations of love for this nature, for the play of light and sound in it” to that natural circle, which the poet many times calls a shelter: “I love your sad shelter and the dull evening of the village...”. Fet always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are stitched together in the poet’s artistic world into a single and indivisible idea of beauty. He escapes from everyday life to “where thunderstorms fly by...” For Fet, nature is an object of artistic delight and aesthetic pleasure. She is man's best mentor and wise advisor. It is nature that helps solve the riddles and mysteries of human existence. In addition, for example, in the poem “Whisper, timid breathing...” the poet perfectly conveys instant sensations, and, alternating them, he conveys the state of the characters, in harmony with nature with the human soul, and the happiness of love:

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream....

Fet managed to convey the movements of the soul and nature without verbs, which undoubtedly was an innovation in Russian literature. But does he also have paintings in which verbs become the main supports, as, for example, in the poem “Evening”?

Sounded over the clear river,

It rang in a darkened meadow"

Rolled over the silent grove,

It lit up on the other side...

Such a transfer of what is happening speaks of another feature of Fet’s landscape lyrics: the main tonality is set by elusive impressions of sounds, smells, vague outlines, which are very difficult to convey in words. It is the combination of concrete observations with bold and unusual associations that allows us to clearly imagine the described picture of nature. We can also talk about the impressionism of Fet’s poetry; It is precisely with the bias towards impressionism that innovation in the depiction of natural phenomena is associated. More precisely, objects and phenomena are depicted by the poet as they appeared to his perception, as they seemed to him at the time of writing. And the description focuses not on the image itself, but on the impression it makes. Fet describes the apparent as real:

Over the lake the swan pulled the reeds,

The forest overturned in the water,

With the jagged peaks he sank at dawn,

Between two curving skies.

In general, the motif of “reflection in water” is found quite often in the poet’s work. Probably, an unsteady reflection provides more freedom to the artist’s imagination than the reflected object itself. Fet depicts the outside world as his mood gave it. For all its truthfulness and specificity, the description of nature primarily serves as a means of expressing lyrical feelings.

Usually A. Fet in his poems dwells on one figure, on one turn of feelings, and at the same time his poetry cannot be called monotonous; on the contrary, it amazes with its diversity and multitude of themes. The special charm of his poems, in addition to the content, lies precisely in the nature of the mood of the poetry. Fet's muse is light, airy, as if there is nothing earthly in it, although she tells us exactly about the earthly. There is almost no action in his poetry; each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your ray, flying far...,” “Motionless eyes, crazy eyes...”, “The sun’s ray between the linden trees...”, “I stretch out my hand to you in silence... " and etc.

The poet sang beauty where he saw it, and he found it everywhere. He was an artist with an exceptionally developed sense of beauty, which is probably why the pictures of nature in his poems are so beautiful, which he took as it is, without allowing any decorations of reality. The landscape of central Russia is clearly visible in his poems.

In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, and moods. It is thanks to this that the poet created amazing works that for so many years have amazed us with psychological precision, filigree precision. These include such poetic masterpieces as “Whisper, timid breathing...”, “I came to you with greetings... ", "Don't wake her up at dawn...", "Dawn bids farewell to the earth...".

Fet builds a picture of the world that he sees, feels, touches, hears. And in this world everything is important and significant: the clouds, the moon, the beetle, the harrier, the crake, the stars, and the Milky Way. Every bird, every flower, every tree and every blade of grass are not just components of the overall picture - they all have unique characteristics, even character. Let's pay attention to the poem "Butterfly":

You are right. With one airy outline

I'm so sweet.

All the velvet is mine with its living blinking -

Only two wings.

Don't ask: where did it come from?

Where am I hurrying?

Here I lightly sank onto a flower

And here I am breathing.

For how long, without purpose, without effort,

Do I want to breathe?

Just now, sparkling, I will spread my wings

Fet's “sense of nature” is universal. It is almost impossible to highlight Fet's purely landscape lyrics without breaking ties with its vital organ - the human personality, subject to the general laws of natural life.

Defining the quality of his worldview, Fet wrote: “Only man, and only he alone in the entire universe, feels the need to ask: what is the surrounding nature? Where does all this come from? What is he himself? Where? Where? For what? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him.” “Nature created this poet in order to eavesdrop on itself, spy on it and understand itself. In order to find out what a person, her brainchild, thinks about her, nature, how he perceives her. Nature created Fet in order to find out how the sensitive human soul perceives it” (L. Ozerov).

Fet's relationship with nature is a complete dissolution in its world, a state of anxious anticipation of a miracle:

I'm waiting... Nightingale echo

Rushing from the shining river,

Grass under the moon in diamonds,

Fireflies burn on caraway seeds.

I'm waiting... Dark blue sky

In both small and large stars,

I can hear the heartbeat

And trembling in the arms and legs.

I'm waiting... There's a breeze from the south;

It’s warm for me to stand and walk;

The star rolled to the west...

Sorry, golden one, sorry!

Let us turn to one of Fet's most famous poems, which at one time brought the author a lot of grief, causing the delight of some, confusion of others, numerous ridicule of adherents of traditional poetry - in general, a whole literary scandal. This little poem became for democratic critics the embodiment of the idea of the emptiness and lack of ideas of poetry. More than thirty parodies have been written on this poem. Here it is:

Whisper, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy Creek

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!...

A feeling of movement, dynamic changes occurring not only in nature, but also in the human soul is immediately created. Meanwhile, there is not a single verb in the poem. And how much joyful rapture of love and life there is in this poem! It is no coincidence that Fet’s favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:

At night it’s somehow easier for me to breathe,

Somehow more spacious...

the poet admits. He can speak to the night, he addresses it as a living creature, close and dear:

Hello! a thousand times my greetings to you, night!

Again and again I love you

Quiet, warm,

Silver-edged!

Timidly, after putting out the candle, I go to the window...

You can't see me, but I see everything myself...

The poems of A. A. Fet are loved in our country. Time has unconditionally confirmed the value of his poetry, showing that we, the people of the 20th century, need it, because it touches the innermost strings of the soul and reveals the beauty of the world around us.

Fet's aesthetic views

Aesthetics is the science of beauty. And the poet’s views on what is beautiful in this life are formed under the influence of a variety of circumstances. Here everything plays its own special role - the conditions in which the poet spent his childhood, which shaped his ideas about life and beauty, and the influence of teachers, books, favorite authors and thinkers, and the level of education, and the conditions of his entire subsequent life. Therefore, we can say that Fet’s aesthetics are a reflection of the tragedy of the duality of his life and poetic destiny.

So Polonsky very correctly and accurately defined the confrontation between two worlds - the everyday world and the poetic world, which the poet not only felt, but also declared as a given. “My ideal world was destroyed a long time ago...” Fet admitted back in 1850. And in place of this destroyed ideal world, he erected another world - a purely real, everyday one, filled with prosaic affairs and concerns aimed at achieving a far from lofty poetic goal. And this world unbearably weighed on the poet’s soul, not letting go of his mind for a minute. It is in this duality of existence that Fet’s aesthetics is formed, the main principle of which he formulated for himself once and for all and never deviated from it: poetry and life are incompatible, and they will never merge. Fet was convinced; to live for life means to die for art, to be resurrected for art means to die for life. That is why, immersed in economic affairs, Fet left literature for many years.

Life is hard work, oppressive melancholy and

suffering:

To suffer, to suffer for the whole century, aimlessly, without compensation,

Try to fill the emptiness and look,

As with every new attempt the abyss becomes deeper,

Again go crazy, strive and suffer.

In understanding the relationship between life and art, Fet proceeded from the teachings of his favorite German philosopher Schopenhauer, whose book “The World as Will and Representation” he translated into Russian.

Schopenhauer argued that our world is the worst of all possible worlds,” that suffering is an inevitable part of life. This world is nothing more than an arena of tortured and intimidated creatures, and the only possible way out of this world is death, which gives rise to an apology for suicide in Schopenhauer's ethics. Based on the teachings of Schopenhauer, and even before meeting him, Fet never tired of repeating that life in general is base, meaningless, boring, that its main content is suffering and there is only one mysterious, incomprehensible sphere of true, pure joy in this world of sorrow and boredom - the sphere of beauty, a special world,

Where storms fly by

Where the passionate thought is pure, -

And only visibly to the initiates

Spring blossoms and beauty

(“What sadness! The end of the alley...”)

The poetic state is a cleansing from everything too human, an exit into the open space from the narrowness of life, an awakening from sleep, but above all, poetry is the overcoming of suffering. Fet speaks about this in his poetic manifesto “Muse”, the epigraph of which is Pushkin’s words “We were born for inspiration, For sweet sounds and prayers.”

Fet says about himself as a poet:

Cherishing captivating dreams in reality,

By His Divine Power

I call for high pleasure

And to human happiness.

The key images of this poem and Fet’s entire aesthetic system are the words “Divine power” and “high pleasure.” Possessing enormous power over the human soul, truly Divine, poetry is capable of transforming life, cleansing the human soul of everything earthly and superficial, only it is capable of “giving life a sigh, giving sweetness to secret torments.”

According to Fet, the eternal object of art is beauty. “The world in all its parts,” Fet wrote, “is equally beautiful. Beauty is spread throughout the universe. The entire poetic world of A. Fet is located in this area of beauty and fluctuates between three peaks - nature, love and creativity. All these three poetic objects not only come into contact with each other, but are also closely interconnected, penetrate each other, forming a single fused artistic world - Fetov’s universe of beauty, the sun of which is the harmonic, diffused in everything, hidden for the ordinary eye, but sensitively perceived by the poet’s sixth sense the essence of the world is music. According to L. Ozerov, “Russian lyricism found in Fet one of the most musically gifted masters. Written on paper in letters, his lyrics sound like notes, though for those who know how to read these notes

Fet's words were composed by Tchaikovsky and Taneyev, Rimsky-Korsakov and Grechaninov, Arensky and Spendiarov, Rebikov and Viardot-Garcia, Varlamov and Konyus, Balakirev and Rachmaninov, Zolotarev and Goldenweiser, Napravnik and Kalinnikov and many, many others. The number of musical opuses is measured in hundreds.”

Motives of love in Fet's lyrics.

In his later years, Fet “lit the evening lights” and lived with the dreams of his youth. Thoughts about the past did not leave him, and visited him at the most unexpected moments. The slightest external reason was enough, say, the sound of words similar to those spoken long ago, the glimpse of a dress on a dam or in an alley, similar to what was seen on it in those days.

This happened thirty years ago. In the Kherson outback he met a girl. Her name was Maria, she was twenty-four years old, he was twenty-eight. Her father, Kozma Lazic, is a Serb by origin, a descendant of those two hundred of his fellow tribesmen who in the middle of the 18th century moved to the south of Russia along with Ivan Horvat, who founded the first military settlement here in Novorossiya. Of the daughters of retired general Lazic, the eldest Nadezhda, graceful and playful, an excellent dancer, had bright beauty and a cheerful disposition. But it was not she who captivated the heart of the young cuirassier Fet, but the less flashy Maria.

A tall, slender brunette, reserved, not to say strict, she was, however, inferior to her sister in everything, but surpassed her in the luxury of her black, thick hair. This must have been what made Fet pay attention to her, who valued hair in the beauty of women, as many lines of his poems convince.

Usually not participating in noisy fun in the house of her uncle Petkovich, where she often visited and where young people gathered, Maria preferred to play for those dancing on the piano, because she was an excellent musician, which Franz Liszt himself noted when he once heard her play.

Having spoken to Maria, Fet was amazed at how extensive her knowledge of literature was, especially poetry. In addition, she turned out to be a long-time fan of his own work. It was unexpected and pleasant. But the main “field of rapprochement” was George Sand with her charming language, inspired descriptions of nature and completely new, unprecedented relationships between lovers. Nothing brings people together like art in general—poetry in the broad sense of the word. Such unanimity is poetry in itself. People become more sensitive and feel and understand something that no words are enough to fully explain.

“There was no doubt,” Afanasy Afanasyevich would recall in his later life, “that she had long understood the sincere trepidation with which I entered her sympathetic atmosphere. I also realized that words and silence in this case are equivalent.”

In a word, a deep feeling flared up between them, and Fet, filled with it, writes to his friend: “I met a girl - a wonderful home, education, I was not looking for her - she was me, but fate - and we found out that we would be very happy after various everyday storms, if only they could live peacefully without any claims to anything. We said this to each other, but for this it is necessary somehow and somewhere? You know my means, she has nothing either...”

The material issue has become the main stumbling block on the path to happiness. Fet believed that the most painful grief in the present does not give them the right to go to the inevitable grief of the rest of their lives - since there will be no prosperity.

Nevertheless, their conversations continued. Sometimes everyone would leave, it would be past midnight, and they couldn’t talk enough. They sit on the sofa in the alcove of the living room and talk, talk in the dim light of a colored lantern, but they never talk about their mutual feelings.

Their conversations in a secluded corner did not go unnoticed. Fet felt responsible for the girl’s honor - after all, he is not a boy who gets carried away by the moment, and was very afraid of putting her in an unfavorable light.

And then one day, in order to burn the ships of their mutual hopes at once, he gathered his courage and bluntly expressed to her his thoughts about the fact that he considered marriage impossible for himself. To which she replied that she liked to talk with him, without any encroachment on his freedom. As for people’s rumors, I especially don’t intend to deprive myself of the happiness of communicating with him because of gossip.

“I will not marry Lazic,” he writes to a friend, “and she knows this, and yet she begs not to interrupt our relationship, she is purer than snow in front of me - interrupt indelicately and not interrupt indelicately - she is a girl - Solomon is needed.” A wise decision was needed.

And a strange thing: Fet, who himself considered indecision the main trait of his character, suddenly showed firmness. However, was it really so unexpected? If we remember his own words that the school of life, which kept him in check all the time, developed reflection in him to the extreme and he never allowed himself to take a step thoughtlessly, then this decision of his will become clearer. Those who knew Fet well, for example, L. Tolstoy, noted his “attachment to everyday things,” his practicality and utilitarianism. It would be more accurate to say that the earthly and the spiritual fought in him, the mind fought with the heart, often prevailing. It was a difficult struggle with his own soul, deeply hidden from prying eyes, as he himself said, “the rape of idealism into a vulgar life.”

So, Fet decided to end his relationship with Maria, which he wrote to her about. In response came “the most friendly and reassuring letter.” This, it seemed, ended the time of “spring of his soul.” After some time, he was told the terrible news. Maria Lazic died tragically. She died a terrible death, the mystery of which has not yet been revealed. There is reason to think, as D.D. Blagoy believes, for example, that the girl committed suicide. He saw her with some special power of love, almost with physical and mental closeness, and he realized more and more clearly that the happiness that he experienced then was so much that it was scary and sinful to desire and ask God for more.

In one of his most beloved poems, Fet wrote:

I dare to mentally caress,

Awaken your dream with the strength of your heart

And with bliss, timid and sad

Remember your love.

Natural and human in fusion give harmony and a sense of beauty. Fet's lyrics inspire love for life, for its origins, for the simple joys of existence. Over the years, getting rid of the poetic cliches of time, Fet asserts himself in his lyrical mission as a singer of love and nature. The morning of the day and the morning of the year remain symbols of Fetov's lyrics.

The image of love-memories in Fet's lyrics

A. Fet's love lyrics are a very unique phenomenon, since almost all of them are addressed to one woman - Fet's beloved Maria Lazic, who died untimely, and this gives it a special emotional flavor.

The death of Mary completely poisoned the already “bitter” life of the poet - his poems tell us about this. “The enthusiastic singer of love and beauty did not follow his feelings. But the feeling experienced by Fet passed through his entire life until he was very old. Love for Lazic vengefully broke through into Fet’s lyrics, giving it drama, confessional looseness and removing from it the shade of idyllicity and tenderness.”

Maria Lazic died in 1850, and the more than forty years that the poet lived without her were filled with bitter memories of his “burnt love.” Moreover, this metaphor, traditional for denoting a departed feeling, in Fet’s mind and lyrics was filled with quite real and therefore even more terrible content.

For the last time your image is cute

I dare to mentally caress,

Awaken your dream with the strength of your heart

And with bliss, timid and sad

Remembering your love...

What fate could not unite, poetry united, and in his poems Fet again and again turns to his beloved as a living being, listening to him with love,

What a genius you are, unexpected, slender,

A light flew from heaven to me,

She calmed my restless mind,

She attracted my eyes to my face.

The poems of this group are distinguished by a special emotional flavor: they are filled with joy, rapture, and delight. The image of love-experience, often merged with the image of nature, dominates here. Fet's lyrics become the embodied memory of Mary, a monument, a “living statue” of the poet’s love. A tragic shade is given to Fet's love lyrics by the motives of guilt and punishment, which are clearly heard in many poems.

For a long time I dreamed of the cries of your sobs, -

For a long, long time I dreamed of that joyful moment,

As I, the unfortunate executioner, begged you...

You gave me your hand and asked: “Are you coming?”

I just noticed two drops of tears in my eyes;

These sparkles in the eyes and cold trembling

I endured sleepless nights forever.

The stable and infinitely varied motif of love and burning in Fet’s love lyrics is noteworthy. Truly burned, Maria Lazic also scorched the poetry of her lover. “No matter what he wrote about, even in poems addressed to other women, her image, her short life, burned with love, is vindictively present. No matter how banal this image or its verbal expression may sometimes be, Fet’s work is convincing. Moreover, it forms the basis of his love lyrics."

The lyrical hero calls himself an “executioner,” thereby emphasizing his awareness of his guilt. But he is an “unhappy” executioner, because, having destroyed his beloved, he also destroyed himself, his own life. And therefore, in love lyrics, next to the image of love-memory, the motif of death persistently sounds as the only opportunity not only to atone for one’s guilt, but also to reunite with one’s beloved. Only death can return what life has taken away:

Those eyes are gone - and I’m not afraid of coffins,

I envy your silence,

And, without judging either stupidity or malice,

Hurry, hurry into your oblivion!

Life lost its meaning for the hero, turning into a chain of suffering and loss, into a “bitter”, “poisoned” cup, which he had to drink to the bottom. In Fet's lyrics, an inherently tragic opposition arises between two images - the lyrical hero and heroine. He is alive, but dead in soul, and she, long dead, lives in his memory and in poetry. And he will remain faithful to this memory until the end of his days.

Perhaps Fet's love lyrics are the only area of the poet's work in which his life impressions are reflected. This is probably why poems about love are so different from those dedicated to nature. They do not have that joy, the feeling of happiness in life that we will see in Fet’s landscape lyrics. As L. Ozerov wrote, “Fet’s love lyrics are the most inflamed zone of his experiences. Here he is not afraid of anything: neither self-condemnation, nor curses from the outside, nor direct speech, nor indirect, nor forte, nor pianissimo. Here the lyricist judges himself. Goes to execution. Burns himself."

Features of impressionism in Fet's lyrics

Impressionism is a special movement in the art of the 19th century, which emerged in French painting in the 70s. Impressionism means impression, that is, an image not of an object as such, but of the impression that this object produces, the artist’s recording of his subjective observations and impressions of reality, changeable sensations and experiences. A special feature of this style was “the desire to convey the subject in sketchy strokes that instantly capture every sensation.”

Fet's desire to show the phenomenon in all the diversity of its changeable forms brings the poet closer to impressionism. Vigilantly peering into the outside world and showing it as it appears at the moment, Fet develops completely new techniques for poetry, an impressionistic style.

He is interested not so much in the object as in the impression made by the object. Fet depicts the outside world in a form that corresponds to the poet’s momentary mood. Despite all the truthfulness and specificity, descriptions of nature primarily serve as a means of expressing lyrical feelings.

Fet's innovation was so bold that many contemporaries did not understand his poems. During Fet's lifetime, his poetry did not find the proper response from his contemporaries. Only the twentieth century truly discovered Fet, his amazing poetry, which gives us the joy of recognizing the world, knowing its harmony and perfection.

“For everyone who touches Fet’s lyrics a century after its creation, what is important, first of all, is its spirituality, spiritual attentiveness, the unspentness of the young forces of life, the trembling of spring and the transparent wisdom of autumn,” wrote L. Ozerov. - You read Fet - and you give up: your whole life is still ahead of you. The day ahead promises so much good. Worth living! This is Fet.

In a poem written in September 1892 - two months before his death - Fet admits:

The thought is fresh, the soul is free;

Every moment I want to say:

"It's me!" But I'm silent.

Is the poet silent? No. His poetry speaks."

Bibliography

R. S. Belausov “Russian love lyrics” printed at the Kurskaya Pravda printing house - 1986.

G. Aslanova “Captive of legends and fantasies” 1997. Vol. 5.

M. L. Gasparov “Selected Works” Moscow. 1997. T.2

A. V. Druzhinin “Beautiful and Eternal” Moscow. 1989.

V. Solovyov “The Meaning of Love” Selected Works. Moscow. 1991.

I. Sukhikh “The Myth of Fet: Moment and Eternity // Zvezda” 1995. No. 11.

The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the civic orientation of poetry and prose. Fet was out of politics.

But if we remember Tyutchev’s lyrics, then they consider human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The poet’s landscape is distinguished by calmness and peace. But perhaps this is the external side? Indeed, if you look closely, Fet’s lyrics are filled with drama and philosophical depth, which have always distinguished “great” poets from ephemeral authors. One of the main Fet themes is the tragedy of unrequited love. Poems on this topic reveal the facts of Fet’s biography, or more precisely, the fact that he survived the death of his beloved woman. Poems related to this topic have rightly received the name “monologues to the deceased” (.. You suffered, I still suffer..)

Other poems of the poet are intertwined with this tragic motif, the titles of which eloquently speak about the theme: “Death”, “Life flashed by without an obvious trace”, “Simply in the darkness of memories...” The illusion of well-being is created by the poet’s desire to overcome suffering, to dissolve it in the joy of everyday life, extracted from pain, in the harmony of the surrounding world.

Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that charges people and their poems. The poem “Don’t wake her up at dawn” demonstrates just such a moment,” reflecting the heroine’s state:

And the brighter the moon shone,

And the louder the nightingale whistled,

She became paler and paler,

My heart beat more and more painfully.

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!...

“With one push, drive away a living boat...” Its theme is the nature of the poet's inspiration. Creativity is seen as a high takeoff, a leap, an attempt to achieve the unattainable. Fet directly names his poetic guidelines:

Interrupt a dreary dream with a single sound,

Suddenly revel in the unknown, dear,

Give life a sigh, give sweetness to secret torments...

He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this, he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”).

he wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about momentary impressions. His poetry is joyful and bright, it is characterized by a feeling of light and peace. He even writes about his ruined love lightly and calmly, although his feeling is deep and fresh, as in the first minutes.

The theme of nature in his works is closely intertwined with love lyrics and with Fet’s characteristic theme of beauty, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly; the images of nature are general and not detailed:

Wonderful picture

How dear you are to me:

White plain,

Full moon...

When describing nature, poets of the 40s relied mainly on techniques characteristic of Heine, i.e. Instead of a coherent description, individual impressions were given. For example, “The midnight blizzard was noisy,” where the poet expresses the mood without psychological analysis of it and without clarifying the plot. The outside world is, as it were, colored by the moods of the lyrical “I”. This is how Fet’s characteristic humanization of nature appears.

Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Natural phenomena become more detailed and specific. Fet depicts not a birch tree in general, as a symbol of the Russian landscape, but a specific birch tree at the porch of his own house, not a road in general with its infinity and unpredictability, but that specific road that can be seen right now from the threshold of the house.

His observations can be easily grouped or, for example, in the depiction of the seasons, the period can be clearly defined (late or early autumn)

Fet always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are stitched together in the poet’s artistic world into a single and indivisible idea of beauty. He escapes from everyday life to “where thunderstorms fly by...” For Fet, nature is an object of artistic delight and aesthetic pleasure.

“Whisper, timid breathing...” the poet perfectly conveys instant sensations, and, alternating them, he conveys the state of the characters, in harmony with nature with the human soul, and the happiness of love:

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream....

Sounded over the clear river,

It rang in a darkened meadow"

Rolled over the silent grove,

It lit up on the other side...

There is almost no action in his poetry; each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your ray, flying far...,” “Motionless eyes, crazy eyes...”, “The sun’s ray between the linden trees...”, “I stretch out my hand to you in silence... " and etc.

The poet sang beauty where he saw it, and he found it everywhere.

In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, and moods. “Whisper, timid breathing...”, “I came to you with greetings...”, “At dawn, don’t wake her...”, “Dawn bids farewell to the earth...”.

It is no coincidence that Fet’s favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:

At night it’s somehow easier for me to breathe,

Somehow more spacious...

The key images of Fet’s entire aesthetic system are the words “Divine power” and “high pleasure.” poetry can transform life, cleanse the human soul of everything earthly and superficial

According to Fet, the eternal object of art is beauty.

The image of love-memories in Fet's lyrics

Love for Lazic vengefully broke through into Fet’s lyrics, giving it drama, confessional looseness and removing from it the shade of idyllicity and tenderness.”

A tragic shade is given to Fet's love lyrics by the motives of guilt and punishment, which are clearly heard in many poems.

Fet feels himself and his beloved (his “second self”) inseparably merged in another existence, which actually continues in the world of poetry: “And although I am destined to drag out life without you, we are together with you, we cannot be separated.” (“Alter ego.”) The poet constantly feels spiritual closeness with his beloved. The poems “You have suffered, I still suffer...”, “In the silence and darkness of a mysterious night...” are about this. He makes a solemn promise to his beloved: “I will carry your light through earthly life: it is mine - and with it a double existence” (“Tangibly, invitingly and in vain...”).

The poet speaks directly about “double existence”, that his earthly life will only help him endure the “immortality” of his beloved, that she is alive in his soul.

Fet was aware of the inaccuracy of his poetic word, its closeness to the living, sometimes seeming not entirely correct, but that made his speech especially bright and expressive (I came to you with greetings).

Inaccurate words and seemingly sloppy, “disheveled” expressions in Fet’s poems create not only unexpected, but also bright, exciting images. One gets the impression that the poet doesn’t seem to deliberately think about the words; they came to him on their own.

Fet was always attracted to the poetic theme of evening and night. The poet early developed a special aesthetic attitude towards the night and the onset of darkness. At the new stage of his creativity, he already began to call entire collections “Evening Lights”, in them, as it were, a special, Fetov philosophy of the night.

In Fet’s “night poetry” a complex of associations is revealed: night - abyss - shadows - sleep - visions - secret, intimate - love - the unity of the “night soul” of a person with the night element. This image receives philosophical deepening and a new second meaning in his poems; in the content of the poem a symbolic second plane appears. His association “night-abyss” takes on a philosophical and poetic perspective. She begins to get closer to human life. The abyss is an airy road - the path of human life.

MAY NIGHT

The May night promises happiness, a person flies through life in pursuit of happiness, the night is an abyss, a person flies into the abyss, into eternity.

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

Fet imagines the night hours as revealing the secrets of the universe. The poet's nocturnal insight allows him to look “from time to eternity,” he sees “the living altar of the universe.”

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 its image as the embodiment of a peculiar beauty.

For Feta the philosopher, night represents the basis of world existence, it is the source of life and the keeper of the secret of “double existence”, the kinship of man with the universe, for him it is the knot of all living and spiritual connections.

The main themes of feta lyrics table. The main themes and ideas of A.A.’s lyrics Feta. Deprivation of a noble title

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