Brief artistic features of feta lyrics. What is the uniqueness of A. A. Fet’s lyrics? What will we do with the received material?

R.G. Magina

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

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

Like spring day, your face appeared in a dream again, -

I greet the beauty of my acquaintance, And on the waves of a caressing word

I will carry your lovely image...

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

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

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

It is known that Fet was a subtle observer, able to record transitional moments in the life of nature, its halftones, complex interweavings of shades, colors, and sounds. Researchers have long paid attention to this, sometimes calling Fet, in connection with such an individual manner, “a poet-impressionist, first of all, a poet of subtle hints, barely audible sounds and barely noticeable shades. In this he is a direct predecessor of the decadents and symbolists.” And, as D.D. rightly points out. Blagoy, “already almost from the very beginning, from the 40s, Fet’s romanticism - his poetry, capable of capturing ... subtly musical impressions, unsteady mental movements in their, as in the nature surrounding man, “trembling”, “trembling” ”, the living dynamics of the play of colors and sounds, “magical changes in a sweet face”, “incessant fluctuations”, “transitions, shades”, the dialectical combination of opposites - was painted with features that much later received the name “impressionism”.

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

The languid ringing of strings; But, full of sad torment,

These sounds evoke

Sweet dreams. They swooped down in a ringing swarm, swooped in and sang

In the bright heights. Like a child I listen to them,

I don’t know what was reflected in them.

And I don’t need...

Fet’s entire universe, as if in focus, focused on the consciousness of his “I” and on the desire to find the necessary verbal embodiment of such a perception of reality.

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

Sleep - it's still dawn

It's cold and early;

Stars behind the mountain

They sparkle in the fog;

Roosters recently

They sang for the third time,

Smoothly from the bell tower

The sounds flew by...

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

Fet's lyrics in style and intonation remained fundamentally within the Russian romanticism of the mid-19th century, although there is in it a significant feature of the expression of lyrical feeling, which brings Fet closer to the poetry of the early 20th century: this is a combination of concepts of various logical series in a single phrase (for example , from Blok: “...There the face was hidden in a multi-colored lie,” “At the thoughtful door a harlequin laughed,” “The queen has blue riddles”; from Bryusov: “On the furious swell of the instant, we are two,” “the silent cry of desire of a prisoner.. .").

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

Take my heart into the ringing distance,

Where, like a month behind the grove, there is sadness;

In these sounds your hot tears

The smile of love shines gently...

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

The poem “Incense Night, Blessed Night” is another example typical of Fet’s lyrics, repeating in many ways the style of the poem “The Singer”: the same strict alternation of tetrameter and trimeter anapest with only masculine endings, the same classical quatrains and an even more noticeable impressionistic subtext:

Fragrant night, blessed night,

The irritation of an ailing soul!

Everyone would listen to you - and I can’t bear to remain silent

In the silence that speaks so clearly...

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

It’s as if everything is burning and ringing at the same time,

To help an impossible dream;

As if, trembling slightly, a window will open

Look into the silvery night.

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

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

I stood motionless for a long time

Peering into the distant stars,

Between those stars and me

Some kind of connection was born.

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

I listened to a mysterious choir

And the stars quietly trembled,

And I have loved the stars ever since...

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

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

B. Ya Bukhshtab notes: “Fet published his first collection in the same year as Lermontov, and the last in the era when the Symbolist movement had already begun. Fet’s long creative path seems to connect the romanticism of Zhukovsky with the romanticism of Blok in the history of Russian poetry.” This connection can be seen quite clearly in the verse forms of Fet’s lyrics.

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

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

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

What is the reason for the poet's appeal to free forms? After all, he generally follows traditional syllabic-tonic rhythms quite strictly; Deviation from them is rather an exception to the rule. Free verses most decisively crossed out the traditional clear rhythm and metric, not to mention the musicality of the verse, which was important for Fet.

In our opinion, the most important reason for the appearance of free forms in Fet is the general philosophical nature of his poetry and the resulting desire of the poet to focus on the semantic side of the work (this tendency is very noticeable in works written in free verse). In traditional measured musical verse, he did not always find semantically accurate words - impressionistic uncertainty and understatement got in the way. Philosophy (most often emphasized) and the simultaneous brevity and refinement of poetic thought so successfully “fit” into the new ametric forms that there is no doubt about their non-accidental appearance in Fet’s poetry.

The form of free verse allowed Fet, first of all, to start from the old verse tradition, and it was in free verse that the philosophical sound of his poetry came to the fore; philosophicalness appeared here as if in its pure form, devoid of a metrical and musical frame (the poems “I love many things close to my heart”, “At night it’s somehow easier for me to breathe”, “Neptune Leverrier”, etc.).

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

By the middle of the 19th century, two directions were clearly identified in Russian poetry and, polarized, developed: democratic and so-called “pure art”. The main poet and ideologist of the first movement was Nekrasov, the second - Fet.

The poets of “pure art” believed that the goal of art is art; they did not allow any possibility of deriving practical benefit from poetry. Their poems are distinguished by the absence not only of civic motives, but also of a general connection with social issues and problems that reflected the “spirit of the times” and acutely worried their advanced contemporaries. Therefore, the “sixties” critics, condemning the poets of “pure art” for thematic narrowness and monotony, often did not perceive them as full-fledged poets. That’s why Chernyshevsky, who appreciated Fet’s lyrical talent so highly, added at the same time that he “writes nonsense.” Pisarev also spoke about Fet’s complete inconsistency with the “spirit of the times,” arguing that “a wonderful poet responds to the interests of the century not out of duty of citizenship, but out of involuntary attraction, out of natural responsiveness.”

Fet not only did not take into account the “spirit of the times” and sang in his own way, but he decisively and extremely demonstratively opposed himself to the democratic trend of Russian literature of the 19th century.

After the great tragedy that Fet experienced in his youth, after the death of the poet’s beloved Maria Lazic, Fet consciously divides life into two spheres: real and ideal. And he transfers only the ideal sphere into his poetry. Poetry and reality now have nothing in common for him; they turn out to be two different, diametrically opposed, incompatible worlds. The contrast between these two worlds: the world of Fet the man, his worldview, his everyday practice, social behavior and the world of Fet’s lyrics, in relation to which the first world was an anti-world for Fet, was a mystery for most contemporaries and remains a mystery for modern researchers.

In the preface to the third issue of Evening Lights, looking back at his entire creative life, Fet wrote: “Life’s hardships forced us to turn away from them for sixty years and break through the everyday ice, so that at least for a moment we could breathe the clean and free air of poetry.” Poetry was for Fet the only way to escape reality and everyday life and feel free and happy.

Fet believed that a real poet in his poems should sing first of all of beauty, that is, according to Fet, nature and love. However, the poet understood that beauty is very fleeting and that moments of beauty are rare and brief. Therefore, in his poems, Fet always tries to convey these moments, to capture a momentary phenomenon of beauty. Fet was able to remember any transient, momentary states of nature and then reproduce them in his poems. This is the impressionism of Fet's poetry. Fet never describes a feeling as a whole, but only states, certain shades of feeling. Fet's poetry is irrational, sensual, impulsive. The images of his poems are vague, vague; Fet often conveys his feelings, impressions of objects, and not their image. In the poem “Evening” we read:

Sounded over the clear river,

It rang in a darkened meadow,

Rolled over the silent grove,

It lit up on the other side...

And what “sounded”, “ringed”, “rolled” and “lit” is unknown.

On the hill it is either damp or hot, The sighs of the day are in the breath of the night, - But the lightning already glows brightly with blue and green fire... This is only one moment in nature, a momentary state of nature, which Fet managed to convey in his poem. Fet is a poet of detail, of a separate image, so in his poems we will not find a complete, holistic landscape. Fet has no conflict between nature and man; the lyrical hero of Fet's poetry is always in harmony with nature. Nature is a reflection of human feelings, it is humanized:

Smoothly at night from the brow

Soft darkness falls;

There's a wide shadow from the field

Huddling under the nearby canopy.

I'm burning with thirst for light,

The dawn is ashamed to come out,

Cold, clear, white,

The bird's wing trembled...

The sun is not yet visible

And there is grace in the soul.

In the poem “Whisper. Timid breathing..." the world of nature and the world of human feeling turn out to be inextricably linked. In both of these “worlds” the poet highlights barely noticeable, transitional states, subtle changes. Both feeling and nature are shown in the poem in fragmentary details, individual strokes, but for the reader they form a single picture of the date, creating a single impression.

In the poem “A fire burns with a bright light in the forest...” the narrative unfolds in parallel on two levels: externally landscape and internally psychological. These two plans merge, and by the end of the poem, only through nature does it become possible for Fet to talk about the internal state of the lyrical hero. A special feature of Fet's lyrics in terms of phonics and intonation is its musicality. The musicality of verse was introduced into Russian poetry by Zhukovsky. We find excellent examples of it in Pushkin, Lermontov, and Tyutchev. But it is in Fet’s poetry that she achieves special sophistication:

The rye is ripening over the hot fields,

And from field to field

The whimsical wind blows

Golden shimmers.

(The musicality of this verse is achieved by euphony.) The musicality of Fet's poetry is also emphasized by the genre nature of his lyrics. Along with the traditional genres of elegies, thoughts, and messages, Fet actively uses the romance-song genre. This genre determines the structure of almost the majority of Fetov’s poems. For each romance, Fet created his own poetic melody, unique to him. The famous 19th century critic N. N. Strakhov wrote: “Fet’s verse has a magical musicality, and at the same time constantly varied; The poet has his own melody for every mood of the soul, and in terms of the richness of melodies no one can equal him.”

Fet achieves the musicality of his poetry both by the compositional structure of the verse: a ring composition, constant repetitions (for example, as in the poem “At dawn, don’t wake me up...”), and by an extraordinary variety of strophic and rhythmic forms. Fet especially often uses the technique of alternating short and long lines:

Dreams and shadows

Dreams,

Tremblingly alluring into the darkness,

All stages

Euthanasia

Passing in a light swarm...

Fet considered music to be the highest of the arts. For Fet, the musical mood was an integral part of inspiration. In the poem “The Night Shined...” the heroine can express her feelings, her love only through music, through a song:

You sang until dawn, exhausted in tears,

That you alone are love, that there is no other love,

And I wanted to live so much, so that without making a sound,

To love you, hug you and cry over you.

The poetry of “pure art” saved Fet’s poetry from political and civil ideas and gave Fet the opportunity to make real discoveries in the field of poetic language. Fet's ingenuity in strophic composition and rhythm has already been emphasized by us. His experiments were bold in the field of grammatical construction of poetry (the poem “Whisper. Timid Breathing...” is written in only nominal sentences, there is not a single verb in it), in the field of metaphors (it was very difficult for Fet’s contemporaries, who perceived his poems literally, to understand, for example, metaphor of “the grass in weeping” or “spring and night covered the valley”).

So, in his poetry, Fet continues the transformations in the field of poetic language begun by the Russian romantics of the early 19th century. All his experiments turn out to be very successful, they continue and are consolidated in the poetry of A. Blok, A. Bely, L. Pasternak. The variety of forms of poems is combined with a variety of feelings and experiences conveyed by Fet in his poetry. Despite the fact that Fet considered poetry to be an ideal sphere of life, the feelings and moods described in Fet's poems are real. Fet's poems are not outdated to this day, since every reader can find in them moods similar to the state of his soul at the moment.

A.A. Fet is one of the outstanding Russian poets of the 19th century. He opened up to us an amazing world of beauty, harmony, perfection, Fet can be called a singer of nature. The approach of spring and autumn withering, a fragrant summer night and a frosty day, an endless rye field and a dense mysterious forest - he writes about all this in his poems. Fet's nature is always calm, quiet, as if it had frozen. And at the same time, it is surprisingly rich in sounds and colors and lives its own life:

I came to you with greetings,

Tell me that the sun has risen

What is it with hot light

The sheets began to tremble.

Tell me that the forest has woken up,

All woke up, every branch,

Every bird was startled

And full of thirst in spring...

Fet’s depiction of nature is filled with enchanting romance:

What is that sound in the evening twilight?

God knows -

Either a sandpiper or an owl moaned,

There is parting in it and there is suffering in it,

And a distant unknown cry.

Like sick dreams of sleepless nights

In this crying sound merged...

Fet’s nature lives its own mysterious life, and a person can only be involved in it at the peak of his spiritual development:

Night flowers sleep all day long,

But as soon as the sun sets behind the grove,

The leaves are quietly opening,

And I hear my heart bloom.

Over time, in Fet’s poems we find more and more parallels of life, nature and man. A feeling of harmony fills the poet’s lines.

The beauty and naturalness of Fet's poetry are perfect, his poems are expressive and musical. “This is not just a poet, but rather a poet-musician.” - P.I. spoke about him. Tchaikovsky.

The poet conveys in his poems the “fragrant freshness of feelings” inspired by nature. His poems are imbued with a joyful mood, the happiness of love. Even the slightest movements of the human soul do not escape the poet’s attentive gaze - he unusually subtly conveys all the shades of a person’s experiences:

Whisper, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

Amber reflection

And kisses and tears

And dawn, dawn!..

The lyrics of this most interesting poet are eternal due to the reflection in them of the feelings and experiences experienced by a person who is not devoid of a sense of beauty. Fet’s poems touch the innermost strings of the soul, giving us a feeling of the amazing harmony of the world around us.

End of work -

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A. A. Fet is one of the outstanding Russian poets of the 19th century. He opened up to us an amazing world of beauty, harmony, perfection, Fet can be called a singer of nature. The approach of spring and autumn withering, a fragrant summer night and a frosty day, a rye field stretching endlessly and around the edge and a dense mysterious forest - he writes about all this in his poems. Fet's nature is always calm, quiet, as if it had frozen. And at the same time, it is surprisingly rich in sounds and colors and lives its own life:

I came to you with greetings,

Tell me that the sun has risen

What is it with hot light

The sheets began to tremble.

Tell me that the forest has woken up,

All woke up, every branch,

Every bird was startled

And full of thirst in spring...

Fet’s depiction of nature is filled with enchanting romance:

What is that sound in the evening twilight?

Either a sandpiper or an owl moaned,

There is parting in it and there is suffering in it,

And a distant unknown cry.

Like sick dreams of sleepless nights

In this crying sound merged...

Fet’s nature lives its own mysterious life, and a person can only be involved in it at the peak of his spiritual development:

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.

Over time, in Fet’s poems we find more and more parallels of life, nature and man. A feeling of harmony fills the poet’s lines:

The sun is gone, there is no day of tireless striving,

Only the sunset will burn slightly visibly;

Oh, if only the sky promised without heavy languor

It’s the same for me, looking back at life, to die.

The beauty and naturalness of Fet's poetry are perfect, his poems are expressive and musical. “This is not just a poet, but rather a poet-musician.” - P.I. Tchaikovsky spoke about him.

The poet conveys in his poems the “fragrant freshness of feelings” inspired by nature. His poems are imbued with a joyful mood, the happiness of love. Even the slightest movements of the human soul do not escape the poet’s attentive gaze - he unusually subtly conveys all the shades of a person’s experiences:

Whisper, timid breathing,

Silver and sway

Night light, night shadows,

A series of magical changes

There are purple roses in the smoky clouds,

And kisses and tears

The lyrics of this most interesting poet are eternal due to the reflection in them of the feelings and experiences experienced by a person who is not devoid of a sense of beauty. Fet’s poems touch the innermost strings of the soul, giving us a feeling of the amazing harmony of the world around us.

Love the book, it will make your life easier, it will help you sort out the colorful and stormy confusion of thoughts, feelings, events, it will teach you to respect people and yourself, it inspires your mind and heart with a feeling of love for the world, for people.

Maxim Gorky

Afanasy Fet made a significant contribution to literature. During Fet's student life, the first collection of works, “Lyrical Pantheon,” was released.

In his first works, Fet tried to escape reality, described the beauty of Russian nature, wrote about feelings, about love. In his works, the poet touches on important and eternal topics, but does not speak directly, but with hints. Fet skillfully conveyed the whole gamut of emotions and moods, while evoking pure and bright feelings in readers.

Creativity changed its direction after the death of Fet’s beloved. The poet dedicated the poem “Talisman” to Maria Lazic. Probably all subsequent works about love were also dedicated to this woman. The second collection of works aroused keen interest and positive reaction from literary critics. This happened in 1850, at which time Fet became one of the best modern poets of that time.

Afanasy Fet was a poet of “pure art”; in his works he did not touch on social issues and politics. All his life he adhered to conservative views and was a monarchist. The next collection was published in 1856, it included poems in which Fet admired the beauty of nature. The poet believed that this was precisely the goal of his work.

Fet had a hard time enduring the blows of fate; as a result, relationships with friends were interrupted and the poet began to write less. After two volumes of collected poems in 1863, he stopped writing altogether. This break lasted 20 years. The muse returned to Fet after he was restored to the privileges of a nobleman and his stepfather's surname. Later, the poet’s work touched upon philosophical themes; in his works, Fet wrote about the unity of man and the Universe. Fet published four volumes of the collection of poems “Evening Lights”, the last one was published after the poet’s death.