Reflection of the theory of “pure art” in the lyrics of A. A

Features of the poetry of “pure art” Signs 1 Poetry of hints, guesses, omissions. 2 Poems have no plot: lyrical miniatures convey not thoughts and feelings, but the “volatile” mood of the poet. 3 Art should not be connected with life. 4 A poet should not interfere in the affairs of the world. 5 This is poetry for the elite.

The main themes of the poetry of “pure art” Love Nature Art The lyrics are distinguished by a richness of shades; tenderness and warmth. Imagery, unconventional comparisons, epithets; humanizing nature, finding an echo of one’s moods and feelings. Singability and musicality

Amalia Maximilianovna Lerchenfeld I met you and everything that was before came to life in my obsolete heart; I remembered the golden time - And my heart became so warm... Like late autumn, sometimes there are days, there is an hour, When suddenly there is a breath of spring And something stirs in us - So, all of us are blown by the breath of Those years of spiritual fullness, With a long-forgotten rapture I look at your lovely features... As if after a century of separation, I look at you, as if in a dream, - And now the sounds that never ceased in me became more audible... There are more than one memories, Here life spoke again, - And the same in We are enchanted, And the same love is in my soul! G

Dictionary Poetics Poetics is a set of stylistic techniques of the author. Archaic syllable - An archaic syllable is ancient, ancient, dating back to the traditions of the 18th century. Pantheism - Pantheism is a religious and philosophical doctrine that identifies God and the world as a whole (nature). Natural philosophy - Natural philosophy is the philosophy of nature, a speculative interpretation of nature, considered in its integrity.

Features of poetry by F.I. Tyutchev Tyutchev’s artistic world is not a holistic, but a bifurcated picture of the perception of the world, which leads to disharmony between the rebellious spirit of man and reality. The “double existence” of the split human soul is most clearly expressed in the poet’s love lyrics. The feeling of Infinity and Eternity as reality, and not some abstract, abstract categories.

Features of poetry by F.I. Tyutchev Tyutchev is the discoverer of new imaginative worlds in poetry. Poetic images have a cosmic scale: they are space and chaos, life and death. The scale of poetic associations is amazing. The poet draws parallels between states of mind lyrical hero and natural phenomena. Tyutchev's lyrics are inherent in the ideas of pantheism. In the poems of the late period of creativity, the poet’s interest in psychological specificity intensifies.

Poetics F.I. Tyutcheva 1. Vocabulary Archaisms (wind, tree). Compound words (sad orphaned land). Words consisting of 3 or more syllables (mysterious, foreboding) 2. Syntax A poem begins with a question, affirmation or denial. The poems are like replicas of an interrupted conversation. 3. Genre Fragment “His poetic creations came into the light of day before they had time to cool down, still trembling with the inner life of the poet’s soul.”

The main themes of F.I.'s poetry Tyutcheva 1. Theme of the poet and poetry “Don’t believe, don’t trust the poet, maiden...” “Don’t believe, don’t trust the poet, maiden...” “Poetry” “Poetry” “We are not given the power to predict...” “We are not given the power to predict...” Motive loneliness, the tragic insights of which are incomprehensible, and the prophets of which are not even heard by others.

The main themes of F.I.'s poetry Tyutcheva 3. Theme of Russia. “I looked, standing over the Neva...” “I looked, standing over the Neva...” “Above this dark crowd...” “Above this dark crowd...” “You can’t understand Russia with your mind...” “You can’t understand Russia with your mind...” “Two unities.” “Two unities” Russia is the soul of humanity. Russia is the soul of humanity. Feeling Russia can be realized through faith. Feeling Russia can be realized through faith. The salvation of Russia is in the Orthodox tradition. The salvation of Russia is in the Orthodox tradition.

The main themes of F.I.'s poetry Tyutcheva 4. Theme of nature. “Glimmer” “Glimmer” “As the ocean embraces the globe of the earth...” “As the ocean embraces the globe of the earth...” “Autumn evening” “Autumn evening” “Not what you think, nature...” “Not what you think, nature ..." “What are you howling about, night wind?” “What are you howling about, night wind?” “There is in the primordial autumn...” “There is in the primordial autumn...” Phenomena of nature are perceived as phenomena of the living soul. Natural phenomena are perceived as phenomena of a living soul. The natural-philosophical character of F.I.’s lyrics Tyutcheva. The natural-philosophical character of F.I.’s lyrics Tyutcheva.

The main themes of F.I.'s poetry Tyutcheva 5. Theme of love. “With what sadness, with what longing does one fall in love...” “With what sadness, with what longing does one fall in love...” “Predestination” “Predestination” “Oh, how murderously we love...” “Oh, how murderously we love...” “She sat on the floor..." "She was sitting on the floor..." Love is always a struggle. Love is always a struggle. This “fatal duel” can cause the death of one of the lovers. This “fatal duel” can cause the death of one of the lovers. Psychological specificity is combined with a philosophical understanding of the state of the soul. Psychological specificity is combined with a philosophical understanding of the state of the soul.

IN mid-19th centuries in Russian culture there were two
different attitudes towards art in general.
Revolutionary democrats expected art above all else
civic orientation: direct participation in public
political struggle, reflection of the most painful
questions of time. Everything that was outside the public sphere
interests, was considered vulgar, including “pure” poetry.
An extreme point of view on the purpose of art was expressed by
Nekrasov in the famous formulation: “You may not be a poet,
but I must be a citizen.”
In contrast to the theory of the art of public service
The theory of “pure art” emerged. According to this theory, art
must be free (“pure”) from public life:
the poet needs to create pure sublime images that reflect
world of intimate experiences. Brief formula of “pure art”:
"art for art's sake." F Tyutchev and A. Fet - poets of “pure
art."

The theory of “pure art”, in the poetry of A. A. Fet, F. I. Tyutchev

The definition of “pure art” developed in Russian criticism as a negative one in the 40s and 50s. It was also impossible to speak like that about Zhukovsky and Batyushkov. One could feel the great content of their poetry and the positive merits of its form. Later, due to a misunderstanding and in connection with the annoying emphasis on Zhukovsky’s ideological “conservatism,” this derogatory definition spread to him as a poet.

In the 40-50s, the poetic work of A.A. clearly manifested itself. Feta, F.I. Tyutchev as a peculiar reaction to the democratic orientations that came from Nekrasov and Belinsky.

Both poets - Fet and Tyutchev - were outside the strengthening direction in literature, laying its new pedigree. Their initiatives were taken up by A.N. Maykov, Ya.P. Polonsky, A.K. Tolstoy. The poets of this group sincerely believed that poetry should speak about the eternal freely, without coercion. They did not recognize any theory above themselves

Uniting on some general principles, poets of “pure art,” however, differed from each other in many ways.

A.A. Fet turned out to be a difficult phenomenon to explain in Russian poetry, both for modern criticism and for subsequent literary criticism. The democratic public condemned his departure from pressing social issues for being too intimate character his poetry. The subtleties of his observations and poetic and artistic skill were not captured.

It is also complex and contradictory in the following respect: there was an extremely large gap between Fet, the subtle lyricist, and Shenshin, the man.

Fet allowed himself to flaunt paradoxes: “ Piece of art, which has meaning, does not exist for me.” “In our business, the true nonsense is the true truth.” “My muse babbles nothing but absurdities.” That's why D.I. Pisarev paid him the same and in his articles completely crossed out at least some significance of Fet the poet.

The severe enemy of “moth poetry” M.E. Saltykov-Shchedrin wrote that most of Fet’s poems “breathe with the most sincere freshness”, they “conquer the hearts of readers”, romances based on Fet’s poems “are sung by almost all of Russia.” And again, with sober precision, it is said about the uneven quality of the poems, about the fact that Fet’s world is “small, monotonous and limited,” although few can compare with him in “fragrant freshness.”

Dobrolyubov, speaking of Fet as a master of “catching fleeting impressions,” in essence, already posed the problem of Fet’s impressionism, which has not yet been satisfactorily clarified by any of the scientists.

There are three positions in Fet's explanation.

First: we want to know only “good” Fet, the greatest lyricist, and nothing else Fet and Shenshin, poet and businessman, and although Shenshin often interfered with Fet, these interferences must be ignored as purely empirical circumstances, as misunderstandings of private life, everyday vanity , Not worth attention. And finally, the third position: there are dialectical connections between Fet and Shenshin, between the fragrant lyricist and the militant conservative. We should be interested in the dialectic of connections between Fet’s life and beliefs, on the one hand, and his “pure” lyrics, on the other. True dialectics should not be sought in ugly connections - the relationship between Fet and Shenshin, the greatest lyricist with a selfish landowner - this path is false and unproductive . Connections can only be between Fetov’s poetic world and the boundless world of universal human life, the life of nature, and society. Fet’s true truth was formulated by himself in one of his articles in 1867: “Only man, and only he alone in the entire universe, feels the need to ask: what is the nature around him? where does all this come from? what is he himself? where? Where? For what? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him.”

Fet preaches not narrowness, but observation. Of course, there is not only this in the world, but there is also this. Everything exists for man. The inner man is the measure of all things. He has the right to choose. Let us also quote the poem “ Good and evil":

Fet is not concerned with “cosmic” problems human existence. Fet's world is absolutely this-worldly, it does not concern anything mystical, the fate of the universe. In earthly life, a person has his own sphere of fleeting impressions and feelings. With this “impressionism” Fet could appeal to modernists, symbolists in late XIX century.

For a long time 18th century and the first 4 decades of the 19th century, poetry was the highest region. literature, and prose is secondary. In 1840 everything changed. The revolution predicted by Belinsky happened, Pushkin’s poetic period ended and Gogol’s prosaic period began. All R. 1850 the 30-year reign of Nicholas 1 ends - Crimean War. Beginning preparation of reforms. The main surprised force is the commoners. Censorship terror was softened, contributing to the flourishing of literature (in the mid-1860s, poems by Fet Tyutchev, Nekrasov, and A.N. Tolstoy were included in Russian literature).

In poetry until the beginning of 1890. there was a struggle between the Pushkin and Gogol directions. There is a connection with the name of Pushkin. first half of the 19th century His lyrics are expressive. serious social and philosopher. beliefs. Landscape and love develop morality. and aesthetic reader perception. Civil lyrics promotes patriotism education. In the novel “Eugene Onegin” he describes Rus. rural nature and the nature of cities (in the 1st and last chapter describes St. Petersburg, and in the 7th Moscow). Special place is taken by description. rural nature. Push. describes spring, draws winter and autumn landscapes. At the same time, he strives to choose unusual paintings (everything with him is simple, ordinary and at the same time beautiful). Until Push. poets pic. nature in classic and romantic productions, they looked for poetry only in grandiose, unusual for Russian. chela paintings high. mountains, abysses, waterfalls, seas. With his poetic images. simple modest nature Central Russia Push. positive changed the reader's tastes: he showed how much poetry there was. in these familiar, dear, but insufficiently appreciated paintings. Push. managed to see beauty in the simplest and most ordinary. He managed to find poetry. words for expression this beauty. He teaches us to see, understand and love our modest nature, in comparison with the lush south, but beautiful in its simplicity. On your TV Push. declared the requirement independent poetry from the authorities, from the people, the idea of ​​the poet as a God-inspired creator. Poem. Push. “The poet and the crowd” became the slogan for poets of the 2nd mid-19th century. , who spoke under the slogan of pure art “We were born for inspiration, for sweet sounds and prayers.”

Push. raised poetry to new heights. height and allowed Russian. people better understand themselves.

The opposite point of view turned out to be natural, ktr. connected with him. Gogol - proclaiming the need to discover tendentious poetry and engagements.

At the beginning of chapter 7 " Dead souls“Gogol compares the creator of art for art’s sake and the writer of the expose (he considers himself to be type 2). After Gogol’s death, Nekrasov expresses these thoughts in the poem “Blessed is the gentle poet.” Most of it is verse. Nekrasova glorifies the poet’s tendentiousness (Nekrasov himself was a poet with a revolutionary-popular orientation). He put his poetry at the service of the people.

Poetry 1860-1880 differences between schools. School of pure poetry- poetry of the heart, feelings - representatives: A. Fet, Apollo –Grigoriev, Maikov, A.N. Tolstoy, Ya. Polonsky. - developed the romantic tradition - characterized by the aestheticization of reality, the creativity of the theme: eternal themes and problems (of love and nature) - lit. language, teaching vocabulary.

School of democratic poetry - poetry of thought - Representatives: N. Nekrasov, I. Nikitin, Z. Surikov, A. Pleshcheev - developed a realistic tradition, characterized by reality in contradictions and contrasts, active life position, social topics and problems. Characteristic elements of colloquial language, everyday vocabulary.

A. Fet (1820-92) In his declining years, Fet was strongly influenced by Schopenhauer. Translated his work into Russian. This is the philosophy of pessimism, egoism, the illusory nature of happiness, the inevitability of pain and the ethics of compassion. Fet consistently transferred his understanding of the world to the art of words. Poetry is a lie. Poet, ktr. doesn't lie from the first words, no good. The emerging lyricism of yavl. miraculously, the pinnacle of Russian poetry. He has no pictures of social media. reality. Fet's main task is to show beauty (2 themes: nature and love). Nature is spiritual, it lives its own mysterious life. His nature is three-dimensional, alive, filled with sounds. Fet strives to capture the beautiful moments of eternity.

Spring rain It’s still light in front of the window The sun shines through the gaps in the clouds, And a sparrow, bathing in the sand, trembles with its wing. And from the sky to the ground, swaying, the curtain moves, And as if in golden dust, the edge of the forest stands behind it. Two drops splashed onto the glass, the linden trees smelled like fragrant honey, and something approached the garden, drumming on the fresh leaves.

A. A. Fet. The uniqueness of the poet's personality and his work.

Teacher's word: At the last lesson we talked about the poetry of F.I. Tyutchev, analyzed the poems. What is unique about the poet’s lyrics?

Student answers: Tyutchev’s poetry contains recognition of the world, the novelty of “discoveries” of an infinitely diverse existence: the poet calls to look and listen to the world.

The poet sought to answer the questions of what the Universe and the Earth are, what are the secrets of birth and death, the primordial elements and forces of existence, what is the deep meaning of Time, Space, Movement. What place does a person occupy in the world, what is his destiny?

Poetry F.I. Tyutcheva is philosophical, wise!

The poet was interested only in “eternal” questions, topics that always worried humanity, a hundred, three hundred, and a thousand years ago...

Teacher's word: You are absolutely right! It was, as you said, that “eternal” topics occupied F.I. Tyutchev - philosopher. Today we will get acquainted with the work of another poet, who, like Fyodor Ivanovich, believed that poetry is an area where there is no place for the momentary, temporary, nature, love, beauty - this is what lyrics should glorify!

“I could never understand that art was interested in anything other than beauty,” said the great Russian poet Afanasy Afanasyevich Fet. In his opinion, “poetry is even more beautiful because it can lead a person from the world of suffering to the world of high, the only possible happiness...” This attitude towards art corresponded to the philosophical views of A. Schopenhauer, whose works Fet translated, and the views of some other German philosophers.

“Art was given to us so as not to die from the truth...”
“Kunst ist uns gegeben, um von der Wahrheit zu sterben...”
F. Nietzsche

Afanasy Afanasyevich Fet, of course, would agree with this statement, which absolutely expresses the poet’s own opinion about the purpose of art: “We constantly sought in poetry the only refuge from all everyday sorrows...”

So, art is “a refuge from everyday sorrows,” which is why it should not concern itself with insignificant, painful everyday issues!

Fet invariably clearly distinguished between poetry and science, poetry and life, life and the beauty of life: “As much as in the free arts I value reason little in comparison with inspiration, so in practical life I demand reasonable foundations, supported by experience.” IN real life Afanasy Afanasyevich was an extremely practical, strong-willed and purposeful person. Fet's friends often made fun of the poet's prosaic appearance and his passion for earthly goods. So, for example, in December 1876 L.N. Tolstoy, having highly praised the poem “Among the Stars,” with its “philosophical poetic character,” inserts a humorous remark into his letter to Fet: “It’s also good that the wife noticed that feelings of sorrow were poured out on the same piece of paper on which this poem was written.” that kerosene began to cost 12 kopecks. This is a secondary but true sign of a poet.”

Teacher question: Perhaps this duality of character was the result of the trials that befell him?

Working with cards prepared in advance by students.

...The mother of the future poet, Caroline Charlotte Fet, left Germany in 1820 with Afanasy Neofitovich Shenshin. Soon Afanasy was born, whom A.N. Shenshin adopts. Charlotte's father Karl Becker writes an angry letter to Shenshin, from which it is clear that the father of the future poet is not Shenshin, but Johann Feth, an official who served in the Darmstadt court. For these reasons, in January 1835, the Oryol spiritual consistory excommunicated the future poet from the Shenshin family. The last name was also taken away. At the age of 14, he becomes a Hessian subject of Darmstadt and receives the surname of his real father. Fet experienced everything that happened as a tragedy. He sets the goal of returning to the noble fold of the Shenshins and achieves it with fantastic tenacity: since 1873, Fet, with the permission of Alexander II, becomes Shenshin. Moving towards the goal cost many sacrifices. One of them is love. Having fallen in love with the daughter of a poor Kherson landowner, Maria Lazich, Fet, however, decides to part with her, because he himself was strapped for money. He also sees marriage as a significant obstacle to career advancement, which he entered with the sole purpose of regaining his lost nobility. Living for the future, Fet sacrifices the present. When he reaches all the heights of well-being, he will begin to rush from the happy present to the past, in which his beloved remains. Overcoming this painful duality, Fet creates a cycle of confessional poems dedicated to Mary...

The poetry of beauty, the poetry of music.

Many of A. A. Fet’s poems talk about unity, the interpenetration of natural phenomena and human sensations.

The teacher reads the poem “Whisper, Timid Breath.”

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,
Amber reflection
And kisses and tears,
And dawn, dawn!..

What is unique about this poem?

Student answers: There is not a single verb here.

Teacher's word: That's right, the poem is built on nominative sentences alone. Only objects and phenomena that are named one after another: a whisper - timid breathing - the trill of a nightingale...
At the same time, can a poem be called purely material, objective?

Student answers: Probably not entirely...
No. It is sublime, mysterious. We are talking about feelings here.

Teacher's word: Right! Objects in this poem do not exist on their own, but as signs of feelings and states. By naming this or that thing, the poet evokes in the reader not a direct idea of ​​it, but those associations that can usually be associated with it.

How do you understand the following lines: “In the smoky clouds there is the purple of a rose, the reflection of amber”? Are we talking about roses, amber?

Student answers: No! This is how the poet describes the colors of dawn. This is a metaphor!

The silver of the sleepy stream is also a metaphor!

Certainly! What picture do you imagine?

Student answers: The night is ending: the nightingales are already singing, but the moon is still reflected in the water. Just before dawn, two people, most likely two, are sitting by a stream: A series of magical changes in a sweet face. Someone looks with tenderness and even delight at the object of their adoration...

Or maybe the night flew by unnoticed, but THEY didn’t notice it, absorbed in each other and their feelings.

So, you saw a feeling behind objects and phenomena? The most subtle feeling, inexpressible in words, inexpressibly strong! Nobody wrote about love like this before Fet. This poem is truly innovative: Fet’s poetic style is sometimes called impressionistic (from the French word “impression”).

Teacher's word: At A.A. Fet has a number of poems about the purpose of poetry, its power, its ability to transform suffering into joy, to stop time. These include the poem “With one push to drive away a living boat...”, written on October 28, 1887.

Drive away a living boat with one push
From the olive-smoothed sands,
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 both its sign and crown!

Teacher question: What is unique about the composition of this poem?

Student answers: It consists of three quatrains. There are a lot of verbs in the indefinite form. Ten. They replace each other.

The entire text is one sentence!

Teacher's word: Absolutely right! One sentence, but the complexity of the syntactic structure is hardly noticeable due to the division into poetic lines, thanks to the syntactic parallelisms of the lines: as you noticed, ten infinitives replacing each other. This technique conveys lyrical tension.

What else does lyrical tension convey in the poem?

Student answers: Anaphora: “With one push...” – “With one wave...”; “That’s what...” – “That’s what...”

Yes. What is the lyrical tension connected to?

Student answers: The poet speaks of an uncontrollable desire for something high and inaccessible.

You have just named anaphors. Look carefully, maybe these figures of speech will help us determine how many semantic parts the poem has?

Probably, two semantic parts can be distinguished in the poem.

Teacher's word: Absolutely right! The first eight lines are a chain of image-descriptions of the landscape, the inner life of a person, united by the motif of a sharp, sudden change. This change is joyful, the world is filled with movement, feelings are heightened. The transformation of the inner world is amazing: the “unknown, dear” is revealed (that is, the dear was unknown before this transformation), “secret torments” acquire sweetness, “someone else’s” is “felt” as “one’s own”.

The substantive adjectives of the neuter gender in this poem: “unknown”, “native”, “alien”, “one’s own” - remind of Zhukovsky, his programmatic fragment “Inexpressible” (cf. “limitless”, “beautiful”, “unnamed”, “ sweet, joyful and sorrowful”), also dedicated to poetry and its possibilities. Only V.A. Zhukovsky proved that words cannot convey the entire complexity of existence, the beauty of nature, its secrets.
What is A.A.’s point of view? Feta?

Student answers: The second part - the last two lines - indicates that the poem is talking about poetry, about “the singer...the chosen one.” The first part is an image of what is subject to the poet. He can “rise to another life.” The unknown becomes familiar to him. He perceives someone else's grief or someone else's joy with extraordinary sensitivity. The poet knows how to inspire people.

“Whisper about something that makes the tongue go numb” - a poet can express everything that others are silent about. They are silent because they simply do not know how to put their thoughts into words.

A poet can do anything!

Teacher's word: So, the points of view of Fet and Zhukovsky do not coincide. According to Fet, a poet can find means to express the most intimate thoughts and hidden feelings.

Poems by A.A. Fet well confirm the kinship between lyrics - an expressive and visual kind of literature - and music. Their rhythmic diversity, melody, the use of diverse repetitions (so characteristic of musical compositions): anaphors and epiphoras, syntactic parallelisms, sound writing. The poet has poems directly dedicated to music. One of them is “The night shone. The garden was full of moonlight. They were lying...", written on August 2, 1877.

The teacher reads a poem.

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,

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,
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,

That there are no insults from fate and burning torment in the heart,
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!

Teacher's word: The poem was created under the impression of one musical evening with friends, the singing of T.A. Kuzminskaya - Bers. Tanya Bers, the main prototype of Natasha Rostova in the novel “War and Peace,” was a wonderful musician and singer (Tatyana Andreevna is the sister of Sofia Andreevna Bers, the wife of Leo Tolstoy).

The night was shining...

Can the night “shine”?

Student answers: No. Night - dark time days. But here we are probably talking about some unusual night.

The night was shining - a paradoxical sounding antithesis.

Teacher question: What is the name of a stylistic figure, an antithesis, presented in the form of two contrasting, antonymous words that are mutually exclusive?

Oxymoron.

Teacher's word: Yes. And the author uses this artistic technique in order to convey the atmosphere of this amazing, ONE “shining” night, which may change the whole life of the lyrical hero.

The garden was full of moonlight...

We see that the sequence of words in this sentence is broken. Before us is the so-called inversion. The object comes first, the subject comes last. Why does the author break the word order?

Student answers: Again, to emphasize that this is an unusual night, moonlit, very bright.

The piano was all open, and the strings in it were trembling,
Just like our hearts follow your song.

An open piano, trembling strings. The metaphorical meaning of words clearly displaces the nominative (noun) - the piano also has a soul, a heart!

Music has a strong emotional impact on listeners.

Teacher question: What can you say about the lyrical heroine of this poem?

Student answers: This is an unusually musical, gifted girl who knows how to awaken the best feelings in people. With the power of her talent, she transforms not only listeners, but also the surrounding reality, so the night becomes extraordinary, “radiant.”

Teacher's word: Yes, that's right. The lyrical heroine is the earthly embodiment of the beauty of life, its high sound: “And I wanted to live so much so that, without making a sound, // I would love you, hug you and cry over you.” It is important not just to live, but to live as on this night, “without making a sound,” and this already applies to the lyrical “I”.

This poem highlights moments of true existence, there are few of them, in contrast to the “languorous boring” years. The connection between these moments is emphasized by anaphors, epiphoras and other repetitions. Literature cannot directly convey singing and music; it has a different language. But it is literature that can convey HOW music affects the listener!

The teacher summarizes the conversation: Today we read wonderful poems by A.A. Feta about nature, love, art, the purpose of a poet. Times change, but “eternal” questions remain, which are impossible to answer unequivocally, and that is why they always remain attractive. Nature, love, beauty - these are the cherished areas of poetry of “pure art”, art free from worldly, momentary problems.

A picture of Russian literary life of the 30-50s. would be incomplete if we did not take into account the existence of poetry, the so-called. "pure art". Under this conventional name the work of those poets who defended the ideology of the conservative part of the landowner class can be united. This group was led by Tyutchev and young Fet. It is not difficult to establish the noble origin of this poetry: sympathy for the estate, admiration of its nature, the serene life of its owner run through the entire work of any of these poets. At the same time, all these poets are characterized by complete indifference to the revolutionary and liberal tendencies that dominated the social life of that time. It is impossible to deny the significance of the artistic level of this poetry, manifested in the sophistication of its images, and in the refinement of the composition, and in the melodic structure of the verse. But all these indisputable advantages are developed in the lyrics of “pure art” due to the richness, diversity, and most importantly, the progressiveness of the social content contained in it. The ideology of the poets of “pure art” is poor and unpromising; it could not have been otherwise given the political positions they all took. This explained their rather weak influence on subsequent Russian poetry, since its main movements (Nekrasov, Kurochkyan) were certainly hostile to the group of Fet and Maykov. The poets of the noble right did not create such aesthetic values, which could be included in the creative fund of classical poetry and would retain their significance for the modern reader. The only exceptions were Fet and Tyutchev, the first - by his artistic penetration into the world of nature, the second - by the acuteness with which he expressed the overwhelming feeling of the collapse of his class, which he subjectively experienced as a universal crisis of consciousness.

Fet's creativity is characterized by the desire to escape from everyday reality into the “bright kingdom of dreams.” The main content of his poetry is love and nature. His poems are distinguished by the subtlety of their poetic mood and great artistic skill.

Fet is a representative of the so-called pure poetry. In this regard, throughout his life he argued with N. A. Nekrasov, a representative of social poetry.

The peculiarity of Fet's poetics is that the conversation about the most important is limited to a transparent hint. The most striking example is the poem “Whisper, timid breathing...”.

Whispers, timid breathing,

Nightingale trills

Silver and sway

Sleepy Creek

Night light, night shadows

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

Amber reflection

And kisses and tears,

And dawn, dawn!..

Fet's poem "whisper, timid breathing" has 3 stanzas, each of which has 4 verses.

The theme of this poem is nature. The author describes the transitional state of nature from night to morning. Description of the night...nature is beautiful at night.

The author does not use verbs - this gives the poem greater expressiveness and beauty. Great amount voiceless consonants in each stanza slows down the speech, makes it viscous, smoother, in tune with the poetic language of the 20th century.

All three stanzas of this poem form one single sentence.

The first stanza ends and the second continues it, the second ends, the third stanza continues. It’s like small frames. The poem is very beautiful, melodious, I want to come up with music for it and sing it. There was a lot of controversy around this poem: people perceived it differently: many believed that this was a lyrical work of “pure water”, that it would sing the trills of a nightingale at a time of shock. The poem is clear, transparent, apt, the action of which takes place in a meadow, not far from a stream, in nature.

Reading it, you are mentally transported to a meadow, freshness flows into your lungs. You want to stay there forever, never leave there.

“Whisper, timid breathing” - the name itself speaks for itself. Whisper = This is something very quiet, something so as not to disturb the silence.

Timid breathing - quiet breathing... similar to a whisper.

This is all in order not to disturb the “life” of nature, its state.

These words help the reader to more vividly imagine what is happening in a given period. With these words, the author tries to emphasize the beauty of the extraordinary nature.

The poem personifies a stream. By this the author wants to show that nature lives and breathes, breathes with every blade of grass and every leaf, every drop of dew or stream.

And the fact that people don’t consider her alive is wrong.

Even when night comes, everything lives, lives its own life, not understandable to everyone.

I came to you with greetings

Tell me that the sun has risen

What is it with hot light

The sheets began to flutter;

Tell me that the forest has woken up,

All woke up, every branch,

Every bird was startled

And full of thirst in spring...

This world consists of parts that, at first glance, are invisible or familiar to us: a blade of grass, a flower, a stream, the sun, the trills of birds; the author strives to awaken in the reader a new facet of the relationship between man and nature. Reminding us of the beauty around us, Fet encourages us to look at this beautiful world again and feel everything that the author himself feels, what overwhelms him and what he so strives to pour into the reader’s soul.

Love, nature, poetry - these concepts are related for Fet, they express the essence of being, its meaning. The poet, revealing the beautiful features in nature and man, draws a certain parallel between the nature that surrounds us and the nature that lurks inside each of us - this is the nature of the human soul, and, indeed, much in common can be found in them. At the same time, the author sets the perfect beauty and wisdom of nature as an example as an ideal to which the soul must strive.

33. LOVE LYRICS by A. A. FET

The theme of love is one of the components of the theory of “pure art”, most widely reflected in Russian literature in the poems of A. A. Fet and F. Tyutchev. This eternal theme of poetry found a different interpretation among these poets and sounded somewhat new.

Saltykov-Shchedrin wrote that now no one will dare to sing about nightingales and roses. For Fet's work, the theme of love was fundamental.

The creation of beautiful poems about love is explained not only by the poet’s talent. There is also a real biographical background here. The source of inspiration for the poet was the love of his youth - the daughter of a Serbian landowner, Maria Lazic. 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!” The 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 a “two worlds”, somewhat similar to Zhukovsky’s 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.

All his life Zhukovsky believed in connecting with Masha Protasova in another world, he lived with these thoughts. Fet is also immersed in his own world, because only in it is unity with his beloved possible. Fet feels himself and his beloved (his “second self”) inseparably merged in another existence, which actually continues in the world of poetry: “And although I am destined to drag out life without you, we are together with you, we cannot be separated.” (“A1mer e§o.”) The poet constantly feels spiritual closeness with his beloved. The poems “You have suffered, I still suffer...”, “In the silence and darkness of a mysterious night...” are about this. He makes a solemn promise to his beloved: “I will carry your light through earthly life: it is mine - and with it a double existence” (“Tangibly, invitingly and in vain...”).

The poet speaks directly about “double existence”, that his earthly life The only thing that will help him bear is the “immortality” of his beloved, that she is alive in his soul. Indeed, for the poet, the image of his beloved woman throughout his life was not only a beautiful and long-gone ideal of another world, but also a moral judge of his earthly life.

In the poem “Dream,” also dedicated to Maria Lazic, these motives are felt especially clearly. The poem has an autobiographical basis; Lieutenant Losev is easily recognizable as Fet himself, and the medieval house where he stayed also has its prototype in Dorpat. The comic description of the “club of devils” gives way to a certain moralizing aspect: the lieutenant hesitates in his choice, and he is reminded of a completely different image - the image of his long-dead beloved. He turns to her for advice: “Oh, what would you say, I dare not name who with these sinful thoughts.”

The criticism noted the correspondence of these lines to the words of Virgil to Dante that “as a pagan, he cannot accompany him to heaven, and Beatrice is given to him as a companion.” The image of Maria Lazic (and this, undoubtedly, is her) for Fet is a moral ideal; the poet’s whole life is the pursuit of an ideal and the hope of reunification with his beloved.

But Fet’s love lyrics are filled not only with a feeling of hope and hope. She is deeply tragic. After all, the feeling of love is very contradictory and most often brings not only happiness, but also torment. In Fet's poems there are often combinations such as "joy - suffering": "the bliss of suffering", "the sweetness of secret torment." The poem "At dawn, don't wake her up" is all filled with such a double meaning. At first glance, we have a serene picture of the morning the girl’s sleep. But already the second quatrain conveys some kind of tension and destroys this serenity: “And her pillow is hot, and her weary sleep is hot.”

The appearance of “strange” epithets, such as “tiring sleep,” no longer indicates serenity, but some kind of painful state close to delirium. The reason for this state is further explained, the poem reaches its climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and suddenly the last quatrain completely changes

picture, leaving the reader perplexed: “Don’t wake her, don’t wake her, at dawn she sleeps so sweetly.” These lines provide a contrast with the middle of the poem and return us to the harmony of the first lines, but on a new turn. The call “don’t wake her up” already sounds like a cry from the soul.

The same impulse of passion is felt in the poem “The night was shining, the garden was full of the moon...”, dedicated to Tatyana Bers. The tension is emphasized by the refrain: “Love you, hug you and cry over you.” In this poem, the quiet picture of the night garden gives way to and contrasts with the storm in the poet’s soul: “The piano was all open and the strings in it trembled, just like our hearts behind your song.”

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

Once Fet was asked how, at his age, he could write about love so youthfully. He replied: “From memory.” Literary critic Blagoy says that Fet is distinguished by an exceptionally strong poetic memory, and cites as an example the poem “On the Swing,” the impetus for writing which was a memory 40 years ago (the poem was written in 1890). Fet, in a letter to Polonsky, recalled how “forty years ago I was swinging on a swing with a girl, standing on a board, and her dress was flapping in the wind.” Such a “sound detail” as a dress that “crackled in the wind” is most memorable for the poet-musician. All of Fet's poetry is built on sounds, modulations and sound images.

I. V. Turgenev said about Fet that he expected a poem from the poet, the last lines of which would have to be conveyed only by the silent movement of his lips. A striking example is the poem “Whisper, timid breathing...”, which is built on only nouns and adjectives, without a single verb.

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face.

There are purple roses in the smoky clouds,

Amber reflection

And kisses, and tears, and dawn, dawn!..

Commas and exclamation points also convey the splendor and tension of the moment with realistic specificity. This poem creates an accurate image, which, when viewed closely, reveals chaos, “a series of magical” “changes” elusive to the human eye, and in the distance - an accurate picture.

Fet, as an impressionist, bases his poetry, in particular the description of love experiences and memories, on the direct recording of his subjective observations and impressions. Condensation, but not mixing of colorful strokes, as in Monet’s paintings, gives the description of love experiences a culmination and extreme clarity to the image of the beloved. What is it like? A. Grigoriev also noted Fet’s passion for hair, referring to the story “Cactus”. This passion is manifested more than once in Fetov’s poems: “I love to look at your long lock of hair,” “golden fleece of curls,” “braids running in a heavy knot,” “a strand of fluffy hair,” and “braids with a ribbon on both sides.” Although these descriptions are somewhat general, they nevertheless create a fairly clear image of a beautiful girl.

Fet describes her eyes differently. Either this is a “radiant gaze”, or “motionless eyes, crazy eyes” (similar to F. Tyutchev’s poem “I knew my eyes, oh these eyes”). “Your gaze is open and fearless,” writes Fet, and in the same poem he talks about “ fine lines ideal." For Fet, his beloved is a moral judge and ideal. She has great power over the poet throughout his life, although already in 1850, shortly after Lazic’s death, Fet writes that the ideal world for him was destroyed long ago.

The influence of the beloved woman on the poet is also palpable in the poem “For a long time I dreamed of the cries of your sobs.” The poet calls himself “an unfortunate executioner,” he acutely feels his guilt for the death of his beloved, and the punishment for this was “two drops of tears” and “cold trembling,” which he endured forever during “sleepless nights.” This poem is painted in Tyutchev's tones and absorbs Tyutchev's drama.

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

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

34. Chernyshevsky. "What to do?" as a “novel about new people.”

Chernyshevsky constantly emphasizes the typology of “new people” and talks about the whole group. “These people among others are as if among the Chinese there are several Europeans whom the Chinese cannot distinguish one from another.” Each hero has common traits for the group - courage, ability to get down to business, honesty.

It is extremely important for a writer to show the development of “new people”, their difference from the general mass. The only character whose past is examined in careful detail is Verochka. What allows her to free herself from the environment of “vulgar people”? According to Chernyshevsky, labor and education. “We are poor, but we are working people, we have healthy hands. If we study, knowledge will free us; if we work, labor will enrich us.” Vera is fluent in French and German, which gives her unlimited opportunities for self-education.

Heroes such as Kirsanov, Lopukhov and Mertsalov enter the novel as already established people. It is characteristic that doctors appear in the novel while writing a dissertation. Thus, work and education merge into one. In addition, the author makes it clear that if both Lopukhov and Kirsanov come from poor and humble families, then they probably have poverty and labor behind them, without which education is impossible. This early exposure hardly gives the "new person" an advantage over other people.

The marriage of Vera Pavlovna is not an epilogue, but only the beginning of the novel. And this is very important. It is emphasized that in addition to the family, Verochka is capable of creating a wider association of people. Here the old utopian idea of ​​the commune appears - the phalanstery.

Work gives “new people”, first of all, personal independence, but in addition, it is also active help to other people. The author condemns any deviation from selfless service to work. Suffice it to remember the moment when Verochka is about to go after Lopukhov, leaving the workshop. Once upon a time, labor was necessary for “new people” to receive an education, but now the heroes are trying to educate people in the process of labor. Connected with this is another important philosophical idea of ​​the author in depicting the “new people” - their educational activities.

We know Lopukhov as an active promoter of new ideas among young people and a public figure. Students call him "one of the best heads in St. Petersburg." Lopukhov himself considered work in the office at the plant to be very important. "The conversation (with the students) was practical, useful purpose“promoting the development of mental life, nobility and energy in my young friends,” Lopukhov writes to his wife. Naturally, such a person could not limit himself to learning to read and write. The author himself hints at revolutionary work at the factory among the workers.

The mention of Sunday workers' schools meant a lot to the readers of that time. The fact is that by a special government decree in the summer of 1862 they were closed. The government was afraid of the revolutionary work that was carried out in these schools for adults, workers, and revolutionary democrats. The original intention was to direct the work in these schools in a religious spirit. It was prescribed to study in them the Law of God, reading, writing and the beginnings of arithmetic. Each school had to have a priest to monitor the good intentions of the teachers.

It was precisely such a priest in Vera Pavlovna’s “lyceum of all kinds of knowledge” that Mertsalov should have been, who, however, was preparing to read the forbidden Russian and world history. The literacy that Lopukhov and other “new people” were going to teach to the worker listeners was also unique. There are examples when progressively minded students explained in class the meaning of the words “liberal,” “revolution,” and “despotism.” The educational activities of the “new people” are a real approach to the future.

It is necessary to say something about the relationship between “new” and “vulgar” people. In Marya Alekseevna and Polozov, the author sees not only, in the words of Dobrolyubov, “tyrants,” but also practically gifted, active people who, under other circumstances, are capable of benefiting society. Therefore, you can find features of their similarities with children. Lopukhov very quickly gains confidence in Rozalskaya, she respects him business qualities(primarily the intention to marry a rich bride). However, the complete opposite of the aspirations, interests and views of the “new” and “vulgar” people is clearly visible. And the theory of rational egoism gives the “new people” an undeniable advantage.

The novel often talks about selfishness as an internal motivator of human actions. The author considers the most primitive thing to be the selfishness of Marya Alekseevna, who does no good to anyone without monetary payment. The selfishness of wealthy people is much more terrible. He grows on “fantastic” soil - on the desire for excess and idleness. An example of such egoism is Soloviev, who plays out his love for Katya Polozova because of her inheritance.

The selfishness of the “new people” is also based on the calculation and benefit of one person. “Everyone thinks most of all about himself,” says Lopukhov to Vera Pavlovna. But this is fundamentally new moral code. Its essence is that the happiness of one person is inseparable from the happiness of other people. The benefit and happiness of a “reasonable egoist” depends on the state of his loved ones and society as a whole. Lopukhov frees Verochka from a forced marriage, and when he is convinced that she loves Kirsanov, he leaves the stage. Kirsanov helps Katya Polozova, Vera organizes a workshop. For heroes, following the theory of reasonable egoism means taking into account the interests of another person with every action. The mind comes first for the hero; the person is forced to constantly turn to introspection and give an objective assessment of his feelings and position.

As you can see, the “reasonable egoism” of Chernyshevsky’s heroes has nothing to do with selfishness or self-interest. Why is this still a theory of “egoism”? The Latin root of this word “ego” - “I” indicates that Chernyshevsky puts a person at the center of his theory. In this case, the theory of rational egoism becomes the development of the anthropological principle that Chernyshevsky put at the basis of his philosophical idea.

In one of the conversations with Vera Pavlovna, the author says: “...I feel joy and happiness” - which means “I want all people to be happy” - humanly speaking, Verochka, these two thoughts are one and the same." Thus, Chernyshevsky states that the creation favorable conditions for the life of an individual is inseparable from the improvement of the existence of all people. This reflects the undoubted revolutionary nature of Chernyshevsky’s views.

The moral principles of the “new people” are revealed in their attitude to the problem of love and marriage. For them, a person, his freedom is the main thing life value. Love and humane friendship form the basis of the relationship between Lopukhov and Vera Pavlovna. Even a declaration of love occurs during a discussion of Verochka’s position in her mother’s family and the search for a path to liberation. Thus, the feeling of love only adapts to the situation that has arisen. It should be noted that such a statement entered into controversy with many works of the 19th century.

The problem of women's emancipation is also being solved by the “new people” in a unique way. Although only church marriage is recognized, a woman must remain financially and spiritually independent of her husband during marriage. Starting a family is only one of the milestones on the way to approaching the ideal.

The theme of the rebirth of a fallen woman is also explored in the novel. The meeting with Kirsanov gives Nastya Kryukova the strength to rise from the bottom. Julie, who lives among “vulgar people,” does not have such an opportunity. In addition, a two-way connection is visible: people who are reborn thanks to the support of “new people” themselves join their ranks.

Only children make a woman happy, according to Chernyshevsky. It is with the upbringing of children and their future that the author connects Vera Pavlovna’s second marriage. It becomes a real bridge to the future.

The heroes of Chernyshevsky's novel "What to do?" - these are commoners, new heroes of literature. Underestimating the role of the working class, Chernyshevsky predicts victory and the approach of the future for the revolutionary democrats and commoners.

Novel by N. G. Chernyshevsky “What to do?” - a novel about new people, about their new life. This is an advanced, progressive-minded intelligentsia from commoners. These are people of action, and not of abstract dreams, they strive to win happiness for the people in the fight against the existing unjust social foundations. They love work, are passionately devoted to science, and have high moral ideals. These people build their relationships on mutual trust and respect. They do not hesitate in the struggle, they do not give in to difficulties. The heroes of the novel fight for the ideal of a bright future, for better life. Among them, the figure of a special person, Rakhmetov, stands out. Probably, wanting to more convincingly prove to his readers that Lopukhov, Kirsanov and Vera Pavlovna are really ordinary people, Chernyshevsky brings to the stage the titanic hero Rakhmetov, whom he himself recognizes as extraordinary and calls him a special person. Rakhmetov does not participate in the action of the novel. There are very few people like him: neither science nor family happiness satisfies them; they love all people, suffer from any injustice that occurs, experience great grief in their own souls - the miserable existence of millions of people and devote themselves to healing this illness with all their fervor.

Rakhmetov became in the novel a true example of a comprehensively developed person who broke with his class and found his ideal, his goal in the life of the common people, in the struggle for their happiness. Critics wrote: “Even in the early student years, the rigorism of a special person was formed, that is, habits were developed for stern, unyielding adherence to original principles in material, moral, and mental life.” The path of an ordinary, good, kind and honest young student began with reading books, with developing a new outlook on life. He went through the school of political education with the common student Kirsanov. Rakhmetov bought reading books recommended by Kirsanov from bookstores. After immersing himself in such reading, he became stronger in his thoughts about the need for the fastest possible improvement in the material and moral life of the largest and poorest class.

Rakhmetov studies and does something in his homeland, and not abroad. He learns from Russian people engaged in everyday work. He needs, first of all, to know how financially constrained their life is compared to his own life. From the age of seventeen he became familiar with the harsh lifestyle of the common people. Initially, he became a laborer for several hours a day: he carried water, carried firewood, dug the earth, and forged iron. Ultimate respect and love ordinary people Rakhmetov acquired it during his three-year wanderings around Russia, after he passed the entire Volga as a barge hauler. His comrades affectionately dubbed him Nikitushka Lomov.

Rakhmetov to his in a harsh way life cultivated the physical endurance and spiritual fortitude necessary for future challenges. Confidence in the correctness of his political ideals, the joy of fighting for the happiness of the people strengthened the spirit and strength of a fighter in him. Rakhmetov understood that the struggle for new world it will be life or death, and therefore he prepared himself for it in advance. It seems to me that it does not require much effort or special imagination to understand the general nature of Rakhmetov’s activities; he was constantly involved in other people’s affairs, he simply had no personal affairs, everyone knew that. Rakhmetov is involved in the affairs of other people, he seriously works for society. Rakhmetov generally had many distinctive features. For example, outside his circle, he only met people who had influence on others and had authority. And it was difficult to dismiss Rakhmetov if he decided to meet someone for the sake of business. And with unnecessary people he behaved simply rudely.

He performed unimaginable experiments on his body and scared to death his landlady, Agrafena Antonovna, who was renting out a room to him. He did not recognize love, suppressed this feeling in himself, did not want to allow love to tie him hand and foot. Rakhmetov abandoned love in the name of a great cause.

Yes, funny people, even funny... There are few of them, but with them the life of everyone around them blossoms; without them it would have stalled, gone sour; There are few of them, but they give all people the opportunity to breathe, without them people would suffocate.

There are a great number of honest and kind people, but such obsessed people are few; but they are in it - tea for tea, a bouquet in noble wine; from them its strength and aroma; this is the color the best people, these are the engines of the engines, this is the salt of the earth.