Interpretation and analysis
IV.Formation of skills in analysis and interpretation of poetic text
Whispers, 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
There are purple roses in the smoky clouds,
Gleam of amber
And kisses and tears;
And dawn, dawn!
1.Perception of the poem.
What seemed unusual in the text?
What's not clear?
What did you see?
What did you hear?
How did you feel?
What is unusual in terms of syntax?
The poem consists of one exclamatory sentence.
What is unusual in terms of morphology?
There are no verbs in the text, mostly nouns and adjectives.
2. Linguistic composition of the text.
What nouns refer to nature?
What nouns indicate the state of a person?
Let's build two verbal thematic series - nature and man.
"Nature" - the trill of a nightingale, the silver and swaying of a sleepy stream, the light of the night, the shadows of the night, the purple of roses in the smoky clouds, the reflection of amber, the dawn.
"Human" - whispers, timid breathing, a series of magical changes in a sweet face, kisses, tears.
Conclusion. The composition is based on the technique of psychological parallelism: the natural world and the human world are compared.
3. Compositional analysis.
First stanza
What is the microtheme?
A date between lovers in the evening by the stream.
What colors? Why?
Dim colors.
What sounds? Why?
Whisper, sway.
Epithet “timid”, “sleepy”, metaphor “silver”.
Second stanza
What is it about?
The night that lovers spend.
What sounds?
Silence.
What colors? Why?
No color definitions.
What is the role of epithets?
Third stanza
What is the microtheme?
Morning, separation of lovers.
What colors? Why?
Bright colors.
What sounds? Why?
Tears, kisses.
What is the role of artistic expression?
Conclusion. Fet uses the technique of color and sound contrast. In the first stanza there are muted, dim colors, in the last there are bright colors. This shows the passage of time - from evening through night to dawn. Nature and human feelings change in parallel: evening and timid meeting, dawn and stormy farewell. Through sounds, the change in mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.
4.Time and action.
There are no verbs in the poem, but there is action.
Most nouns contain movement - trills, swaying.
What is the timing characteristic?
Evening, night, morning.
5. Rhythmic pattern of the poem.
Work in pairs or groups.
Meter is trochee. The size is varied with pyrrhichiums. Constant on 5th and 7th syllables. The clause is male and female. There is no caesura. Short and long lines alternate. Anacrusis is variable. The rhyme in the verse is final, alternating between masculine and feminine, precise and imprecise, rich, open and closed. The rhyme pattern in the stanza is cross.
Conclusion. The rhythmic pattern is created by a multi-foot trochee with pyrrhic elements. The constant, alternating on 5 and 7 syllables, gives harmony to the rhythm. The alternation of long and short lines, female and male clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a strong masculine ending, the last line is short.
6. Features of the composition of the poem.
The text has three stanzas of 4 verses each. Composition of the stanza: in the first stanza 1 verse - man, 2,3,4 verses - nature; in the second stanza 1,2 verses - nature, 3,4 verses - man; in the third stanza 1,2,4 verses - nature, 3rd verse - man. These lines intertwine and alternate.
Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply records them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.
V.Reflection
What did you learn in the lesson?
What have you learned?
What is the benefit of the lesson?
VI.Homework
Analysis of any verbless poem.
Approximate scheme for analyzing a poetic text
1. Rhythmic pattern (organization)
Meter (iambic, trochaic, dactyl, amphibrachic, anapest). Size (number of stops in lines). Constant (the last strong point in the line). Clause (ending). Line length. Anacrusis (initial weak point in a line). Caesura (word division within a line). Rhyme in verse. Rhyme in a stanza.
2.Composition of poetic text
Stanzas and verses. Microtheme for each part.
Language composition: keywords, verbal thematic series.
Compositional techniques: repetition, amplification, contrast, montage.
Strong positions of the text: title, epigraph, first and last sentences, rhymes, repetitions.
3. Artistic images and motifs
Lyrical hero.
4. Artistic time and space
5. Language levels of text
A) Phonetic level. Sound recording. Alliteration on ... (consonants). Assonance on ... (vowels).
b) Morphemic level. The role of morphemes.
V) Lexical level. Words are bookish, colloquial, neutral. Synonyms, antonyms. Emotional coloring. Color painting.
G) Morphological level. The predominant parts of speech (subjectivity, descriptiveness, reality).
d) Syntactic level. Syntactic constructions. Unusual word order. The role of punctuation marks. Figures.
6. Linguistic means of artistic representation
Paths and figures.
7. Theme and idea of the text
8. Relationship between rhythm and text content
Afanasy Fet “Dawn bids farewell to the earth...”Dawn says goodbye to the earth,
Steam lies at the bottom of the valleys,
I look at the forest covered in darkness,
And to the lights of its peaks.
How imperceptibly they go out
The rays go out at the end!
With what bliss they bathe in them
The trees are their lush crown!
And more and more mysterious, more immeasurable
Their shadow grows, grows like a dream;
How subtle at dawn
Their light essay is exalted!
As if sensing a double life
And she is doubly fanned, -
And they feel native land
And they ask for the sky.
<1858>
Afanasy Afanasyevich Fet is an outstanding Russian lyricist who managed to convey all the beauty of nature in his poems. It seems to me that in the work of A. Fet two types of landscape poems can be distinguished. In some, he turns directly to the depiction of nature, using many bright details and rich colors. But the strength of his landscape lyrics are those poems in which emotional impressions of nature, the moods generated by a meeting with it, dominate.
The poem “Dawn bids farewell to the earth...” belongs to the category of such works. It was written in 1858, when A. Fet left military service.
Already in the first lines it is given basic antithesis, on which the entire poem is built: the evening dawn over the earth and the darkening foggy valleys.
And in the following verses of the first stanza the antithesis receives its development:
I look at the forest covered haze, And on lights its peaks.
Earth and Heaven, so familiar to us from the lyrics of M. Yu. Lermontov, permeates Fet’s entire poem.
The rays of dawn on the forest trees “fade out” and “die out in the end,” but the “magnificent crown” of trees directed into the heavens is still bathed in their golden radiance. And although “their shadow grows more and more mysteriously, more and more immeasurably, grows like a dream,” the “light outline” of the peaks is “raised” in the bright evening sky.
Heaven and earth turn out to be open to each other, and the whole world expands its borders “vertically”. A grandiose picture of the universe is being created I. At the top are trees bathing their crowns in the rays of the fading dawn, below is the advancing darkness, the earth shrouded in steam.
The emotional impression is conveyed by the exclamatory intonation of sentences, as well as the use of intensifying structures at the beginning:
With what bliss... How thin...
It would be inaccurate to say that Fet’s nature is “animate.” It is more correct to talk about her spirituality. She lives her own special life, not everyone is able to penetrate its secret, to know its great meaning. Only at the highest stage of spiritual ascent can a person be involved in this life.
The poem ends with lines full of deep meaning:
As if sensing a double life,
And she is doubly fanned, -
And they feel their native land,
And they ask for the sky.
In the understanding of A. Fet, earth and sky do not simply oppose each other. Expressing multidirectional forces, they exist only in their dual unity, moreover, in interconnection, in interpenetration.
The last stanza of the poem consists of a separate personifications: trees, “sensing” a double life, feel the earth, ask for the sky. And together they are united into a single image of the living, three-dimensional world of nature.
However, in my opinion, this image can also be perceived in its parallelism with the inner world of man. The element of nature turns out to be fused with the smallest details of the mental state: love, desires, aspirations and sensations. Love for the native land and the constant desire to break away from it, the thirst for flight - this is what this image symbolizes.
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.
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.
And many years have passed, tedious and boring,
That you are alone - all life, that you are alone - love.
That there are no insults from fate and burning torment in the heart,
August 2, 1877
Poem “The night was shining. The garden was full of moonlight. They were lying..." - one of the lyrical masterpieces of A. A. Fet, one of the best examples of Russian love lyrics. The poem is dedicated to a young, charming girl who went down in history not only thanks to Fet’s poem, he was one of the real prototypes of Tolstoy’s Natasha Rostova. Fet's poem (written 10 years after the meeting) is not about Fet's feelings to dear Tanya Bers, but about high human love. Created on August 2, 1877, it was inspired by the singing of T. A. Kuzminskaya (nee Bers, the sister of Sofia Andreevna Tolstoy), who described this episode in her memoirs.
Like all true poetry, Fet’s poetry generalizes and elevates, takes us into the universal - into the big human world. This feeling is one of the secrets of the special, joyful and high impact that the poem produces on the reader.
The poem is autobiographical. His lyrical hero is Fet himself.
This work tells how the poet experiences two meetings with his beloved, between which there is a long separation ( compositionally divided into 2 parts). But Fet does not draw a single stroke of the portrait of the woman he loves, does not track all the changes in their relationships and their condition. He captures only the trembling feeling that covers him under the impression of her singing:
And many years have passed, tedious and boring,
And in the silence of the night I hear your voice again,
And it blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love.
The feeling itself is also difficult to describe in words. The lyrical hero conveys the uniqueness, depth and complexity of his experiences with the help of “global” metaphors in the last line.
The poem has two main themes - love and art. IN lyric play“The night shone…” these themes are fused together. Love for Fet is the most beautiful thing in human life. And art is the most beautiful thing. The poem is about doubly beautiful, about the most complete beauty.
The poem is written in iambic hexameter - one of the poet's favorite metres. This helps here to create not only an overall musical tone, but also a very flexible, with lively transitions and movement, free speech, free storytelling. This is partly achieved thanks to pauses that occur not in one constant place, but in different places - here and there, as in a lively, vividly emotional speech. As a result, a poetic story about a strong and living feeling is itself full of life.
The poem is written in a romance-song vein, very picturesque and unusually musical. For Fet, one thing is closely connected with the other. The poet believed that beauty - the main idea of lyricism - is expressed not in lines, not in refined words, but above all "sounds subtle." This means that one of the most important characteristics of poetry should be melody.
Musicality this product is achieved using repetitions at different levels of the poetic text.
Thus, in the lyrical syntax there are anaphora(And...And..., What...What...) parallel structures within a stanza(“That you alone are all life, that you alone are love; And there is no end to life, and there is no other goal”….).
Fet compares words that are similar in sound composition- “sonorous sighs” - giving the poem additional semantic and emotional “overtones” (harmonic consonances). Phonetic techniques are used here assonance(repetition of sounds [a], [o]), alliteration(repetition of the sound [r] in the line “The piano was all open and the strings in it were trembling”).
Composition The poem also contributes to its melody. In this lyrical monologue the author uses ring technique. In the line “Love you, hug you and cry over you,” which frames the work, Fet expresses the main feelings of the hero: delight and admiration for the power of vocal art.(verse idea)
Undoubtedly, the musicality of the poem is dictated by its theme. After all, this work is not only about love and nature, it is, first of all, about wonderful singing, about a voice that gives rise to many vivid experiences.
Fet does not depict a specific landscape or interior, but everything comes together in perfect harmony. The poet creates a holistic, dynamic picture in which visual, auditory, tactile, and sensory impressions are immediately presented. Generalization and combination of images of nature, love, music help the poet express the fullness of the joy of perceiving life.
This poem once again convinces us that only art can truly ennoble a person, cleanse the soul, liberate and enrich it. Enjoying a beautiful work, be it music, painting, poetry, we forget about all our problems and failures, and are distracted from the bustle of everyday life. The human soul completely opens up to beauty, dissolves in it and thus gains strength to live on: to believe, to hope, to love. Fet writes about this in the last stanza. The singer’s magical voice frees the lyrical hero from “the grievances of fate and the burning torment of the heart,” presenting new horizons:
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!
Speaking about the lyrical character of the poem, the author involuntarily touched upon creator theme, his mission. The singer's voice, which awakens a whole range of feelings in the hero, sounds so delightful because the heroine devotes herself passionately to her occupation and is herself fascinated by the magic of music. At the moment of performing the song, it must seem to her that there is nothing more important in the world than these beautiful sounds, than the feelings invested in the work. To forget about everything except creativity - this is the lot of a true creator: a poet, an artist, a musician. This is also mentioned in the work.
Poem “The night was shining. The garden was full of moonlight. They lay..." amazes with the variety of themes, the depth and brightness of the images, the extraordinary melody, as well as its an idea that lies in the author’s amazing desire to convey the beauty of art and the world inclusively
.
Analysis of the poem by A. A. Fet “With one push, drive away a living boat...”
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,
Interrupt a dreary dream with a single sound,
Suddenly revel in the unknown, dear,
Give life a sigh, give sweetness to secret torments,
Instantly feel someone else’s as your own,
Whisper about something that makes your tongue go numb
Strengthen the fight of fearless hearts -
This is what only a select few singers possess,
This is his sign and crown!
(28 October 1887)
The poem “With one push to drive away a living boat...” combines all the main motifs of Fet’s lyrics - such as feeling, creativity, love, sound, silence, sleep. Before us is a brief moment when the world opens up before the hero in all its beauty, in all the fullness of feelings. The poem is imbued with harmony, a feeling of peace, although it would seem that it consists entirely of a list of actions: drive, rise, interrupt, give, whisper, strengthen.
The meter - iambic pentameter with feminine and masculine endings - fits the poem into the series of works of love lyrics - a series begun by Pushkin’s “I loved you. Love still, perhaps...”, - in which, first of all, the feelings and thoughts of the lyrical hero are clearly highlighted.
And indeed, Fet doesn’t have a word about other people or the outside world - only the state of a person’s soul. However it may seem that there is no lyrical hero as such(in fact, not a single line of this poem contains the words I, mine, etc.), but this is still not so: the hero is simply in complete harmony with life, nature - his I does not stand out against the background of the entire surrounding world , but “dissolves” in it, accepts it, ready to instantly feel someone else’s as one’s own…. Therefore, all acute experiences, torments recede into the background, and even love is mentioned here in passing - as a feeling homogeneous to all others in this quiet harmonious state: the hero dreams of whispering about something before which the tongue goes numb...
In the poem, the lyrical hero feels himself to be part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s as your own.”
The contradiction with the outside world here is only external ( oxymoron“unknown, dear”).
“Blooming shores” and “different life” - a description of that mysterious ideal world, from which comes to the poet inspiration. Rationally, this world is unknowable because it is “unknown”; but, encountering its manifestations in everyday life, the poet intuitively feels a kinship with the “unknown.” The poet's refined sensitivity to the phenomena of the external world cannot but extend to the work of others. The ability for creative empathy is the most important trait of a true poet.
The poem is structured as a string of phrases similar in syntax ( synth. parallelism), is pronounced as if spell, pumping up some mysterious and at the same time sweet feeling. This spell must finally be resolved by some statement that would defuse the feeling that has been growing throughout the poem and explain its source - such statement and ends the poem:
This is what only a select few singers possess, This is his sign and crown!
The last lines are contrasted to everything else and in rhythm: in them the first stanza is not iambic, but trochaic- demonstrative particles are pronounced with shock HERE. This emphasizes the special importance of the final lines for the entire poem.
Firstly, they interrupt the enumeration of actions and characterize them as the sign and crown of the singer, that is, the poet’s favorite thing, only possible for him.
Secondly, these lines transfer the situation described in the poem to eternity: now there is no doubt that all these actions are not the hero’s momentary desires, not the pictures that arise in his imagination, but eternally existing manifestations of the poetic gift.
These lines introduce the poem theme of creativity, which allows you to take a fresh look at the entire previous list. If in the first stanza the hero appears as a figure capable of dramatically changing something in the world around him (with one push to drive away a living boat, with one wave to rise into another life), then in the second he is already, first of all, a contemplator, whose soul is open to the whole world and greedily absorbs all impressions and feelings, dreaming of suddenly reveling in the unknown, family, and instantly feeling someone else’s as your own. Now, in the final lines, another face of the hero appears, including the previous two: he is a creator, capable of being filled with impressions from the world around him, and suddenly creating something in this world (strengthening the battle of fearless hearts), destroying (interrupting a dreary dream with a single sound), moving (driving a living boat).
Thus, before us is a poem about poetry. Let's try to attribute it to the Russian poetic tradition of talking about creativity. Like all his predecessors, Fet calls poetry a gift that distinguishes the poet from all other people ( the singer is called the chosen one, his work is the sign and crown).
However, this is the only way in which the poem “With one push to drive away a living boat...” echoes the poems of other poets. Fet's, as we see, there is no opposition between the poet and the crowd(as, for example, in Pushkin’s sonnet “To the Poet”, the poem “The Poet and the Crowd”, Lermontov’s “The Prophet”, “The Death of the Poet”), nor the “common cause” uniting the poet and the people (as, for example, in Lermontov’s “Poet” ).
Perhaps Fet’s idea of poetry is closest to the one we find in Zhukovsky and Tyutchev: poetry is a mysterious gift sent from above “It flies from heaven to us - // Heavenly to earthly sons, // With azure clarity in its gaze... ", we read in Tyutchev’s poem “Poetry”). It would seem that Fet continues the line of Zhukovsky and Tyutchev: he writes about poetry as a gift, depicts the moment of the descent of this gift on the poet, while all attention is focused on his feelings at this moment. However, at Fet's we we will not find the statement that inspiration comes from heaven: creative process, as he appears in the poem “With one push to drive away a living boat...”, subject to a greater extent to the poet.
So, what is the poem about? About the happiness of creativity, about the poetic gift, which is inextricably linked with other bright feelings in the hero’s world: with the enjoyment of nature, love, the ability to feel life in all its fullness and versatility, to experience each of its phenomena as something personal, to live in harmony with the world .
Afanasy Afanasyevich Fet(1820 —1892)
A.A. Fet is one of the finest Russian lyricists. His poetic fate was not easy. Contemporaries reproached Fet for the incomprehensibility of poetry, the uncertainty of content, for inattention to the demands of life (Dobrolyubov and Chernyshevsky), for gravitating toward themes of “pure art.” The poet himself, defending himself from such reproaches, shockingly spoke out like this: “It would be insulting to me if the majority understood and loved my poems: this would only be proof that they are base and bad.”
One of the reasons for the incomprehensibility of Fetov’s poetry is its novelty, its difference from the lyrics of its predecessors. Fet, of course, understood the conventionality of the term “art for art’s sake” and in his poetry he came from man, from nature, from feeling. But the main thing in his poetry is a living sense of beauty, beauty as the only goal of art in general and poetry in particular. Fet has a strong feeling of the insufficiency of verbal expression: “where the word is numb, where sounds reign, where you hear not a song, but the soul of the singer.” Therefore, Fet occupies a special place in his lyrics melodic organization of verse: its euphony, use assonance, alliteration, various rhythmic moves, etc. Fet's views on the role of poetry, his poetic skill influenced the generation of Russian symbolists.
"Whisper, timid breathing..."(1850). This is one of Fet’s most famous poems, from which his fame began. It became for many readers a symbol of all of Fetov’s poetry, his unique self-portrait. At the same time, the innovation of poetic language and the development of the love theme in the poem aroused an ambivalent attitude among contemporaries and repeatedly served as the subject of parodies. The poetry of A. Fet, according to L. Tolstoy, is marked by “lyrical audacity.” First of all, the verblessness of the poem is striking: it is built only from nominal sentences.
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
There are purple roses in the smoky clouds,
The reflection of amber
And kisses and tears,
And dawn, dawn!..
The author does not use verbs - this gives the poem greater expressiveness and beauty.
A huge number of voiceless consonants in each stanza slows down speech, making it drawling, smoother, and consonant with the poetic language of the 20th century.
But, despite this, it can hardly be called material, objective. The poem conveys the most common the plot of love poetry - a date in the garden. But this meeting is shrouded in Fet’s mysterious twilight: the time of action is night, the epithets are “night” (timid breathing, sleepy stream, night light). It was important for Fet to convey the “music of love,” so he looked for “musical ways” to express his poetic feelings. Fet is one of the first impressionists in Russian poetry: he depicts not so much objects or phenomena as individual fragments of phenomena, subtle shades, reflections, shadows, vague emotions. But taken together, they form a complete and reliable picture. All three stanzas of this poem form one single sentence, like small frames.
The poem well illustrates this feature of Fetov’s creativity: his love and landscape lyrics form one whole. Therefore, closeness to nature is closely related to love experiences. The feelings of lovers (whispers, timid breathing) are the same as the “trill of a nightingale”, the swaying of a stream.
Mentioned the key images of Fet's lyrics are “rose” and “nightingale” They symbolically embody in his lyrics the connection of love, nature and inspiration. It is in these symbolic details of the external world that an unclear experience nevertheless appears. “Rose” is a symbol of natural beauty, the fire of passion, earthly joy. The ending of the poem is significant: it completes the lyrical plot. “The Purple of the Rose” turns into a triumphant “dawn” at the end of the poem. The last words of the poem - and dawn, dawn!- do not sound in line with others, but stand out. Dawn symbolizes the light of love, the dawn of a new life is the highest expression of spiritual uplift.
Poem by A. A. Fet “Learn from them - from the oak, from the birch...”
Learn from them - from the oak, from the birch.
It's winter all around. Cruel time!
In vain their tears froze,
And the bark cracked, shrinking.
The blizzard is getting angrier and every minute
Angrily tears up the last sheets,
And a fierce cold grabs your heart;
They stand, silent; shut up too!
But trust in spring. A genius will rush past her,
Breathing warmth and life again.
For clear days, for new revelations
The grieving soul will get over it.
A very important place in Fet’s lyrics is occupied by the description of nature, the life of the human soul, their visible and invisible connections. Such lyrics are called natural-philosophical
From the first lines, nature and man are fused together in Fet. Other poets, before him, first depicted the landscape, and then talked about the experiences of a person, the internal state of the lyrical hero.
The composition of the poem is based on the opposition of two parts and two images: winter and spring, they can be considered symbols. There is a hidden meaning in the mention of specific seasons.
Fet talks about the need to remain silent in difficult moments of life, when “a fierce cold grabs your heart.” Need to come to terms with difficulties silently, without expressing your dissatisfaction, anger, disappointment, how they experience the “cruel time”, winter, trees that “stand, silent” with “frozen tears”, “cracked bark” under the evil wind tearing off the last leaves...
How spring comes in nature, “breathing warmth and life,” resurrects trees to new life, awakens everything around, so in a person’s life a period of “clear days” begins, his “grieving soul will recover for new revelations.” Fet does not call for eternal silence, for self-isolation, unlike Tyutchev, who considers silence the only salvation of the soul from adversity.
Fet sees a kind of shelter for the human soul in nature, so he encourages people to learn from trees. Oak and birch give rise to associations. Oak is a strong, courageous man. Birch - white, curly - a gentle woman.
There is so much vitality in this poem, how fresh and musical it is.
The poem is in tune with our harsh, difficult times, as if written in our time.
Fet's poem is optimistic, it is shrouded in the belief that a person is able to steadfastly endure difficulties in silence, to learn wisdom, for silence is golden - age-old wisdom, and he will certainly be rewarded for the suffering he has experienced with time for “new revelations”, an opportunity for his soul "express yourself"
Analysis of the poem by A. A. Fet “This morning, this joy...” 1881 (?)
This morning, this joy,
This power of both day and light,
This blue vault
This cry and strings,
These flocks, these birds,
This talk of the waters
These willows and birches,
These drops - these tears,
This fluff is not a leaf,
These mountains, these valleys,
These midges, these bees,
This noise and whistle,
These dawns without eclipse,
This sigh of the night village,
This night without sleep
This darkness and heat of the bed,
This fraction and these trills,
This is all spring.
The main property of impressionism is a clear and concentrated idea of beauty as a really existing element of the world surrounding a person. Afanasy Afanasyevich Fet possessed this to the fullest extent. Sounds, rustles, fleeting impressions are not motives, but themes of Fetov’s creativity.
Fet strives to most naturally and impartially capture the entire world around him in its mobility and variability, to convey his fleeting impressions. Fet, as an impressionist poet, is characterized by a keen interest in the uniqueness of each individual moment, the shade of material beauty, and changeable mood.
Of particular interest are the verbless poems by A.A. Feta, so-called verbless paintings. “This morning, this joy...” is one of them. This poem is about a wonderful time of year - about spring. In spring, all life on earth awakens from winter hibernation and begins to move. And the main thing that Fet was striving for was not to miss, not to lose the moment of this non-stop movement, to capture the awakening of nature; to ensure that each line “breathes”, “rings”, in a word, “lives”.
What The "highlight" of this poem? There is not a single verb here. But how much movement, how much vital energy is contained in each line. There is not a single point here (except for the end of the poem)! You read this poem in one breath, without stopping for a second, immediately imagining all the spring bustle. This technique of “one sentence” was able to perfectly convey the movement of life, the “resurrection” of nature in the spring.
The short lines seem to “run” one onto another. It is no coincidence that Fet wrote the poem in trochaic tetrameter, where the last foot of every third line of the stanza is incomplete. Thanks to this, a certain rhythm is set, reminiscent of a heartbeat. Each line seems to “pulsate”.
“This morning, this joy...” The first line conveys the jubilation of spring nature. Let us pay attention to the fact that Fet begins the poem with the words “this is morning, this joy,” and concludes with the expression “this is all spring.”
If we look more closely, we will notice that this the poem “contains” the whole day, without a single verb, the poet conveys the movement of time: the first stanza depicts morning, the second - day, and the third - night, filled with the smells of spring, with the enchanting trills of a nightingale.
All images are united, connected anaphora: the demonstrative pronoun “this” in different forms, which creates the effect of movement not only of natural time, but also of “poetic thought” in the poem. But at the same time there is a movement of space: the gaze of the lyrical hero covers the sky, the earth, and the smallest particles of the surrounding world.
Fet tells us about how rivers, bees, trees “awaken”, and “sounding and whistling” sounds everywhere. There is only one adjective in the poem, which is part of a metaphor: “the sigh of a night village.” How is the image of spring created? The verbal nouns “scream”, “talking”, “whistle”, “fraction” and the words “tongue”, “trills” “depict” the atmosphere of spring noise. Just one image - “the power of both day and light” - and we already “see” the radiance of the sun.
It would seem that the reader is presented with the usual comma-separated list of the impressions of the lyrical hero. But, reading these lines, you can immediately imagine a complete picture and color it with your own colors. The bees are golden, the midges are silvery, light, the fluff is greenish-yellow, the drops are pearly... This is the whole beauty of Fet’s poems as an impressionist poet. Each word evokes a number of associations, unique for each person. IN Fet was able to “contain” this mosaic with the image of all spring nature, showed that spring is morning, the morning of the year.
Fet depicted only a moment, something that happened once and will never happen again. Fet admires nature; at the same time, he does not so much describe nature as convey the delight that it evokes.
A. Fet “Another May Night”
What a night! Everything is so blissful!
Thank you, dear midnight land!
From the kingdom of ice, from the kingdom of blizzards and snow
How fresh and clean your May leaves!
What a night! Every single star
Warmly and meekly they look into the soul again,
And in the air behind the nightingale's song
Anxiety and love spread.
The birches are waiting. Their leaves are translucent
Shyly beckons and pleases the eye.
They are shaking. So to the newlywed virgin
Her attire is both joyful and alien.
Again I come to you with an involuntary song,
Involuntary - and the last, perhaps.
The poem “Another May Night...” was written by the poet in 1857, later set to music by A. S. Arensky. This poem is already a mature master who has become widely famous. It is a picture of a beautiful May night, sketched with just a few light but expressive strokes. This picture shows the poet’s admiration and his love for his native land.
The lyrical hero begins his monologue by showing the overall picture of this wondrous night. Why is she so good?
“Nega” is its main characteristic. Night is tender. Its warm, pleasant air breathes with the aromas of flowers and herbs, the breeze gently refreshes. A hero for this grateful to my native land, to whom he turns touchingly.
Why does the character remember the winter “kingdom” on a May night? (metaphor)? Maybe because the white petals of blossoming apple and cherry trees look so much like snow?
And May is “fresh and clean” ( epithets) with its young greenery, abundance of light and lightness, transparency of the air, which does not yet know what sweltering heat is. It is in this month that spring appears before us in all its glory.
How masterfully the poet achieves this, although it would seem that the artistic means he uses are deeply traditional for Russian lyrics! How subtly every detail is noticed! Nothing escaped the author's attentive gaze. By using sensual personifications(“the stars are watching”, “the birch trees are waiting, trembling”, “the leaf shyly beckons”). Fet conveys the life of nature, which is always next to a person, sympathizes with him, and responds to his condition.
It is no coincidence that the “experience” of trees is compared to the mood of a newlywed maiden. This comparison is found in oral folk art. Since ancient times in Rus' compared a birch tree and a girl. However, Fet finds something new in this tradition. He compares the happy trembling of a birch tree, which is “crowned” with fresh foliage, and a bride in a wedding dress. Very accurate, elegant, interesting comparison!
Replays exclamations (“What a night!”) create emotional uplift effect, appeals to the night make her an active participant in the picture, capable of responding and empathizing.
The following tendency is noticeable in this poem: depicting the May night in detail, the author gravitates towards feminine concepts(“bliss”, “song”, “soul”, “anxiety”, “love”, “birch”, “maiden” and others). Why? But both night and spring are of the same kind! Apparently, Fet consciously or intuitively points out here that nature is feminine, hence its beauty and harmony, which the poet will always sing:
No, never more tender and incorporeal
Your face, O night, could not torment me!
Feeling himself a single part of God’s vast world, the poet is inspired by nature for lyrical creativity. His surging feelings are so strong that they are akin to the piercing feeling of imminent death - death from happiness: “Again I’m coming to you with an involuntary song, Involuntary - and perhaps the last.”
Great happiness borders on deep despair, as the lyrical hero is afraid of losing the beautiful moments of the May night. They are irrevocable because they are unique, but this is not the only source of the hero’s sadness . Perhaps the creator in Fet’s poem is also worried about his future possible insolvency. After all, the muse is insidious. Who knows if she will visit the poet next time? Will she be able to “express in sound” all the charm of such nights again?
Each of us sometimes wants to stop time, but it moves inexorably forward. That is why everything must be done as if it were the last time, giving yourself completely, and, of course, rejoicing in what has already been created.
Analysis of the poem “Evening” by A. A. Fet
Sounded over the clear river,
It rang in a darkened meadow,
Rolled over the silent grove,
It lit up on the other side.
Far away, in the twilight, with bows
The river runs to the west.
Having burned with golden borders,
On the hill it is either damp or hot,
The sighs of the day are in the breath of the night, -
But the lightning is already glowing brightly
Blue and green fire. 1855
Fet had a very difficult fate: he was an illegitimate child, in the future he tried for many years to restore his surname. Perhaps life's struggle influenced the fact that A. Fet saw the real beauty of nature; even any almost imperceptible detail was truly beautiful in the eyes of the poet.
In the poem “Evening” A.A. Fet describes one period of time - between day and night. Evening is a transitional state between day and night, an ally that unites them: “The sighs of the day are in the breath of the night.”
Scenery the poems are very specific, detailed: clear river, darkened meadow, silent grove. But at the same time, a holistic picture of existence is created, harmoniously and united by the skillful hand of the master. Every second there are changes, and the series of these changes is the evening. The impersonal verbs of the 1st sentence immediately set the dynamics: sounded, rang, rolled, lit up. So - runs away to the west the river, scattered like smoke, clouds.
The lines speak about impermanence, fleetingness, and transitivity:
On the hill it's damp, it's hot,
Sighs day there is in the breath night,-
But the lightning is already glowing brightly
Blue and green fire.
Evening is a special time of day, a time of rapid changes in phenomena. The poet strives to perpetuate “transitory moments,” “moments” of existence.
The sun is shown very interestingly: it hides behind the horizon, leaving its mark on the edges of the clouds
Having burned golden borders,
The clouds scattered like smoke.
Fet's river- this is a living creature, she “bows runs away to the west", fleeing the approaching night, any obstacle is not a hindrance, but everything in nature is harmonious, and there are no night fears, but on the contrary - “night breath” is romantic, because it is, as it were, softened by the warm radiance of the evening.
Gives contrast to the picture antithesis: day - night, clear - darkened, lit up - burnt out, twilight - lightning, fire.
The inevitable finale of the evening landscape, the last “stroke” of the artist’s brush is emphasized union BUT: night is inexorably approaching, lightning is barely "glows", the fire of sunset may still be bright, but already "blue and green".
The poem “Evening” is a description of a bright moment, which reflects the beauty visible to any person.
1.Topic: Autumn
2.Idea: In the autumn of Fet we hear echoes of the human soul.
1) Autumn, like a person, is capable of living (“...in blood golden-leafed headdresses”), love (“...Autumn is looking for burning gazes // And the sultry whims of love”), growing old and dying (“...And, dying so magnificently, // She no longer regrets anything”)...
2) Autumn, like a person, is capable of experiencing sad moments in her life and happy ones. And, like a man, autumn “fading away so magnificently” “no longer regrets anything.”
3.Composition:
Second part contrasted with the first. Here autumn revives, blooms, fills with light and warmth. To enhance the semantic and poetic significance of this part, A.A. Fet uses the technique of gradation. These metaphors are contextual synonyms in the poem. The words “sultry whims of love” contain all the richness of the color and semantic range of autumn, its bewitching charm.
In the third part emotions subside and acquire a moderate, sedate rhythm. There are no more bright colors, no movement, there is only “bashful sadness.” Everything becomes quiet again.
This composition is supported by rhyme: ring.
4.Features (from impressionism):
- before us are snippets of events, phenomena, when the reader needs to figure out,
- Unlike other works, where everything is built on a change of actions and characters, here emotions and sensations change.
- Important: Fet uses many adjectives, his speech is epithetic, which is natural when describing a moment = impressionist.
5.Trails:
epithets: gloomy days; silent autumn and cold; gold leaf decorations.
metaphor: in the blood of gold leaf decorations.
gradation: golden-leafed headdresses... burning gazes... and sultry whims of love.
Where else is there a similar description of autumn?
Alexander Pushkin "Sad time! The charm of the eyes!"
Fet called himself the singer of a Russian woman. The theme of love in his work is the main one. The poet himself claims that this feeling “will always remain the grain and center on which every poetic thread is wound.” Love is that magic crystal through which the poet looks at the world.
There was a woman in the poet’s life who became the tragic heroine of his poetry for many years. The source of inspiration for the poet was the love of his youth - the daughter of a Serbian landowner, Maria Lazic. Afanasy Fet was 28, Maria Lazic was 22. He soon realized that their conversations about the novels of Georges Sand and reading poetry were developing into something else - into a “Gordian knot of love.” Their love was as strong and lofty 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!” Maria Lazic burned to death in the fire. A thrown match set her muslin dress on fire. The flames were knocked down, but the burns were so severe that Maria could not be saved. She died on the fourth day in terrible agony. The exact circumstances of her death have not been clarified, 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 “two worlds.” 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.
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.”
Composition
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: “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.
Loading...