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Beauty is spread throughout the entire universe...”, said the poet. For Fet, nature becomes a means of expressing a lyrical feeling of delight and pleasure.

The creation of beautiful poems about love is explained not only by the divine gift and special talent of the poet. In the case of Fet, it also has a real autobiographical background. Fet's inspiration was the love of his youth - the daughter of a Serbian landowner, Maria Lazic. Their love was as high and unquenchable as it was tragic. Lazic knew that Fet would never marry her, nevertheless, her last words before her death were the exclamation: “It’s not he who is to blame, but me!” The circumstances of her death have not been clarified, as have the circumstances of Fet’s birth, but there is reason to believe that it was suicide. The consciousness of indirect guilt and the severity of the loss weighed on Fet throughout his life, and the result of this was a dual world, something akin to the dual world of Zhukovsky. Contemporaries noted Fet's coldness, prudence and even some cruelty in everyday life. But what a contrast this makes with Fet’s other world - the world of his lyrical experiences, embodied in his poems. All his life Zhukovsky believed in connecting with Masha Protasova in another world, he lived with these memories. Fet is also immersed in his own world, because only in it is unity with his beloved possible. 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 help him endure only the “immortality” of his beloved, that she is alive in his soul. Indeed, for the poet, the image of his beloved woman throughout his life was not only a beautiful and long-gone ideal of another world, but also a moral judge of his earthly life. In the poem “Dream,” also dedicated to Maria Lazic, this is felt especially clearly. The poem has an autobiographical basis; Lieutenant Losev is easily recognizable as Fet himself, and the medieval house where he stayed also has its prototype in Dorpat. The comic description of the “club of devils” gives way to a certain moralizing aspect: the lieutenant hesitates in his choice, and he is reminded of a completely different image - the image of his long-dead beloved. He turns to her for advice: “Oh, what would you say, I dare not name who with these sinful thoughts.”

The literary critic Blagoy, in his research, points out the correspondence of these lines to the words of Virgil to Dante that “as a pagan, he cannot accompany him to heaven, and Beatrice is given to him as a companion.” The image of Maria Lazic (and this is undoubtedly her) for Fet is a moral ideal; the poet’s whole life is a desire for an ideal and hope for reunification.

But Fet’s love lyrics are filled not only with a feeling of hope and hope. She is also deeply tragic. The feeling of love is very contradictory; it is not only joy, but also torment and suffering. In poems there are often combinations such as joy - suffering, “the bliss of suffering”, “the sweetness of secret torment”. The poem “Don't wake her up at dawn” is filled with such a double meaning. At first glance, we see a serene picture of a girl’s morning sleep. But already the second quatrain conveys some kind of tension and destroys this serenity: “And her pillow is hot, and her weary sleep is hot.” The appearance of “strange” epithets, such as “tiring sleep,” no longer indicates serenity, but some kind of painful state close to delirium. The reason for this state is further explained, the poem reaches its climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and suddenly the last quatrain completely changes the picture, leaving the reader in bewilderment: “Don’t wake her, don’t wake her, at dawn she sleeps so sweetly.” These lines provide a contrast with the middle of the poem and return us to the harmony of the first lines, but on a new turn. The call “don’t wake her up” sounds almost hysterical, like a cry from the soul. The same impulse of passion is felt in the poem “The night was shining, the garden was full of the moon...”, dedicated to Tatyana Bers. The tension is emphasized by the refrain: “Love you, hug you and cry over you.” In this poem, the quiet picture of the night garden gives way to and contrasts with the storm in the poet’s soul: “The piano was all open and the strings in it trembled, just like our hearts behind your song.”

The “languorous and boring” life is contrasted with the “burning torment of the heart”; the purpose of life is concentrated in a single impulse of the soul, even if in it it burns to the ground. For Fet, love is a fire, just like poetry is a flame in which the soul burns. “Didn’t anything whisper to you at that time: a man was burned there!” - Fet exclaims in the poem “When you read the painful lines...”. It seems to me that Fet could have said the same thing about the torment of love experiences. But once “burned out,” that is, having experienced true love, Fet is nevertheless not devastated, and throughout his life he retained in his memory the freshness of these feelings and the image of his beloved.

Fet was once asked how, at his age, he could write about love so youthfully? He answered: from memory. Blagoy says that “Fet is distinguished by an exceptionally strong poetic memory,” and cites the example of the poem “On the Swing,” the impetus for writing which was a memory 40 years ago (the poem was written in 1890). “Forty years ago I was swinging on a swing with a girl, standing on a board, and her dress was flapping in the wind,” Fet writes in a letter to Polonsky. Such a “sound detail” (Blagoy), like a dress that “crackled in the wind,” is most memorable for the poet-musician. All of Fet's poetry is built on sounds, modulations and sound images. Turgenev spoke about Fet, that he expected a poem from him, last lines which will have to be conveyed only by the silent movement of the lips. A striking example The poem “Whisper, timid breathing...”, which is built on only nouns and adjectives, without a single verb, can serve. Commas and exclamation marks also convey the splendor and tension of the moment with realistic specificity. This poem creates a point image, which, when viewed closely, gives chaos, “a series of magical” “changes” elusive to the human eye, and in the distance - an accurate picture. Fet, as an impressionist, bases his poetry, and in particular the description of love experiences and memories, on the direct recording of his subjective observations and impressions. Condensation, but not mixing of colorful strokes, as in Monet’s paintings, gives the description of love experiences a culmination and extreme clarity to the image of the beloved. What is she like?

“I know your passion for hair,” Grigoriev tells Fet about his story “Cactus.” This passion is manifested more than once in Fetov’s poems: “I love to look at your long lock of hair,” “golden fleece of curls,” “braids running in a heavy knot,” “strand fluffy hair" and "braids with tape on both sides." Although these descriptions are somewhat general character, nevertheless, a fairly clear image is created beautiful girl. Fet describes her eyes a little differently. Either this is a “radiant gaze”, or “motionless eyes, crazy eyes” (similar to Tyutchev’s poem “I knew my eyes, oh these eyes”). “Your gaze is open and fearless,” writes Fet, and in the same poem he talks about “thin lines of the ideal.” For Fet, his beloved is a moral judge and ideal. She has great power over the poet throughout his life, although already in 1850, shortly after Lazic’s death, Fet writes: “My ideal world was destroyed long ago.” The influence of the beloved woman on the poet is also felt in the poem “For a long time I dreamed of the cries of your sobs.” The poet calls himself an “unhappy executioner,” he acutely feels his guilt for the death of his beloved, and the punishment for this was “two drops of tears” and “cold trembling,” which he endured forever during “sleepless nights.” This poem is painted in Tyutchev's tones and incorporates Tyutchev's drama.

The biographies of these two poets are similar in many ways - they both experienced the death of their beloved woman, and the immense longing for what was lost provided food for the creation of beautiful love poems. In the case of Fet, this fact seems most strange - how can you first ruin a girl, and then write sublime poems about her all your life? It seems to me that the loss made such a deep impression on Fet that the poet experienced a kind of catharsis, and the result of this suffering was Fet’s genius - he was admitted to the high sphere of poetry, his entire description of his favorite experiences and the feeling of the tragedy of love affects the reader so strongly because that Fet himself experienced them, and his creative genius put these experiences into poetic form. Only the power of poetry was able to convey them, following Tyutchev’s saying: a thought expressed is a lie. Fet himself repeatedly speaks about the power of poetry: “How rich I am in crazy verses.”

Fet's love lyrics make it possible to penetrate deeper into his general philosophical, and, accordingly, aesthetic views, as Blagoy says, “in his solution to the fundamental question of the relationship between art and reality.” Love, just like poetry, according to Fet, refers to another, other world, which is dear and close to Fet. In his poems about love, Fet acted “not as a militant preacher of pure art in opposition to the sixties, but created his own and self-valuable world” (Blagoy). And this world is filled with true experiences, the poet’s spiritual aspirations and a deep sense of hope, reflected in the poet’s love lyrics.

Afanasy Afanasyevich Fet (1820 - 1892) – poet, translator. He began writing his first poems in his youth. First published in the collection “Lyrical Pantheon” in 1840.

Features of poetry:

- glorifies the beauty and uniqueness of every moment human life, the unity of nature and man, personality and the universe

- the functions of a landscape are universal: they are just sketches, a complete picture of the universe, and a tiny detail of the familiar world

-the world is full of rustles, sounds that a person with a less refined soul cannot hear

-it is difficult to determine the addressee of the poems; the focus is on the lyrical hero himself

Fet's images of the hero and heroine are completely devoid of everyday life, mundaneness, and social certainty; they are filled with love, melody, and special tact. All the poetry of A. A. Fet is filled with melody, a special rhythm, tact, his verse flows like a song that you want to sing again and again. Regarding the poets of “pure” art, Fet dedicated most of his works to love, nature and art. The close interweaving of these motifs gives us the opportunity to feel all the beauty, spirituality, lyricism of the feelings of a person in love, a person madly in love with his country, nature, and the world around him. (“Shined night ", "Learn from them").

L. Tolstoy spoke about Fet’s “poetic audacity,” who was delighted by Fet’s poems. One cannot help but feel in his exclamation the emotional excitement caused by Fet’s poetic talent and familiar to everyone who has at least once come into contact with Fet’s muse. The source of Fet's lyrical audacity, purity, sincerity, freshness and unfading youth of his poetry is in the unquenchable and bright flame that almighty nature endowed him with.

Impressionism means impression, that is, an image not of an object as such, but of the impression that this object produces. Fet's desire to show the phenomenon in all the diversity of its changeable forms brings the poet closer to impressionism.He is interested not so much in the object as in the impression made by the object.Despite all the truthfulness and specificity, descriptions of nature primarily serve as a means of expressing lyrical feelings.

Fet believed that the purpose of a poet is to “embody the unembodied.” He understood that the poet sees what is inaccessible to an ordinary person, sees as ordinary person can't do it without prompting. Where the first sees grass, the poet contemplates diamonds. Only a poet is able to embody in words spring, autumn, wind, sunset, hope, faith, love.

Creativity A.A. Feta stands in stark contrast to his biography. In poetry, Afanasy Fet appears as a champion of “pure art”: he considered only the beautiful, far from everyday life, worthy of a poetic pen; Only such themes as the beauty of nature, sublime love, the high purpose of creativity, according to the poet, should be the subject of art. “I have never been able to understand that art is interested in anything other than beauty”, - admitted Afanasy Afanasyevich. This position is most fully presented in the poem “Muse”, the epigraph to which the author took the lines of A.S. Pushkin - “Not for everyday worries, not for self-interest, not for battles, We were born for inspiration, For sweet sounds and prayers”: Cherishing captivating dreams in reality, With my Divine power I call to high pleasure And to human happiness.” The poem “Muse” is echoed by the lines of another work by Fet: ...Inevitably, Passionately, tenderly Trust, Without effort With the splash of wings To fly - Into the world of aspirations, Adoration and prayers; I sense joy, I don’t want, Your battles. (December 31, 1889) The soul of a person, especially a poet, knows how to feel beauty, despite the hardships and suffering that befall him in everyday life: ...Even if, by the will of fate, Tormented, deeply offended, The soul is sometimes immersed in sleep; But as soon as spiritual beauty touches Tired eyes, the immortal will wake up and tremble sonorously, like a string. As we see, beauty, according to Fet, has transformative power. Beauty contained in art is capable of transforming the world, expressing the inexpressible: To whisper about something that makes the tongue go numb, To intensify the battle of fearless hearts - This is what only a chosen singer can master, This is his sign and crown! (“With one push to drive away a living boat...”, 1887) Despite the sad confession “How poor our language is!..”, the poet is confident in people’s ability to understand each other. For Fet, the means of communication between soul and soul is not only the word, but also music. It is no coincidence that Fet emphasized that poetry and music “not only related, but inseparable”. From sounds, according to the poet, the music of infinity is formed (“The Night Shined,” “Melodies,” “Chopin,” etc.). Another idea - about the possibility of a harmonious fusion of man with nature - is presented in landscape lyrics Feta: Night and I, we both breathe, The air is drunk with linden blossom, And, silent, we hear, What, as we sway with our stream, The fountain brings to us. The symbol of spiritual connection with nature in Fet’s poetry becomes the image of a blooming heart: Night flowers sleep all day long, But as soon as the sun sets behind the grove, the leaves quietly open, And I hear my heart bloom. Nature is not indifferent to human life; it is able to understand him, because... she has access to the same experiences as the lyrical hero: "covered with vivid dreams", roses are dozing, "pray" stars, "burst into tears" autumn night with icy tears. Poems about nature express faith in its boundless possibilities (“Lonely Oak”, “I will go towards them along a familiar path”, “Learn from them - from the oak, from the birch”, etc.). Fetov’s landscape is symbolic: times years correspond to periods of human life (autumn - old age, spring - youth). Fet strove to depict transitional states of nature, his landscape is dynamic and detailed: The fragrant bliss of spring has not yet descended upon us, The ravines are still full of snow, The cart is still rattling on the frozen road at dawn. The sun is barely warm at noon, The linden tree in the heights turns red, Through it, the birch tree turns a little yellow, And the nightingale does not yet dare to sing in the currant bush. But revival there is living news already in the migrating cranes, And, seeing them off with her eyes, a steppe beauty stands with a bluish blush on her cheeks. (1854) In Fet’s poems about nature we find a whole range of moods: delight and intoxication with beauty, happiness from the feeling of the fullness of being and gratitude to the native land, awareness of the fragility, fleetingness of beauty (“I came to you with greetings...”, “This morning, this joy”, “May Night”, etc.). Its central images landscape lyrics- spring, night: Spring and night have covered the valley, The soul runs into sleepless darkness, And it clearly hears the verb of Elemental life, detached. And unearthly existence carries on its conversation with the soul and blows directly on it with its eternal stream... (“Spring and night covered the valley...”, 1856) With landscape lyrics by A.A. Feta goes hand in hand love theme. Fet's love lyrics are distinguished by their emotional richness; they contain joy and tragic notes, a feeling of inspiration and a feeling of hopelessness. The center of the world for the lyrical hero is his beloved. (“Whisper, timid breathing”, “Don’t wake her up at dawn”, “I still love, I still languish...”, etc.). The prototype of Fet’s lyrical heroine was the daughter of a Serbian landowner, Maria Lazic. Fet kept the memory of his tragically departed beloved all his life. She is present in his love lyrics as a beautiful romantic image-memory, bright "angel of meekness and sadness".The lyrical heroine saves the poet from the vanity of life ( “Like a genius, you, unexpected, slender, / A light flew from heaven to me, / Humbled my restless mind...”). The beloved awakens in the lyrical hero old feelings over which time has no power: No, I haven't changed it. Until deep old age, I am the same devotee, I am a slave of your love... The lyrical hero is united with his beloved by memories, dreams, music (it is known that Maria was a talented pianist, her exceptional musical talent was noted by Franz Liszt): Some sounds rush and cling to my head. They are full of languid separation, Trembling with unprecedented love. The lyrical hero keeps the image of his beloved in his heart like a shrine: On a blessed day, when I strive with my soul Into the blissful world of love, goodness and beauty, I bring before me memories not made by hands features. Kneeling before the sweet shadow, In tears of prayer I will come to life in my heart; And again I will tremble, enlightened by you, - But I will not name you. And my soul is troubled by a sweet secret; When my earthly existence ends, An angel of meekness and sadness will respond to your tender name .(1857) An important feature of Fet's poetry is its impressionism, manifested in skill “to catch the elusive, to give an image and name to what before was nothing more than a vague, fleeting sensation of the human soul, a sensation without image or name...”(A.V. Druzhinin). Another quality of Fet’s lyrics is suggestiveness(“suggestivity - from Latin suggestio - suggestion, hint - in poetry active influence on the imagination, emotions, subconscious of the reader through distant thematic, figurative, rhythmic, sound associations" (BES)). As an example, consider the poem “To the Singer”, in which sounds are transmitted through visual images based on associative connections: Carry my heart into the ringing distance, Where there is sadness like a month behind the grove; In these sounds, a smile of love gently shines on your hot tears. O child! how easy it is, amidst the invisible swells, to trust me in your song: Higher, higher I float on a silvery path, Like a shaky shadow behind a wing. In the distance, your voice fades, burning, Like dawn at night across the sea, - And from somewhere suddenly, I can’t understand, A ringing tide will break out pearls. Take my heart into the ringing distance, Where sadness is as gentle as a smile, And higher and higher I will rush along the silvery path, I am like a shaky shadow behind a wing. ("To the Singer", 1857) Those images that Fet serves to depict the “beautiful” and “sublime” are often given the definition “winged”: “winged dream”, “winged hour”, “winged song”, “winged word sound” etc. Epithets in Fet’s poems do not so much describe any object, but rather convey the state of mind of the lyrical hero, his impressions. Therefore, Fetov’s violin can be “melting” - such an epithet emphasizes the tenderness of the sound of this instrument. “Fet’s characteristic epithets, such as “dead dreams”, “silver dreams”, “fragrant speeches”, “widowed azure”, “weeping herbs”, etc., cannot be understood in the literal sense: they lose their essence meaning and acquire broad and unsteady figurative meaning associated with the main one by emotional association"(B.Ya. Bukhshtab). Many of Fet’s poetic images are symbolic. For example, the image of a fallen rose symbolizes lost love: For a long time there has been little joy in love; Sighs without response. Tears without joy; What was sweet has become bitter, Roses have fallen, dreams have dissipated. (1891) Fet actively uses color symbolism: unlike human life, nature and the heavenly world are painted in bright, joyful tones: « Dark blue sky / Both in small and large stars”, “Between the branches of the heavenly vaultturns blue ", "The summer evening is quiet andclear ; / Look how the willows sleep; / West of the skypale red , / And the rivers twinkle,” “The clouds are swirling, melting in the scarlet brilliance,” “Purple streak of fire /Transparent the sunset is illuminated”, “Behind the darkness of the branches the vaults of the sky turn blue” etc. It is typical for Feta the artist desire for rhythmic individualization poetic works, which is manifested in a variety of strophic forms: You are right. With just one airy outline I am so sweet. All my velvet with its living blinking - Only two wings. (“Butterfly”, 1884) Fet uses the technique of contraction of three-syllable sizes: The candle has burned out. Portraits in the shade. You sit diligently and modestly. The old lady yawned. Lights passed through the windows into those distant rooms. You can’t drive away the mosquito, - It sings and everything asks for the light. You don’t dare look at the moonlit night, Where the soul is transported. He crept up, perhaps, and looks out the window? If he sees his mother, she will guess; No, that’s right, the old maple has been standing in the shade for a long time, waiting. (1862) A stanza written in a three-syllable meter can end with a one-foot or even one-syllable verse: Through the forest we walked along the only path in the late and dark hour. I looked: the west with a mysterious trembling. Gus. I wanted to say something in parting, - No one understood the heart; What can I say about its dying? What? Are thoughts soaring anxiously and incoherently, Crying If your heart is in your chest, Diamond stars will soon pour out, Wait! (1858) Fet's lyrics are distinguished by the originality of the rhyming lines: he can only rhyme odd lines ( “But they shine with beautymore / Their luxurious clothes... / Why such a dressbrilliant / To a real poet!) or alternate unrhymed pairs of lines with rhymed ones: Why are you, my dear, thoughtful?sitting ,You hear - you don’t hear, you look - you don’tlook “It’s a long time ago in the morning, but in your eyes, I’ll look, and it’s not day and not night.” It’s as if the pearl happenedthread Next to me you are apartdrop .I heard a wonderful song in a dream, A few words burned through my mind. These are the words I am looking foryat Everything they sounded like was rightat .True, ah, true, you should have told me what this voice reproached me with. (1875) A.A. Fet - master of sound recording: AND with perelAnd vom silverAnd stern, With a beam, askingAnd heading into the darkness, LetAnd t your voice to the stars hAnd stymAND tuesAnd to my heart. (“Revel”, 1855) The movement of a gentle female voice is conveyed here using alliteration And assonance The harmonic sound of Fet's lyrics is also achieved by matching the rhythm of the poem with his syntax: Like a lily looking into a mountain stream, You stood over my first song, And was there a victory, and whose, Was it by the stream from a flower, was it from a flower from a stream? You understood everything with an infant soul, What? A secret power gave me to express, And although I am destined to drag out life without you, But we are together with you, we cannot be separated... ("Alter ego" 1878) Fet's lyrics are also characterized by replays both individual words and entire quatrains, which gives the works song, romance sound. It is no coincidence that almost all of Afanasy Fet’s poems were set to music (“At dawn, don’t wake her up,” “Love you, hug you and cry over you,” “I spoke when parting,” etc.). All these techniques give an amazing musicality Fet's lyrics. The great Russian composer P.I. Tchaikovsky noted: “We can rather say that Fet, in his best moments, goes beyond the limits indicated by poetry and boldly takes a step into our field. Therefore, Fet often reminds me of Beethoven... Like Beethoven, he was given the power to touch such strings of our souls that are inaccessible to artists, even strong ones, but limited by the limits of the word. This is not just a poet, but rather a poet-musician, seemingly avoiding even topics that can easily be expressed in words.”. Fet involuntarily confirms the accuracy of this characteristic of his work in one of his letters: “I was drawn from a certain area of words into an indefinite area of music, into which I went as far as my strength could. Therefore, in true works of art, by content I do not mean moral teaching, instruction or conclusion, but the impression they make.” Revolutionary-minded poets, emphasizing their differences with Fet in their views on the goals and role of art, always recognized his poetic genius: “A person who understands poetry... will not find so much poetic pleasure in any Russian author after Pushkin.”, Nekrasov wrote to Fet in 1856.

Afanasy Afanasyevich Fet is one of the most remarkable Russian poets, a talented lyricist, whose work has enriched our poetry in the embodiment of the themes of nature, love and beauty. In his poems, poetic skill is manifested in the conveyance of intimate emotional content. In this sense, his style is close to impressionism. The poet was reproached for being unproblematic, and his poems were cited as an example of “pure art.” Indeed, Fet believed that art cannot be dependent on public life, that “an artist cares about only one side of objects - their beauty.” Only a song needs beauty, but beauty doesn’t need songs. The poet’s magnificent landscape sketches and love lyrics are undeniably masterpieces of world poetry. As for “pure art,” then, indeed, Fet’s poems can serve as an example of how creative life the poet may differ from his real existence.

The illegitimate son of the landowner Shenshin, all his life he sought the right to bear this surname, although he had already acquired poetic fame as Fet. In real, everyday life, he himself was a landowner, a strict, zealous owner; He got involved in all the little details of economic concerns and really loved doing it. How inconsistent this is with the usual appearance of the poet! There is no trace of any of this in the poems. Everyday life is not directly reflected in them. Although how accurate are the pictures of rural nature!

This is the “sad birch tree at my window”, and the “fluffy willow” that “spreads all around”, and The ravines are still full of snow, The cart is still rattling on the frozen path at dawn. A. Fet is one of the few poets whose poetic images are so concrete and visible. From a few lines of his verse one can clearly imagine the picture depicted by the poet, as if a late summer evening or May night is rising before one’s eyes in all its splendor. The poet is especially interested in fleeting impressions, borderline moments of the state of nature, such as the evening or morning dawn. Fet knows how to not only catch these elusive moments, but also to hold them and forever capture them in a poetic line: Wind. Everything around is humming and swaying, Leaves are spinning at your feet.

Chu, there, in the distance, you suddenly hear a subtly calling horn. Very often the impression of instantaneousness and fleetingness is enhanced by the presence in a landscape sketch of some kind of sound, unclear, but very noticeable. There is almost no silence in Fet’s poems, even the night shimmers with rustles and sounds; It seems that even silence subtly says something: What an evening!

And the stream keeps rushing. Like the dawning nightingale Sounds out.

The moon showered the fields with light from above. And in the ravine the shine of water, the shadow of a willow tree. Even this “shimmer of water” you want to hear as a “splash”, as if the shadow of willows is rinsing in a stream. Attention to the sound side makes Fet's poems surprisingly musical. The lines of his poems convey the music of nature and at the same time create some kind of their own: Whisper, timid breathing, The trill of a nightingale, Silver and the swaying of the Sleepy stream These visible and audible images are never interesting to Fet in themselves, but only insofar as they create the same elusive, but the mood is definitely conveyed to the reader. It is precisely the mood, and not the feeling, because what, for example, is the feeling in these lines: Only in the world is there a tent shady with slumbering maples.

Only in the world is there that radiant, childish, thoughtful gaze. Only in the world is there a fragrant headdress for Sweetheart. Only in the world is there this pure parting running to the left. To create a mood, even its subtlest shade, Fet needs only a few precise details: I don’t know how to help the melancholy, My chest is looking for refreshing coolness, The windows are wide open, I can’t sleep, And in the garden above the stream all night the Nightingale spills and whistles. Any picture excites hundreds of emotions in the soul. Where does the sadness come from, why?

It is unknown, and it doesn’t matter. But it exists, and it is familiar to every person. Despite the lightness and airiness, Fet’s poems very powerfully lead the reader along the road that the poet paved. Often the reader himself does not notice how he became captive of these rhymes, and now he is already thinking about what worries the author, is filled with his experiences. The mirror moon floats across the azure desert, The steppe grasses are covered with evening moisture, Speeches are abrupt, the heart is again more superstitious, Long shadows in the distance have sunk into the hollow. The author's transition to a philosophical generalization is imperceptible: In this night, as in desires, everything is limitless, Wings grow from some airy aspirations...

Are these unproblematic poems? Although they began as a simple description of the landscape. Often Fet seems to disguise the depth of thought next to a fleeting sketch, emphasizing both: On a haystack at night in the south, Face to the firmament, I lay, And a chorus of lights, alive and friendly, Spread out all around, trembling... And with fading and confusion With my gaze I measured the depth, In which with every moment I am drowning more and more irrevocably. Fet's simple metaphors are nevertheless very original. His poems are easy to remember. It seems that you yourself would have said the same thing if you had time, but Fet did it earlier.

Behind the external simplicity is special kind a depth that allows poems familiar from childhood to be reread each time with new interest. Fet's poems about love are beautiful.

The poet undoubtedly created love lyrics new type. In this he was a direct predecessor of such poets as Alexander Blok. Unlike other poets, Fet portrays love only as a bright and beautiful feeling. His poems about love are devoid of a touch of tragedy. His love is associated with a cheerful perception of the world. It reveals to a person the meaning of life. Love is not a fatal duel, but the unity of two hearts.

Fet conveys both the first manifestation of love and the mature awareness of feelings: Night light, night shadows, Shadows without end, A series of magical changes in a sweet face, In the smoky clouds the purple of a rose, A reflection of amber, And kisses, and tears, And dawn, dawn! “The warmth of love,” the poet once said; these words express his understanding of human relationships. The fusion of the beauty of feeling and the beauty of nature is an essential feature of Fet’s poetry: It is not I, my friend, but God’s world that is rich, In a speck of dust it cherishes life and multiplies, And what your gaze alone expresses, The poet cannot retell. Fet's lyrics are rich and meaningful, there are many original comparisons and comparisons, many new definitions and epithets: “living dreams”, “unclear smell of herbs”. His metaphors and personifications are unique: “the autumn night was bursting with icy tears”; “And in the heart, a captive bird, a wingless song languishes.” Many Russian composers set Fet's poems to music: Varlamov, Tchaikovsky, Rimsky-Korsakov, Arensky.

The poet treated his work chivalrously, seeing in it a celebration of life and a celebration of the spirit: Only you, poet, have a winged sound that grabs words on the fly and suddenly fixes And the dark delirium of the soul, And the vague smell of herbs... For the second century now, readers have been admiring lyrical poems Feta, graceful and polished, conveying fleeting emotional movements, shades of color and light in nature. They certainly belong to the best examples of Russian lyrics.

Romantic in pathos and method, Fet's lyrics are at the same time akin to Pushkin's "poetry of reality", representing a unique - _romantic_ - version of it. Only, speaking about Pushkin, in this phrase the logical emphasis should be placed on each of the two words, when speaking about Fet - on the first of them. “Every object,” writes Fet, “has thousands of sides,” according to “an artist values only one side of objects: _their beauty_, just as a mathematician values their outlines or numbers” A. Fet. About the poems of F. Tyutchev, page 64.. Each subject is not only multifaceted, it is also the unity of opposites: the beautiful is fused with the ugly, terrible, cruel.

The singing of nightingales pleases the ear, the colors of butterflies caress the eye. But Fet also knows something else: beautiful nightingales peck beautiful butterflies. He once wrote to Leo Tolstoy that, in addition to the mind-intellect, one can “think” with the “mind of the heart” (“...

“Thank you very much,” Tolstoy responded warmly. - _The mind of the mind and the mind of the heart_ - this explained a lot to me") A.

Fet. My memoirs, part II, page 121.. “With the mind of the mind” Fet not only recognizes, according to Darwin, the struggle for existence as universal and immutable biological law, - how immutable for him, according to Schopenhauer, is the horror of life in general - but he is also directly guided by it, extending it in his practical activities to public relations. But with the “mind of the heart” he “thinks” differently: he goes for a kind of aesthetic “splitting of the atom” - breaking the unity of opposites. Along the lines of his lyrical creations, continuing the age-old poetic tradition, nightingale trills sound and flow; a butterfly, which for him, the poet, is all from the same wings Being aware of " last words"of the natural sciences of his time, Fet, unlike many romantic writers, say, Baratynsky, did not consider poetry, art in general and science as something hostile, mutually exclusive: On the contrary, he considered them "two twins": "both have a common the goal is to find the truth,” “the innermost essence of the subject.”

But there is a huge difference between them - a “characteristic difference” - in the method, in the methods and techniques that they use to achieve this goal. “The essence of objects,” writes Fet, “is accessible to the human spirit from two sides. In the form of abstract immobility and in the form of its vital vibration, harmonic singing, inherent beauty... The first form is approached by endless analysis or a series of analyses, the second is grasped by instant synthesis Let us give, Fet continues, a clear, albeit somewhat rough, comparison: There are a dozen glasses in front of us, it is difficult for the eye to distinguish one from the other.

Having chosen one of them, we can ask it ordinary questions: What? where? to what?

etc. and if we stand on top modern science, we will get the latest answers about physical, optical and chemical properties of the glass under study, and mathematics will express its configuration as accurately as possible. But this will not end there. Ascending ever higher through an endless series of questions, we will inevitably lead science to the conscientious realization that it currently does not yet know the answer to the last question. This is not enough: since the essence of objects is hidden at an immeasurable depth, and there can be no end to the ascending series of questions, science itself cannot help but know - a priori - that it will never have to say the last word...

But then our glass began to tremble with its entire indivisible essence, trembled in a way that only it is capable of trembling, due to the combination of all the qualities we have studied and not explored. She is all in this harmonic sound; and you just have to sing and reproduce this sound with free singing, so that the glass instantly trembles and responds with the same sound.

You undoubtedly reproduced it separate sound: all other glasses like her are silent. She alone trembles and sings..." He feels himself to be the "high priest" of the cult of beauty ("With a gray beard, I am the high priest", 1884). He defines his poetic work as serving the "shrine", likening his poems to a "sacred banner" procession, which he raises high above the crowd (“Obrochyaik”). In the first period of his creative path(4050s) Fet finds the ideal of perfect beauty he seeks in the recognized - under the powerful influence of the “classicism” of Goethe and Schiller - the homeland of beauty - in the art of ancient Greece and Rome. In contrast to the scientific, Fet - we have seen - considered artistic knowledge to be synthetic, grasping an object, in all its integrity and unity, with all the senses that a person possesses, and at the same time another - "sixth" - sense, the poet's instinct, perceiving subject "from the side of beauty".

Of all the arts greatest opportunities for such a synthetic perception and reconstruction of an object, due to the comprehensive nature of its material, the art of words - poetry - opens. And Fet uses these opportunities very widely and in his own way. Particular sharpness and subtlety of vision of the recreated object is a necessary condition for an artist-painter. "Who among those not initiated into the secret of painting sees on young face all the rainbow colors and their subtlest connections? “asks Fet, “and yet don’t they exist and don’t Van Dyck and Rembrandt see them?” However, it was not a literary critic or even a writer who penetrated most fully and deeply into the “most mysterious secret” of Fet’s lyricism, but a genius figure in area, although adjacent, but of a different art - P.

I. Tchaikovsky, who considered Fet among other poets “a completely exceptional phenomenon”: “Fet in his best moments goes beyond the limits indicated by poetry and boldly takes a step into our area... he is not just a poet, rather a poet-musician, as it were avoiding even topics that can easily be expressed in words." Fet's step into the field of music was also reflected in the basic genre nature of his lyrics. Along with the traditional genres of elegies, dooms, ballads, messages, he creates new genre, which means the musical term: “melodies” (in the first issue of “Evening Lights” the corresponding section opens with the poem “The Night Shined...

") He does not single out a special genre of songs and gives only two or three poems the title "Romance". But as a poet-musician, of all genres of music, it is the romance-song genre that is especially close to him.

After all, it contains the junction of music and poetry: word and sound are organically fused, the verse is not spoken, but sung.

"Pure art" - a whole series aesthetic concepts in different countries asserting self-worth, self-commitment artistic creativity, independence of art from politics. (Took shape in France in the 30s of the 19th century. In Russia, in the 50-60s, 2 directions in poetry emerged: civil (N.A. Nekrasov) and “pure art” (A.A. Fet, A. N. Maikov, Y.P. Polonsky, L.A. Mei, etc.) Theorists of “pure art” - Fet, A.V. Druzhinin that a poet should be attracted eternal themes(God, beauty, love), art should not be subordinated to temporary, transitory goals. It is a goal in itself.

Fet consciously defended the concept of “pure art.” “Beauty is the object of poetry.” “Beauty, according to Fet, is nature, love and song” (Blagoy). “Pure art” is characterized by a departure from social themes and immersion in an ideal world eternal beauty, enjoyment of nature, the desire for harmony, plasticity and brightness in the depiction of nature, portrait sketches that convey a complex romantic mood psychological state lyrical hero, intimate and personal orientation of the lyrics.

Traditionally, Fet's poetry is considered romantic.

Fet strives to show the diverse connections between man and nature; he shows entire cycles of nature: “Spring”, “Summer”, “Autumn”, “Snow”, “Sea”, “Evenings and Nights”. Merging together, they form a symbolic landscape. Nature is animated because it is animated by the poet’s feelings. Fet strives to merge with nature, to see its beautiful soul.

A feature of Fet’s aesthetic ideal is the elevation of the aesthetic ideal. Beauty, in the view of the lyrical hero of his poems, is the ideal essence of the world, and he finds its signs in nature, art, and the female form.

The poetry of “pure art” is characterized by an impressionistic manner of depicting reality.

It is in impressionism that the idea of beauty as a really existing element of the world lies. Impressionism is characterized by the transmission of the first pure impression of things in sketchy, instantly recorded strokes. Hence the poeticization of the moment in Fet’s lyrics.

The innovation of Fet's lyrics lies in the fact that he was able to convey the process with the help of names. By naming this or that thing, the poet evokes in the reader not a direct idea of it, but those associations that may be associated with it.

Poetry of “pure art” is poetry that inspires a certain mood. In terms of the degree of impact on a person, poetry is likened to music.

Fet valued instant, fleeting feelings. In his poems there is a combination of sound, olfactory, and tactile sensations.

Main motives: love, memory, fleeting happiness, universal harmony.

Genres: lyrical miniature, landscape sketch, psychological landscape, confession.

A.K. Tolstoy. The poet's work.

Alexey Konstantinovich Tolstoy (August 24, 1817, St. Petersburg - September 28, 1875) - Russian writer, poet, playwright, corresponding member of the St. Petersburg Academy of Sciences (1873).

Creator of ballads, satirical poems, the historical novel “Prince Silver” (1863), the dramatic trilogy “The Death of Ivan the Terrible” (1866), “Tsar Fyodor Ioannovich” (1868) and “Tsar Boris” (1870). The author of heartfelt lyrics, with a pronounced musical beginning, psychological short stories in verse (“Among noisy ball, by chance...", "That was in early spring").

In 1898, the Moscow Art Theater opened with the production of A. K. Tolstoy’s drama “Tsar Fyodor Ioannovich”.

Poems

The Sinner (1858)

John of Damascus (1859)

The Alchemist (1867)

Portrait (1874)

Dragon (1875)

Monument in the Krasny Rog estate

Dramaturgy

Fantasia (1850; first production at the Alexandrinsky Theater in 1851)

Don Juan (1862)

The Death of Ivan the Terrible (1866; first production at the Alexandrinsky Theater in 1867). The tragedy was filmed in 1991.