Tsatsuro A.N. MBOU Secondary School No. 2 Gulkevichi

Technological map literature lesson in 10th grade on the topic

Poetry F.I. Tyutchev and A.A. Feta

" Earthly life is surrounded by sleep ", " The earth is like a vague, silent dream".

Lesson type: lesson - reflection.

Lesson objectives:

Educational:

formation of students' ideas about the artistic world of poetry by F.I. Tyutchev and A.A. Fet; the ability to identify the features of the aesthetics of poetry using examples of the author’s works.

Educational:

development of subject competence: skills of expressive reading, oral and written monologue speech; active assimilation of new material; independent work; mutual assessment and self-correction of completed tasks; development of group interaction skills; educational and cognitive competencies: research cognitive skills, the ability to act independently, obtaining knowledge directly from reality; develop creativity students.

Educational:

Formation of sociocultural competence: careful attitude to the native Russian language, fostering a sense of patriotism based on the works being studied; nurturing an aesthetic attitude and interest in the poetry of F.I. Tyutcheva; developing a sense of responsibility for individual and joint activities.

Equipment:

Portrait of a poet; books with poems by Tyutchev.

Computer and projector with presentation of educational material.

Teacher activities

Activity

students

Planned

result

1. Organizational moment.

Goal: to motivate students to study the topic

In the middle level, you often turned to the work of these poets, mainly to poems devoted to the theme of nature. Often you confuse their poems. Today we will try to capture the creative uniqueness, originality of each poet, his creative style.

Listening to messages and conversation:

L.: development of reading skills:

TO.: ability to organize educational cooperation and joint activities with the teacher and peers

Students are ready for further work, are determined to learn to distinguish poets based on their characteristics of the poetic world.

2. Educational and cognitive activity

Goal: developing skills in analyzing poetic texts, identifying the features of poets’ lyrics.

Working with suggested texts. Analysis of the poems “Dreams” by Tyutchev and “On a Haystack at Southern Night” by Fet.

1. Let’s start from the title of the poem “Dreams” and imagine a life situation. How does a poetic image relate to the physical state of a person?

What oppositions characteristic of Tyutchev’s work can you identify in this poem?

Name the lexical series and epithets related to them.

Identify the key antithesis of the poem

What is behind the image of the “burning abyss”?

How is it created?

What role does this philosophical image play in the context of the poet’s work?

2. Let's turn to Fet's poem. In what ways does it repeat Tyutchev’s? Is a person shown alone with the universe? What's the difference? What artistic means does the poet achieve this? Are there any differences in rhythm? What does it give? How is the person shown?

3. Correlate the poems emotionally.

Analyze poems, enter into a conversation with the teacher, answer questions

Ocean-land

waves globe

element shore

tide pier

sonorous, magical - burning, mysteriously, blazing

Man-Universe

Finding means of expression

in vocabulary, the situation itself

world of beauty and harmony

analyze the figurative system

Fet has iambic tetrameter, which gives lightness to the verse, Tyutchev has pentameter, solemn and stern.

Man is part of the Universe

Tyutchev’s disharmony contrasts with Fet’s optimism

K.: work individually and in a group: find general solution

P.: development and research cognitive skills: the ability to act independently, obtaining knowledge directly from reality

R.: independently analyze the conditions for achieving the goal based on taking into account the action guidelines identified by the teacher in educational material

plan ways to achieve goals;

set target priorities

Students identified the features of the poetic world of each poet during the analysis of the poetic text

3Physical minute

4. Intellectual and educational activities

Goal: generalization and systematization of the results of the analysis, comparison of two creative worlds.

Fill out your observations Fill out the table

in table form

P.: understanding the role of figurative and expressive linguistic means in the creation of artistic images literary works

Students were able to formulate and write down the main features of the lyrics of Fet and Tyutchev, made comparisons and saw the specifics of two different artistic worlds.

4. Reflection

Purpose: summing up the lesson

Ponder the question:

To what extent does the writer’s personality influence the content and embodiment of images in poetry? What is the “otherness” of the poetry of our heroes?

Students' oral responses

L.: adequate understanding of the reasons for success/failure in educational activities

– adherence to moral standards in behavior and

ethical requirements

Awareness of the differences between the two creative systems.

APPLICATION

F. I. Tyutchev . Dreams

As the ocean envelops the globe,
Earthly life is surrounded by dreams...
Night will come - and with sonorous waves
The element hits its shore.

That's her voice: he forces us and asks...
Already in the pier the magical boat came to life;
The tide is rising and sweeping us away quickly
Into the immeasurability of dark waves.

The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.

F. I. Tyutchev. Dreams

The author compares two worlds: the majestic and formidable world of the elements of the ocean and the world of the night, which bewitches people. Sleep is a state of consciousness when a person cannot control his body and thoughts, when he receives information from another world, sleep is the border between mystery and reality, the connecting link between the material and spiritual worlds, “day and night.” The elements are similar, but one rules over the human body, and the other over his thoughts.
The heroes are captivated by the magic of the night, which “bores and begs.” In the darkness of the night, the heroes must find a path that will lead them to land, but the tide carries them away.
The elements surrounding the heroes unite into one whole, expressing themselves through each other. “Deep Sky” and “Burning Abyss” - a complete fusion of elements, catharsis, the most important moment in a person's life. The heroes are surrounded by an abyss, they are at the mercy of the universe - a harmonious but unknown world. The shuttle is a life-saving boat that prevents the heroes from being captured, but it cannot withstand the elements forever. The author breaks off the narrative, leaving the characters to themselves and the world around them.

A.A.Fet

On a haystack at night in the south...

On a haystack at night in the south

I lay with my face to the firmament,

And the choir shone, lively and friendly,

Spread all around, trembling.

The earth is like a vague, silent dream,

She flew away unknown

And I, as the first inhabitant of paradise,

One saw the night in the face.

Was I rushing towards the midnight abyss,

Or were hosts of stars rushing towards me?

I hung over this abyss.

And with fading and confusion

I measured the depth with my gaze,

I'm sinking more and more irrevocably

A.A.Fet. On a haystack at night in the south...

In the poem, which the great Russian composer Pyotr Ilyich Tchaikovsky called “brilliant,” it is easy to discern Lermontov’s influence - therefore, before starting the analysis, be sure to re-read Lermontov’s poem “I go out alone on the road...”.

On a haystack at night in the south

I lay with my face to the firmament,
And the choir shone, lively and friendly,
Spread all around, trembling.

However, in Lermontov’s “desert” heeds God, and in the picture of the world that Fet creates, God is still absent. This is all the more noticeable because the poetic expressions that he uses are associated with the tradition of religious and philosophical poetry, with the genre of ode: “firmament”, “choir of luminaries”. Prepared readers of that time easily distinguished these stylistic shades, and you, if you remember Lomonosov’s ode “Evening Reflection on God’s Majesty...”, will catch them yourself.

The earth is like a vague dream, silent,
She flew away unknown
And I, as the first inhabitant of paradise,
One saw the night in the face.

In the second stanza, it would seem, this contradiction no longer exists: the lyrical hero Feta likens himself to the “first inhabitant of paradise” Adam. This means that he speaks of the “divine” origin of natural greatness. But let's be careful and don't rush to conclusions. We are dealing with a poetic, and not a theological, work; In poetry, an image is quite possible that is unthinkable for the religious picture of the world: paradise without God, creation without the Creator.

It’s better to pay attention to the epithets for now; some of them conflict with the first stanza. There it was about the sky, about the sonorous starry choir; here - about the earth, dumb, and also vague, like a dream. The lyrical hero seems to bifurcate between light - and at the same time night! - the sky and the indistinguishably dark earth. Moreover, at some point he loses his sense of boundaries, he has the feeling that he is soaring in the sky, and the earth is somewhere far away, below him!

And at this very moment a completely new image:

Was I rushing towards the midnight abyss,
Or were hosts of stars rushing towards me?
It seemed as if in a powerful hand

I hung over this abyss.

Whose “hand” is this? Fet still refuses to talk about God directly and directly. However, now there is no longer any doubt - the lyrical hero, who considered himself a convinced atheist, suddenly becomes aware of the divine presence in everything. And in the “chorus” of stars, “alive and friendly.” And in myself. The poem, which opened with a picture of the animated, all-living world of nature, ends with the hero’s sudden “meeting” with the secret of Creation. The main comparison of the second stanza - “like the first inhabitant of paradise” - is finally filled with real meaning. The lyrical hero truly became like Adam, whom the Lord had just created. And therefore he sees the Universe for the first time, looks at it with a fresh, amazed look. This is the artist's view; every artist, every poet looks at life as if no one could see it before him.

And with fading and confusion

I measured the depth with my gaze,
In which with every moment I

I'm sinking more and more irrevocably.

Me and the universe. Cosmic consciousness

There are no class characteristics.

I = nature

View of the world

Thinker

Contemplator

Language

Figurative parallelism, oratorical notes, exclamations, interrogative intonations, rhetorical intonations, high pathos

Impressive, spontaneous, subjectively impressionable, musical. The presence of repetitions, anaphors, questions, melodic intonations.

Alexander ARKHANGELSKY

Chapter from the new textbook

Afanasy Afanasyevich Fet (1820–1892)

The artistic world of the poet

Fet or Shenshin? The great Russian lyricist, who immortalized his name with poetry, Afanasy Fet devoted almost his entire adult life to the struggle for the right to bear a different surname - Shenshin. He always assigned a secondary role to poetry. But it so happened that he eventually became Shenshin thanks to poetry.

The fact is that he was illegitimate. We have already encountered such biographical circumstances; Vasily Zhukovsky, for example, was illegitimate. But Zhukovsky’s father, the landowner Bunin, managed to arrange things in such a way that Vasily was “registered” as the son of a poor nobleman Andrei Zhukovsky - and received all the rights of the nobility.

Fet's fate turned out to be much more dramatic in this sense.

His mother, Charlotte-Elizaveta Fet, fled with the Oryol landowner Afanasy Neofitovich Shenshin, leaving her father, husband and daughter in Germany. The divorce proceedings dragged on, and, apparently, that’s why Fet and Shenshin got married only two years after the birth of their son Afanasy. Having bribed the priest, the boy was registered as Shenshin - and until the age of fourteen, the future poet considered himself a hereditary nobleman (although he felt some coldness from his parents). But in 1834, this secret was revealed: the Oryol provincial government initiated an investigation and stripped the boy of his last name. That is, he was not only forbidden to be called Shenshin, but also the right to bear any surname was taken away!

Something had to be done urgently. In the end, the guardians of his half-German sister Lina sent an agreement from Germany, according to which Athanasius was recognized as the son of Charlotte-Elisabeth's first husband, Darmstadt official Johann Peter Karl Wilhelm Vöth. Thus, the future lyricist regained his “legitimate” status. But he lost his nobility and lost his inheritance property rights. (The letter “e” dropped out of the poet’s surname and turned into “e” by accident; the typesetter of his poems simply mixed up the letters one day - and after that Afanasy Afanasyevich began to sign his name: Fet.)

Of course, the change in status shocked the consciousness of Afanasy Fet; on the threshold of his youth, he was overcome by an all-consuming idea: to regain his lost noble dignity. That is, to become an ordinary Russian landowner Shenshin. The idea is all the more dangerous because the Fetov family (as well as the Batyushkov family!) was burdened by a serious illness that was passed on from generation to generation. In addition, Fet himself was close to atheism in his views and did not find consolation in faith in God, so the feeling of despair was all too familiar to him.

Fortunately, Fet's student years were not at all like his teenage years. Having entered Moscow University, the department of literature, he immediately became friends with the future critic and poet Apollon Grigoriev. Lived in his patriarchal, welcoming Zamoskvoretsk house. And - began to write poetry.

Security Question

Why did Fet so want to bear the surname Shenshin?

The beginning of the journey. The idea of beauty. Fetov’s first book, “Lyrical Pantheon,” published under the initials “A.F.” in 1840, was marked by many influences. Right up to Vladimir Benediktov, whom Fet and Grigoriev read, “howling” with delight. As befits a beginning poet, the author of “The Lyric Pantheon” spoke enthusiastically and romantically, in that erased general poetic language that prevailed in Russian lyric poetry of the post-Pushkin era:

Where, under the windows, near the noisy cascade,
Where the lush grass is covered with dew,
Where the cheerful cicada screams joyfully
And the southern rose is proud of its beauty,

Where the abandoned temple raised its white dome
And curly ivy runs up the columns, -
I'm sad: the world of the gods, now orphaned,
The hand of ignorance brands with oblivion...
(“Greece”, 1840)

But he soon finds his own path in literature. And collections of his poems, which in the 1840s, albeit infrequently, appeared in a variety of magazines, from Moskvityanin to Otechestvennye zapiski, gradually began to attract the attention of the reading public. In the pre-thunderstorm atmosphere of that era, tension was rife, ideological camps were at odds with each other - you already know about the disputes between Westerners and Slavophiles. And Fet treated with pointed indifference the “trends” and political overtones of the magazines with which he collaborated. Many even considered this “agreement,” almost unprincipled. Whereas in fact, such a literary position of Fet was predetermined by the lyrical philosophy that fed his poems.

The cornerstone of this philosophy is the idea of beauty, which spiritualizes nature and the whole world. And which facilitates a person’s inevitable suffering, the painful experience of life. But beauty itself is also internally broken by skepticism; it is too fleeting, too fragile to protect the human heart from the feeling of the tragic inevitability of death. It is not for nothing that the early Fet, like Maikov, worked a lot in a special genre tradition, which is usually called anthological rodo m. One of the most popular anthological poems of his early days was “Diana” (1847):

The virgin goddess has rounded features,
In all the grandeur of brilliant nakedness,
I saw between the trees over clear waters.
With oblong, colorless eyes
An open man rose high...

The poet is reminded of the young Roman goddess by the marble statue shimmering between the trees “above the clear waters”; it seems that she will come to life - and with her eternal Rome, the Tiber, ancient grandeur and clarity will reign again in the modern disharmonious world... But this is impossible. The anthological lyrics not only recalled the ideal of harmony, but also drew an “inaccessible line” between it and reality. You and I have already talked about this when we discussed the work of Konstantin Batyushkov; the poet of the next literary generation, Afanasy Fet, also romantically yearns for classical harmony.

Three decades will pass, and he will say: “The whole world is full of beauty.” This poetic formula will become a catchphrase. And few will notice that in Fet’s artistic world the opposite is also true: beauty is not from the world, it is instantaneous, like a flash of divine fire, in anticipation of which a whole life can pass:

Who will tell us that we did not know how to live,
Soulless and idle minds,
That kindness and tenderness did not burn in us
And we didn’t sacrifice beauty?
.............................................................
It’s not life that’s sorry for its languid breathing, -
What is life and death? What a pity about that fire
That shone over the whole universe,
And he goes into the night and cries as he leaves.
(“A.L. Brzheskoy”, 1879)

But if so, if beauty alone has meaning, and even it is so unreliable, then what significance can political, philosophical, religious differences have? Therefore, for Fet it was indifferent to which “camp” he belonged to - to be an innovator or an archaist, a soil scientist or a Westerner, a progressive or a reactionary. He closes the way for social storms to his poetry. Silence must reign in his artistic world so as not to frighten away the reflections of the Beautiful. After all, if you frighten her away, life will return to its original sad state.

Security Question

What is beauty for Fet? How does this idea relate to the genre characteristics of the anthology?

Poetics of early Fet. Poems “At dawn, don’t wake her up...”, “With a wavy cloud...”, “Wonderful picture...”. It is about the fragility and defenselessness of beauty that one of Fet’s early masterpieces speaks of - “At dawn, don’t wake her up...” (1842). Let's try to read the poem together, stanza by stanza.

Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest,
It shines brightly on the pits of the cheeks.

The initial quatrain creates a sweet, serene image. In the first two lines the beginning is repeated (this unity of beginning is called anaphora) - “At the dawn... at the dawn...”. In the second couplet, an internal rhyme is added: “The morning breathes... It shines brightly...”. A lulling, soporific rhythm appears, the poems sway like a swing. And it is not entirely clear who is addressing the poet (“At dawn, don’t wake her up...”). Or is the poet himself addressing someone? The blurriness and vagueness of the outlines of this invisible interlocutor fits perfectly with the general tone of the stanza, with the image of beauty at rest.

But the very next stanza introduces an alarming note into this harmony:

And her pillow is hot,
And a hot, tiring dream,
And, turning black, they run onto the shoulders
Braids with ribbon on both sides.

If you read poetry, paying attention only to the words, then there is only one epithet - tedious- contradicts the general meaning of what was said in the first quatrain. The beauty’s dream, which from the outside seems sweet (“At dawn she sleeps so sweetly”), is tiring for her. For a second we leave the point of view of the poet-interlocutor and take the point of view of the heroine. But only for a second; all other images of the quatrain describe it from the outside, from the outside. And understand why sweet dream like this tedious, we can't yet.

But we can do what is mandatory when reading poetry - let’s pay attention not only to the words, but also to poetic syntax, sound writing, and rhythmic breathing. And then something very interesting will be revealed. In the first stanza there was not a single “ch” sound, but in the second this sound explodes four times in a row, like an alarming clap of thunder: “hot... hot... Blackening... shoulders.” In the first stanza, repetitions created a lulling mood, in the second anaphoric beginning(“And... And... And...") sounds excited, nervous, almost menacing.

And now we move on to the third and fourth stanzas:

And yesterday at the window in the evening
She sat for a long, long time
And watched the game through the clouds,
What, sliding, the moon was up to.

And the brighter the moon played,
And the louder the nightingale whistled,
She became paler and paler,
My heart beat more and more painfully.

The dramatic sound of the poem sharply intensifies. Subject suffering first presses the topic beauty, and then ties into an inextricable knot with it. We do not know what the beauty suffers from in the life from which sleep saves her. From unrequited love, from betrayal? But this suffering is hopeless and inevitable. And the sadder the pallor that covered her cheeks, the brighter the blush that played on her cheeks in her sleep. And he is not omnipotent: suffering penetrates into the core of sleep, makes it tiresome - and the blush only to an outside observer seems gentle, in fact it is feverish, painful...

The sound design, which was outlined in the second stanza, only intensifies in the third and fourth. Again the plosive “h”s are closed at the ends of the line, like poles in electrical circuit, and a feeling of pain sparkles between them: “And Yesterday at the window VveCheru.” And the repetitions are again intended to increase the feeling of dramatic hopelessness: “For a long, long time... And the brighter... And the louder... The paler... the sicker and sicker.”

And now we have to return once again to the themes outlined in the first “serene” stanza. Fet deliberately uses ring composition, repeating in the finale the images used at the beginning of the poem:

That's why on the young chest,
This is how the morning burns on the cheeks.
Don't wake her, don't wake her...
At dawn she sleeps so sweetly!

The words are almost all the same, but their meaning has completely changed! Why shouldn't you wake up the beauty? Not at all because admiring her is joyful. But because awakening promises her new suffering, much stronger than that which penetrated her “tiring” dream...

Not to frighten away beauty, not to awaken suffering - this, according to Fet, is the true goal of the poetic word. That is why he so often avoids directly indicating the subject, uses careful hints, and prefers shades to the main tones. In the poem of 1843 (it will also become a generally accepted example of Fet’s early lyrics), “A Wavy Cloud...”, the main words - separation and expectation - are never uttered:

A wavy cloud
Dust rises in the distance;
On horseback or on foot -
Can't be seen in the dust!

I see someone jumping
On a dashing horse.
My friend, distant friend,
Remember me!

Fet leads the reader gradually, gradually, to the unnamed theme of separation and waiting. First, the lyrical hero sees a cloud of dust. A motive emerges distances, remoteness; the hero stands by the road and peers into the horizon. Why? Probably because? that he is waiting for someone or something. Then the figure of a man begins to emerge from this cloud. The hero does not take his eyes off, peering at the outlines of this figure. This means that his expectation is full of tension, it is internally dramatic. Finally, through the eyes of the hero, we see the rider “on a dashing horse.” And immediately, together with the lyrical hero, we close our eyes and stop seeing the world around us, we look into the life of the heart: “My friend, distant friend! // Remember me.” The hero does not address approaching to the rider, but to his distant comrade. And although we don’t know anything about the “friend” (who is he? Or is it she, the beloved?), we learn a lot about the lyrical hero. He is lonely, he is sad, he is waiting for a meeting...

The main thing is not said directly, but in a hint, read through words. This always happens with Fet. And in his most famous poem “Whisper. Timid breathing. The trill of a nightingale...” (1850), an analysis of which you can find in the section “Analysis of works”, a whole part of speech is completely missing: there is not a single verb here.

For the same reasons, in Fet the decisive role is played not by color, but by shade. Thus, in eight lines of his classic miniature “Wonderful Picture...” (1842) there is only one color - white:

Wonderful picture
How dear you are to me:
White plain,
Full moon

The light of the high heavens,
And shining snow
And distant sleighs
Lonely running.

But there are a lot of flickers, glares and reflections. Here is the smooth, cold light of the snowy plain. Here is the mysterious and double radiation full moon. Here is the twilight, pale light of the high winter sky. Here is the deep, relief depth of the sled track. But this is not enough. If you look closely, or rather, listen to the images of this poem, it will become clear that with the help of an endless play of shades white Fet is actually talking about sounds. The white radiance of the snow-covered plain primarily conveys to the reader a feeling of cosmic silence, which is barely disturbed by the creaking of the runners of distant sleighs. The reader is immersed in this great silence of the universe - and this is the ultimate task of the poem, its meaning.

This is how Fet’s dream comes true - “to speak with your soul without a word.” This is how the image of his lyrical hero develops. He is endowed with heightened vulnerability, strives to protect the fragile world of mental life, to divert outside attention from it.

Security Question

Why in the poem “At dawn don’t wake her up...” the last stanza largely repeats the first? How is the technique of a ring composition related to Fet’s artistic concept? Read other lyrical poems of this poet, show with examples how he embodies his principle “without a word the soul can speak”?

Mature years. Landscape lyrics. Biography of Fet and his lyrical hero. Of course, the poetry of Afanasy Fet gives access to both everyday details and the “boring” details of the life of a modern person; sometimes echoes of the caustic and topical poetry of Heine, the common teacher of the literary generation to which Fet belonged, are heard:

Bad weather - autumn - smoke,
You smoke - everything seems to be not enough.
At least I would read - only reading
Progress is so slow.

The gray day creeps lazily,
And they chatter unbearably
Wall clock on the wall
Tirelessly with the tongue...
................................................
Over a steaming glass
Cooling tea
Thank God, little by little,
It's like evening, I'm falling asleep...

And yet, much more often the lyrical hero Fet appeared as a refined, contemplative creature; No wonder it played such a role in his poetry landscape lyrics. Some of his poems, dedicated to the intense, mysterious life of nature hidden from human eyes, you have already read in elementary school: “I came to you with greetings, // To tell you that the sun has risen, // That it fluttered with a hot light // Through the sheets ...” (“I came to you with greetings...”, 1843). But now you can discern new semantic shades in these familiar poems, connect the theme of animate nature with another constant motif of Fet’s poetry - with the desire to speak without words, before words, besides words. As nature itself says: “...To tell me that from everywhere // I am blowing with joy, // That I myself don’t know that I will // Sing, - but only the song is ripening.”

He loves the transitional time between day and night, when twilight makes all objects blurry, indistinct: “So timidly the shadow comes, // So secretly the light goes away, // What you don’t say: the day has passed, // You don’t say: the night has come.” (“Wait for a clear day tomorrow...”, 1854). But if he depicts night, works in the genre of night landscape, nocturne, then almost always places objects in the focus of bright moonlight: “The night was shining. The garden was full of moonlight. Lying // Rays at our feet in the living room without lights. // The piano was all open, and the strings in it were trembling, // Just like our hearts behind your song.” And among the seasons, the lyrical hero Feta prefers late spring, when summer has not yet flared up, and early autumn, when the warmth has not yet completely subsided. The state of transition, flow, gap is close to him in everything - both in time and in space.

But here the paradox that we have already discussed was repeated over and over again. Contemporaries refused to recognize the refined image of the lyrical hero in the real biographical personality of the poet. “Where did this good-natured, fat officer come from... such an incomprehensible lyrical audacity, a property of great poets?” - wrote Lev Nikolaevich Tolstoy. If you read Fet’s memoirs, which have been republished more than once in recent years (“The Early Years of My Life,” 1893; “My Memoirs,” 1890), then you will be able to see for yourself: these are the notes of a good serviceman, a petty official, a zealous and even stingy owner , but not a brilliant poet. His fate gives us an example of the ultimate gap between life and creativity, between a biographical personality and the image of a lyrical hero. However, this applies to many major poets of Fetov’s generation; we have already talked about the many years of bureaucratic and diplomatic service of the great Russian lyricist Fyodor Tyutchev, mentioned the successful bureaucratic career of Konstantin Sluchevsky, which seemed to absorb him completely... The famous formula of Vasily Zhukovsky: “Life and Poetry are one” was becoming an anachronism...

But even against this background, Fet’s experience was especially dramatic. You already know about main reason, about the breakdown that occurred in the poet when he learned that he did not have the right to bear his father’s surname. At first, this breakdown was somewhat smoothed over by the hopes that Afanasy Afanasyevich associated with the promise of his uncle, P.N. Shenshin, to bequeath 100,000 rubles, kept in an iron chest, to his nephew. But in 1844, Pavel Neofitovich suddenly died, the money disappeared from the chest, and Fet was left not only without nobility, but also without a livelihood. Obviously, it was then that he was finally and irrevocably overcome by the desire to regain what he had lost at any cost.

The path to nobility in those years was opened by the very first officer rank. And Fet entered service in the cuirassier order regiment and became a non-commissioned officer. A year later, he received the rank of officer, but too late: in June 1845, the Highest Manifesto announced that from now on only the rank of major would give the nobility. Long years of service dragged on. Fet spent eight years in the Kherson province. It was there that a love tragedy played out: the daughter of a retired general, Maria Lizich, with whom Fet was in love, but whom he could not marry because of mutual poverty, was burned by a match carelessly (or deliberately) thrown by her... The grief of this life catastrophe will be captured in one of the best Fetov poems of the late period:

...I don't want to believe it! when in the steppe, how wonderful it is,
In the midnight darkness, untimely grief,
In the distance in front of you is transparent and beautiful
The dawn suddenly rose

And my gaze was involuntarily drawn to this beauty,
Into that majestic brilliance beyond the entire dark limit, -
Did nothing really whisper to you at that time:
There's a man burned out there!
(“When you read the painful lines...”, 1887)

In 1853, Fet was transferred to the guard, together with his regiment he was redeployed to the Novgorod province, and participated in training camps near St. Petersburg. At the same time, he began to actively publish: the 1840s, a period of poetic timelessness, ended, and poems again began to interest readers. But even in this strictly literary sphere, the “material” for Fet was more important than the “ideal”. In the 1850s, poetry for him was, first of all, a source of financial independence and prosperity, and only then a mysterious sphere of self-expression. That’s why he was ready to work in any genre, including those that did not promise artistic victories. Readers were perplexed when faced with Fet's long, verbose and monotonous poems, with his poetic translations, which suffered from literalism. That is, they sacrificed the beauty of the verse for the sake of formal proximity to the original text...

But in general, his creative career in this decade was more successful than his military one. In 1856, on the eve of Fet’s conferment of the long-awaited “noble” rank of major, it became known: from now on, only colonels were given a letter of nobility. Playing with fate lost its meaning for him: he took a year and then an indefinite leave, traveled to Germany, France, Italy, and in 1858 he retired completely and settled in Moscow.

By that time, Fet was already successfully married to M. Botkina. Marriage solved all his financial problems overnight. And just in time: the new generation, through the mouths of democratic critics - Dobrolyubov, Chernyshevsky - passed a vote of no confidence in Fetov’s “artistic lack of ideology.” In 1859, the poet was actually excommunicated from the progressive editors of the Sovremennik magazine, and in a review of the two-volume collection of works with which Fet celebrated the 25th anniversary of his literary activity, one of the leading revolutionary critics of that time, Varfolomey Zaitsev, defined Fet’s philosophy of life as “a goose worldview "

I had to abruptly change the direction of fate again.

Since July 1860, Fet has been a landowner, the owner of two hundred acres of land in the Mtsensk district, where there were no special poetic beauties, but bread was born well. He now appeared in print not with poetry, but with polemical articles on economic topics, where he demanded that the government better protect landowners' property. In his spare time, Fet studied philosophy - he was a fan of the German thinker Schopenhauer, whose skepticism corresponded to his own state of mind. The circle of Fetov’s literary communication became increasingly narrower. In 1874, he broke off relations with Ivan Sergeevich Turgenev, but became close to Leo Tolstoy. However, he also had another circle of acquaintances, not literary ones at all. Members of the imperial family sought communication with Fet; his correspondence with Grand Duke Konstantin Romanov, an amateur poet, is quite extensive. But the main thing was that in 1873 he was finally recognized as Shenshin: Emperor Alexander II took into account Fet’s merits in the poetic field and ordered the return of his inheritance rights. In 1889, Fet became a Privy Councilor.

The “formal”, everyday goal of life was achieved. Money problems solved. Morbidly developed pride is satisfied. Collections of his new poems were regularly published under the same title “Evening Lights”. No one doubted anymore that Fet’s poems would become part of the Russian literary classics and influence the poets of subsequent generations. But along with the external obstacles, the incentive to live seemed to disappear. Creativity, which never became the meaning and justification of the earthly path, could not “replace” the already achieved social goal. And the physical suffering of old age, aggravated by severe asthma (“tormenting breathing”), seemed to him an evil that could only be eliminated by voluntary death.

On November 21, 1892, having sent his wife away from home and leaving a note (“I do not accept the conscious increase in inevitable suffering. I am voluntarily going towards the inevitable”), Fet attempted suicide. Fortunately, he did not have time to commit suicide. His heart could not stand it, he had an apoplexy, and life itself left him.

Security Question

What was the main contradiction between Fet’s life and his work? Does biographical experience penetrate his poems? Support your conclusions with examples.

Analysis of works

“Whisper, timid breathing...” (1850)

Studying Fet's work, we have already noticed one important feature of his poetics: he prefers not to talk about the most important things directly, limiting himself to transparent hints. The most striking example of this kind is the poem “Whisper, timid breathing...”.

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,
The reflection of amber
And kisses and tears,
And dawn, dawn!..

Please note: all three stanzas of this poem are strung on one syntactic thread, forming one single sentence. For now, we won’t explain why Fet needs this; We'll come back to this later. In the meantime, let’s think about this question: what is the main thing in this long sentence, and what is secondary? What is the author's focus?

Maybe on vivid, metaphorical descriptions of the objective world? It’s no coincidence that Fet creates a variety of color scheme: here and silver stream, and purple roses, and a dark yellow “glint of amber” in the pre-dawn “smoky clouds”.

Or does he primarily strive to convey an emotional impression, delight from the coming dawn? It is not for nothing that the epithets he selects are so colored with personal attitude: sleepy stream, magical changes, cute face...

In both cases, the “strangeness” of this poem is understandable and justified: there is not a single verb in it! The verb as a part of speech is inextricably linked with the idea of movement, with the category of changeable time. If the poet wanted to create an image at all costs space, to convey to the reader his spiritual mood, he would not be sorry to sacrifice an entire part of speech, to abandon verbal movement. And in this case, there would no longer be a need to guess why the boundaries of his sentence do not coincide with the boundaries of the stanzas. This sentence is entirely nominative; there is no need for it to be split into syntactic segments; it covers the whole picture of life, all at once.

But the fact of the matter is that for Fet the image of space is not the main thing. He uses a static description of space primarily to convey the movement of time.

Read the poem again.

When, at what moment does it begin? Long before dawn: the stream is still “sleepy”, the full moon is shining (that’s why the stream, which reflected it, turned into “silver”). Night peace reigns in the sky and on the earth. In the second stanza, something changes: the “night light” begins to cast shadows, “shadows without end.” What does it mean? It's not entirely clear yet. Either the wind has risen and the trees, swaying, shake the silver light of the moon, or the pre-dawn ripples ran across the sky. Here we enter the third stanza. And we understand that dawn is indeed emerging, “smoky clouds” are already visible, they swell with the colors of dawn, which triumphs in the last line: “And dawn, dawn!..”

And now it’s time to ask yourself again: what is this poem about? About nature? No, about love, about a date, about how time flies unnoticed alone with your beloved, how quickly the night passes and dawn comes. That is, about what directly the poems do not say, to which the poet only half-shamefully hints: “Whispers... And kisses, and tears...” That is why he refuses to split his poetic statement into separate sentences. That is why the trochee chooses a “hasty” rhythm and alternates lines of four and three feet. It is important for him that the poem be read in one breath, unfold and fly by quickly, like the time of a date, so that its rhythm beats excitedly and quickly, like a loving heart.

Security Question

Read another poem by Fet, freed from verbs - “This morning, this joy...” (1881). Analyze it, show how the movement of time appears through the naming and descriptive definitions.

“On a haystack at night in the south...” (1857)

On a haystack at night in the south
I lay with my face to the firmament,
And the choir shone, lively and friendly,
Spread all around, trembling.

Remember, Lermontov’s lyrical hero went out onto a deserted night road to be left alone with the night and hear how “star speaks to star”? The lyrical hero Fet also faces the night southern sky, the celestial “firmament”; he also perceives the Universe as a living being, hears the consonant chorus of the stars, feels their “trembling”. However, in Lermontov, the “desert” listens to God, and in the picture of the world that Fet creates, God is still absent. This is all the more noticeable because the poetic expressions he uses are associated with the tradition of religious and philosophical poetry, with the genre of ode: “firmament,” “choir of luminaries.” Qualified readers of that time easily distinguished these stylistic shades, and you, if you remember Lomonosov’s ode “Evening Reflection on God’s Majesty...”, will catch them yourself.

The earth is like a vague, silent dream,
She flew away unknown
And I, as the first inhabitant of paradise,
One saw the night in the face.

In the second stanza, it would seem, this contradiction no longer exists: the lyrical hero Feta likens himself to the “first inhabitant of paradise,” Adam. This means that it speaks of the “divine” nature of natural greatness. But let's be careful and don't rush to conclusions. After all, we are dealing with a poetic, not a theological composition; In poetry, an image is quite possible that is unthinkable for the religious picture of the world: paradise without God, creation without the Creator.

It’s better to pay attention to the epithets for now; some of them conflict with the first stanza. There it was about the sky, the starry choir; here - about the earth, dumb, and also vague, like a dream. The lyrical hero seems to bifurcate between light- and at the same time at night! - the sky and the indistinguishably dark earth. Moreover, at some point he loses his sense of boundaries, he has the feeling that he is soaring in the sky, and the earth is somewhere far below him!

And at this very moment a completely new image appears in the poem:

I hung over this abyss.

Whose “hand” is this? Fet still refuses to talk about God directly and directly. However, now there is no longer any doubt - the poet’s lyrical hero, who considered himself a convinced atheist, suddenly becomes aware of the divine presence in everything. And in the “choir” of stars, “alive and friendly.” And in myself.

The poem, which opened with a picture of the animated, all-living world of nature, ends with the hero’s sudden “meeting” with the secret of Creation. The main comparison of the second stanza - “like the first inhabitant of paradise” - is finally filled with real meaning. The lyrical hero truly became like Adam, whom the Lord had just created. And therefore he sees the Universe for the first time, looks at it with a fresh, amazed look. This is the artist's view; every artist, every poet looks at life as if no one could see it before him.

Was I rushing towards the midnight abyss,
Or were hosts of stars rushing towards me?
It seemed as if in a powerful hand
I hung over this abyss.

And with fading and confusion
I measured the depth with my gaze,
In which with every moment I
I'm sinking more and more irrevocably.

Remember literary terms:

anaphora; ring composition; landscape lyrics.

* Blagoy D.D. The world as beauty: About “Evening Lights” by A. Fet. M., 1975.
This small and very simply written book deals not only with the cycle of collections of Fet’s poems, published under the same title, but also gives a condensed outline of Fet’s poetics.

* Bukhshtab B.Ya. A.A. Fet: Essay on life and creativity. L., 1990.
A small popular science book will help you understand Fet’s confusing biography and the peculiarities of his poetics.

* Gasparov M.L. Verbless fet // Gasparov M.L. Selected articles. M., 1995.
An outstanding modern poetic critic wrote about how the “refusal” of verbs in some of Fet’s poems is connected with his artistic attitude. The article is especially useful for those who plan to study the humanities in the future.

* Fet A.A. Memories. M., 1983.
This is an abridged reissue of Fet's three-volume notes about his life.

“Collection of poems” - Colorful collection of poems “Seasons in the works of A.S. Pushkin." Collection design options. Evaluation criteria. How do you yourself evaluate your work? Compilation. View example. A selection of poems. Presentation Brochure Web page. How to create a collection of poems. Discussion of results. Instructions.

“Analysis of the poem” - The rhythm of the poem is based on trochee pentameter... What is the role of sound repetitions in the poem? 2. Identify key words in the text. We can say that the lyrical hero... The rhythm of the poem is based on iambic tetrameter. An important role is played by... Immanent analysis of I. Bunin’s poem “The day will come - I will disappear...”.

“Poems by Zabolotsky” - Use of anaphora and antithesis. Drive, drag, don’t let you sleep, hold, don’t take off, grab, teach and torment. Kohl - if. Determine the size, rhyme, sound design. Pound water in a mortar; Both day and night! Use of phraseological units. Cognate words that define a person’s position. I have to work! (rhetorical exclamation).

“Poem in prose” - I.S. Turgenev. Poem. Determining the features of the genre of a prose poem. A poem is a poem in prose. The author's criteria of morality in the work “The Contented Man.” Carried Pavel Mikhailovich, teacher of Russian language and literature. Poems in prose, features of the genre. Literature – 1) a type of art that reflects life through words; 2) totality works of art: prose, poetry, drama.

“Fet’s Poem” - Here the lyricist passes judgment on himself. Plot. Assonance and alliteration. I met you - and all the past... Give examples from the text. How does Fetov's image of the night arise? And dawn, dawn!.. Afanasy Fet and Maria Lazich. 1 stanza. Night. MUSIC beauty. Basic biographical facts. Fleetingness and variability of nature and the world; night as a time of poetic inspiration.

“Analysis of Tyutchev’s poem” - Conclusions. F.I. Tyutchev "Spring Waters". The lyrical hero carries a generalization. Personifications. Verbs that characterize changes occurring in nature. Parts of speech. Comparative analysis poems. Conclusion: In the poem by F.I. Tyutchev’s verbs are more dynamic than in A.A.’s poem. Feta.

A. Fet - poem “On a haystack at night in the south...”.

The main theme of the poem is man alone with the universe. However, it is not hostile towards the lyrical hero: the night here is “bright”, welcoming, the “choir of luminaries” is “lively and friendly”. The lyrical hero perceives the world around him not as chaos, but as harmony. Plunging into space, he feels like “the first inhabitant of paradise.” Nature here is in inextricable unity with man. And the hero completely merges with her. Moreover, this movement is mutually directed: “Was I rushing towards the midnight abyss, Or were hosts of stars rushing towards me?” The poem is filled with personifications: “a choir of lights, alive and friendly,” the earth is “mute,” the night reveals its “face” to the hero. Thus, the poet’s lyrical thought is optimistic: plunging into Space, he experiences confusion, delight, and the joyful feeling of a discoverer of life.

Searched here:

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On a haystack at night in the south
I lay with my face to the firmament,
And the choir shone, lively and friendly,
Spread all around, trembling.

The earth is like a vague, silent dream,
She flew away unknown
And I, as the first inhabitant of paradise,
One saw the night in the face.

Was I rushing towards the midnight abyss,
Or were hosts of stars rushing towards me?
It seemed as if in a powerful hand
I hung over this abyss.

And with fading and confusion
I measured the depth with my gaze,
In which with every moment I
I'm sinking more and more irrevocably.

Analysis of the poem “On a Haystack at Southern Night” by Fet

For the first time, the work “On a Haystack at Southern Night” by Afanasy Afanasyevich Fet was published on the pages of the Russian Messenger magazine.

The poem was written in 1857. The poet himself turned 37 at this time, he is the author of several books, married, plans to retire from military service. In size - iambic with cross rhyme, 4 stanzas, in genre - landscape lyrics with a philosophical note. Open and closed rhymes alternate. The lyrical hero is completely autobiographical. Tyutchev's intonation. The vocabulary is sublime. “Facing the firmament”: this does not mean the more familiar “earthly firmament,” but the “heavenly firmament.” Both concepts are biblical. “Chorus of luminaries”: this expression hides both stars and planets. Comparing them with a choir is also associated with Holy Scripture. From it we know about the rejoicing of the stars, their singing of praise to God. The hero seems to be losing ground under his feet, the laws of nature no longer apply. The earth disappears into outer space. “Unknown”: it is unlikely to be possible to find her. “Like the first inhabitant of paradise”: paradise is the highest part of the Earth, now hidden from human eyes. “One saw the night in the face”: the poet recalls the primordial times when Adam was the first person to see all the wonders and beauties of the world. The hero is lost in space, it seems to him that he is moving towards the stars. “In the powerful hand”: insignificant, weak, on the edge of the abyss, madness, he suddenly feels protected and supported. Hand - hand. In this context, again, the hand of God is meant. “Hung over the abyss”: the human mind trembles and bows before the majestic mystery of existence. “Frozen and confused”: an amplification technique in which words with similar meanings appear in a row, enhancing the expression of the work. Metaphor: he measured the depth with his gaze. The hero seems to have regained the abilities once inherent in Adam. Finally, the ending is an extended metaphor. A person plunges into the “midnight abyss”, drowns in it, and from that incomprehensible depth he is unlikely to return. It remains to add that this dizzying flight is only imaginary for the hero. However, its important consequence remains with the hero forever: the ability to break away from the bustle of the earth, one’s own “I,” and habitual ideas about the world. Comparison: like a dream. Epithets: vague, powerful, friendly. One rhetorical question. Parentesa: introductory word"it seemed."

The musicality of A. Fet's lyrics was highly appreciated by P. Tchaikovsky. He repeatedly set his poems to music; the composer’s drafts also included the unfinished romance “On a Haystack at a Southern Night.”