“The ideological and artistic originality of Fet’s lyrics. Fet's lyrics: features, main themes and motives Features of Fet's lyrics, main themes of creativity
Addressing his fellow writers in the poem “To the Poets” (1890), Fet wrote:
From the marketplaces of life, colorless and stuffy,
It's such a joy to see subtle colors,
In your rainbows, transparent and airy,
I feel caresses from my native sky.
He formulated his original view of poetry as follows: “A poet is a crazy and worthless person, babbling divine nonsense.” This statement expresses the idea of the irrationality of poetry. “What cannot be expressed in words, bring sound to the soul,” is the task of the poet. Fet's work, in accordance with this attitude, is extremely musical. As a rule, he does not strive to create pictures, but speaks about his impressions of what he saw, heard, and understood. It is no coincidence that Fet is called the predecessor of impressionism (from the French Impression - impression), a direction that became established in the art of the turn of the 19th-20th centuries.
The poem “May Night” (1870) is indicative of Fet’s creative methodology. It is an original fusion of romanticism and realism. The poet seems to be talking about the impossibility of happiness “on a vain earth... in a wretched environment,” “it is like smoke,” but Fet’s ideal is still realized in a purely earthly, albeit sublime and beautiful love, in equally full of life, colors, smells, pictures of nature. The poet consistently contrasts the social, everyday things with other manifestations of earthly existence, full of aesthetic content.
Nature is not just one of the themes of Fet’s lyrics, but the most important source of poetic imagery in most of his poems.
The poem “Evening” (1855) conveys with amazing subtlety the very process of nature’s transition from the daytime to the night state. The entire first stanza is composed of impersonal sentences designed to express the fluidity, transition of the moment, the movement in which the world is located:
Sounded over the clear river,
It rang in a darkened meadow,
Rolled over the silent grove,
It lit up on the other side.
Then the syntax becomes more complete, as if creating the impression that the contours of objects have become clearer in the evening light.
Transitional, borderline states of nature especially attract the poet. They are imprinted as a cast of the secret desires of the human soul, striving for the sublime and loving the earthly. In the poem “Dawn bids farewell to the earth...” (1858) this human aspect of perception of what is happening in the world is clearly expressed. The position of the lyrical hero is indicated already in the first stanza:
I look at the forest covered in darkness,
And to the lights of its peaks.
It is to him that the admiring exclamations of the two subsequent quatrains belong; he reflects on the fact that the trees rushing into the sky following the departing rays of the sun:
As if sensing a double life
And she is doubly fanned, -
And they feel their native land,
And they ask for the sky.
...Like the soul of a person - the inspired picture of the evening forest created by the poet convinces of this.
Fet does not emphasize the connection between man and nature; it manifests itself as a natural quality of the depicted life and heroes. In addition to those analyzed above, the poem “Another fragrant bliss of spring” (1854) also convinces us of this. Glaciers full of snow, a cart rattling along the morning frosty ground, birds flying as messengers of spring, “a beauty of the steppe with a bluish blush on her cheeks” are depicted as natural parts of the overall picture of life, awaiting the next and ever new arrival of spring.
Syntactic “extreme” also characterizes the structure of the poems “This morning, this joy...” (1881), “Whisper, timid breathing...” (1850). Here the poet completely abandons verbs. At the same time, the poems are filled with events, life, and movement. In the landscape poem “This morning, this joy...” the enumeration and intensification of the signs of spring may seem “naked”, non-evaluative: “These mountains, these valleys, these midges, these bees, this noise and whistle.” But everything listed is painted in very specific tones by the first line, like the first ray of the morning spring sun. And the pronoun repeated 23 times in different versions - “this”, “this”, “this”, “these” - seems to connect disparate pieces of existence into a single living and moving picture. Each repetition is like an inhalation and exhalation of delight before the opening beauty of the transformed spring nature.
In the poem “Whisper, timid breathing...”, in the absence of predicates, the poet creates a consistent story about a love date, an evening meeting (first stanza), a wonderful night spent alone by the lovers (second stanza), parting at dawn (third stanza). Nature gives the poet colors to create a picture of complete bliss and at the same time chaste love. The technique of psychological parallelism is used here by the poet with the highest skill. Love in Fet’s portrayal is precious in every moment, even the tears of parting are one of the manifestations of the happiness that overwhelms the lovers and splashes out in the final line:
And dawn, dawn!
The poems “Don’t wake her up at dawn”, “I came to you with greetings...” are also classic examples of Fet’s love lyrics. However, as always with Fet, we can only talk about the dominant theme in the work, but its development includes other themes and motifs in the orbit of artistic representation, the figurative world expands, trying to embrace existence as a whole.
In “I came to you with greetings...” (1843), the lyrical hero strives to introduce his beloved to the world that he loves, to which he organically belongs. In the first two stanzas, he appears to her as a messenger of the eternally joyful, beautiful world of living nature, renewed with every new day. And love and the song, which will be discussed further, should be perceived as an organic part of it, a natural continuation.
A characteristic feature of Fet’s paintings is their generality, the frequent lack of specifics, the individual face of what is being discussed. His favorite images - the sun, the moon, light, forest, air, day, evening, morning, night - are the same for everyone. And in this poem we are talking about the forest, leaves, branches, birds in general. Each reader has the opportunity to fill the images embodied by the poet in an individually unique poetic form with his own visual, sound, sensory content, to concretize them in his imagination through familiar, dear and close pictures and details.
The same can be said about the beloved to whom the lyrical hero addresses. Obviously, he does not need to paint her individualized portrait, talk about some personal psychological qualities, because he knows her, and besides, he loves her, and this love makes everything around her beautiful. The reader, through his own life experience, can touch the accessible, fragile and beautiful feeling that is so emotionally expressed in the exclamations of the lyrical hero of the poem. Fet combines extreme generality with an amazing intimacy of experience.
As naturally as the sun shines, unintentionally, as love comes, poetry is born, the song discussed in the final stanza of the poem. And it doesn’t matter what it’s about. Joy, happiness, “fun”, available to everyone, will appear in it - this is more important. The beauty of nature, love, poetry, life is embodied in this poem by Fet in an inextricable and natural unity.
The lyrics of A.A. Fet are rightfully considered one of the most striking and original phenomena of Russian poetry. It seriously influenced the development of poets of subsequent decades, and most importantly, it allows new generations of readers to join the world of the enduring beauty of human feelings, nature, and the secret power of the mysterious and beautiful musical word.
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?
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. Chaikovsky.
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,
The reflection of amber
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 amazing harmony of the world around us.
End of work -
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In Russian poetry it is difficult to find a more “major” poet than Afanasy Afanasyevich Fet (1820-1892). This is the poetry of life-affirming power, with which every sound is filled with pristine freshness and fragrance. Fet's poetry is limited to a narrow range of topics. It lacks civic motives and social issues. The essence of his views on the purpose of poetry is to escape the world of suffering and sadness of the surrounding life - immersion in the world of beauty. It is beauty that is the main motive and idea of the work of the great Russian lyricist. The beauty revealed in Fet's poetry is the core of existence and the world. The secrets of beauty, the language of its consonances, its many-sided image are what the poet strives to embody in his creations. Poetry is the temple of art, and the poet is the priest of this temple.
Peculiarities of the themes of A. Fet's poetry
The main themes of Fet's poetry are nature and love, as if fused together. It is in nature and love, as in a single melody, that all the beauty of the world, all the joy and charm of existence are united. In 1843, Fet’s poem appeared, which can rightfully be called his poetic manifesto:
I came to you with greetings
Tell me that the sun has risen
What is it with hot light
The sheets began to flutter;
Three poetic subjects - pr-yes, love and song - are closely related to each other, penetrate each other, forming Fet’s universe of beauty. Using the technique of personification, Fet animates nature, it lives with him: “the forest woke up,” “the sun rose... fluttered.” And the poet is full of thirst for love and creativity.
Impressionism in the lyrics of A. Fet.
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In the poem “Whisper, timid breathing...” the rapid change of static pictures gives the verse amazing dynamism, airiness, and gives the poet the opportunity to depict the subtlest transitions from one state to another:
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!..
Without a single verb, only with short descriptive sentences, like an artist with bold strokes, Fet conveys an intense lyrical experience. The poet does not depict in detail the development of relationships in poems about love, but reproduces only the most significant moments of this great feeling.
Musicality of A. Fet's poetry
Poem “The night was shining. The garden was full of moonlight. They were lying..." reminiscent of Pushkin's "I remember a wonderful moment...":
The night was shining. The garden was full of moonlight. were lying
Rays at our feet in a living room without lights.
The piano was all open, and the strings in it were trembling,
Just like our hearts are for your song.
This poem is inspired by the singing of T. A. Kuzminskaya (sister of Sofia Andreevna Tolstoy), who described this episode in her memoirs.
F.'s poems are unusually musical. Composers and the poet’s contemporaries also felt this. P. I. Tchaikovsky said about him: “This is not just a poet, rather a poet-musician...” Fet considered music the highest form of art and brought his poems to a musical sound. Written in a romance-song vein, they are very melodic; it is not for nothing that F. called the whole cycle of poems in the collection “Evening Lights” “Melodies.”
Glorifying beauty, Fet strives to “strengthen the battle of fearless hearts.” In the poem “With one push to drive away a living boat...” the poet speaks about the calling of the “chosen one”:
Drive away a living boat with one push
From sands smoothed by the tides,
Rise in one wave into another life,
Feel the wind from the flowering shores...
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 purpose 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,” Fet wrote, looking back at his entire creative life: “The hardships of life 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 took 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 do not become outdated to this day, since every reader can find in them moods similar to the state of his soul at the moment.
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.
