After the phenomenon of Pushkin, at the beginning of the 19th century, many literary critics doubted that a poet worthy of the name of a classic could appear on the horizon of Russian poetry.
Creativity of A. Fet and F. Tyutchev
But fortunately, already in the second half of the 19th century, the stars of such talented lyricists as A. Fet and F. Tyutchev rose, who became not only worthy successors of Pushkin, but also introduced their own creative manners into poetry, which made their works truly unique and original.
Despite the fact that the work of both poets developed in line with resurrected romanticism, their works were radically different from each other.
Poets very actively used landscape lyrics in their poems, but nature and man in Tyutchev’s poems are clearly distinguished, in Fet’s they merge into one whole.
This gives us the right to say that F.I. Tyutchev and A.A. Fet - two views on the world, the first one is rational, the second one is irrational.
Comparison of techniques in the poems of F. Tyutchev and A. Fet
In the poem “This morning, this joy...” the author describes the arrival of spring. Spring in Fet’s lyrical work is a combination of such phenomena as the singing of birds, the sound of cheerful streams, warm nights filled with freshness, which are intertwined into one whole.
Let's see what spring looks like in F. Tyutchev's work “Spring Waters”. The author gives spring streams a unique personality; they run merrily, despite the fact that the surrounding nature, in particular the banks and fields, is still in the grip of winter.
While the spring of Feta is inextricably linked with many factors, it is enough for Tyutchev to talk about its arrival, going beyond the presence of only spring streams.
In the poem “The Earth Still Looks Sad,” Tyutchev conveys to the reader the full depth of the moment of transition of the surrounding nature into spring bliss, but the emphasis is only on a few main phenomena, which contradicts Fet’s manner of combining feelings, themes of existence, and motives of nature in the work.
Landscape lyrics by F. Tyutchev
In the poems “There is in the original autumn” and “Autumn evening” we see two different autumns - one of them is warm, preserving the warm spirit of summer, the second autumn is gradually preparing to fade. Thanks to his artistic skill, the author very subtly describes the life of wildlife in the sad autumn period.
A touch of nostalgia for summer, the mystery of autumn evenings, the blessed coolness that acts as the first harbinger of winter cold - this is how we see Tyutchev’s incomparable landscape lyrics.
Landscape lyrics by A. Fet
In the poem “Learn from them...” landscape lyrics are intertwined with the civic and human position of the author. At the beginning of the verse, the oak and birch trees, which are accustomed to the warmth, are engulfed by severe frost, which the trees steadfastly resist.
The surrounding nature in Fet's landscape lyrics is a living organism that can feel, love and suffer. The reader associates it with the person himself, representing one whole with him.
Love lyrics of Tyutchev and Fet
In F. Tyutchev’s poem “Last Love” there is joy and bright feelings that overwhelm a person at the moment when late love comes to him. The lyrical hero experiences a kind of resurrection and renewal, because, despite the years he has passed, his heart still knows how to love and longs for it.
LITERATURE
Features of landscape lyrics by F.I. Tyutchev and A.A. Fet.
Goals:
Expand students’ knowledge and understanding of the works of great Russian poets;
Identify the main characteristic features of the poetic style of each poet, find common and different features, highlight features;
Improve the ability to analyze a lyrical work;
Develop imaginative thinking and creative abilities of students;
To cultivate a love of poetry and native nature through the means of literature and painting.
DURING THE CLASSES
Stage of self-determination and goal setting.
Listen to a piece of music. (Tchaikovsky P.I. "Seasons")
What did you imagine when you listened to music, what images, pictures, feelings arose in you? (pictures of nature)
What is the name of the depiction of nature in painting or literature?(scenery)
Considering what was assigned for homework and what has been said now, try to guess what we will talk about in class today? (about the landscape lyrics of Tyutchev and Fet)
That's right, the topic of our lesson is “Features of landscape lyrics by F. Tyutchev and A. Fet.” (write down in a notebook) SLIDE 1 (lesson topic and epigraph)
Epigraph: Not what you think, nature
not a cast, not a soulless face.
She has a soul, she has freedom,
It has love, it has language. F.I. Tyutchev.
The names of these poets often appear side by side. They are called “singers of Russian nature.” What questions do you have on the topic that you would like to know today?(questions are formulated by students)
These questions will determine the goals and objectives of our lesson today:SLIDE 2 (goals)
1. What unites poets? What can be noted in common in their lives and works?
2. How is nature perceived and how is it depicted in poetry?
3. What are the main features and artistic features of landscape poetry that can be identified in everyone’s work?
What do you think we need to answer these questions?(know biography, poetry, be able to compare and analyze)
2. Stage of actualization and trial educational action.
What do we already know about the topic of the lesson? Do you remember what your homework was?(get acquainted with the biography, remember the poems learned earlier in the literature course) SLIDE 3 (portraits of poets with quotes about them)
Where were Tyutchev and Fet from?(both from the Oryol province: Fet - Novoselki in the Mtsensk district, Tyutchev - Ovstug in the Bryansk region)
What theme of creativity occupies a special place in everyone’s poetry?(nature theme)
What in the biography of F.I. Tyutchev perhaps surprised you or what did you pay attention to? (Tyutchev wrote about Russia, about Russian nature, but at the same time he spent 22 years abroad, rarely spoke Russian, even in Russia, mainly in French and German, and he could not live in the village at all and did not like it... I composed poems on the fly)
What difficulties and contradictions in Fet’s life worried him very much, what did he spend a lot of energy on?(Fet put a lot of effort into proving that he was a nobleman Shenshin)
His contemporary Alexei Mikhailovich Zhemchuzhnikov spoke well about the life and work of A.A. Fet in his poem: He is in the world of dreams and dreams,
Loving the play of rays and shadows,
Noticed the fugitive features
Elusive sensations
And may he be in his old age
Changed names capriciously
Either a publicist or a poet -
They will redeem Shenshin's prose
Feta's captivating poems.
We are talking today about landscape lyrics in their work. You should have turned to what you studied earlier and recalled poems about nature that were already familiar to you. Please look at the pictures of nature and match them with lines from the previously learned poems of these poets.(excerpts from poems are read, landscapes are shown on the board) SLIDES
What are the features of the depiction of nature in these poems?(nature is animated, many epithets, personifications, metaphors)
3. Stage of trial educational action.
Let's expand our knowledge and understanding of the work of poets by considering several new works. Today we will talk not only, not even so much about the imagery and expressiveness of the lyrics, but we will try to determine the characteristic features of the poetic skill of poets. What do we need to remember to work with lyrical text?(plan for analysis of a lyrical work)
Let's listen to Tyutchev's poem “The appearance of the earth is still sad.”
The earth still looks sad,
And the air already breathes in spring,
And the dead stalk in the field sways,
And the oil branches move.
Nature hasn't woken up yet,
But through the thinning sleep
She heard spring
And she involuntarily smiled...
Soul, soul, you slept too,
But why do you suddenly care?
Your dream caresses and kisses,
And gilds your dreams?
Blocks of snow shine and melt,
The azure glitters, the blood plays...
Or is it spring bliss?..
Or is it female love?.. (1836)
How is nature depicted in this work? What did the poet use to create the landscape? (Nature comes to life, personifications)
What, besides nature, is the poet talking about? (about the soul, about sensations, about feelings)
What compositional and poetic features can you note?
(two-part composition - 2 parts. Confrontation of worlds and their unity at the same time).
Now listen to A.A. Fet’s poem. Each of his poems is a whole range of impressions, thoughts, joys and sorrows. The desire to express the “inexpressible” through an instant lyrical outburst, to inspire the reader with the mood that gripped the poet, is one of the main properties of Fet’s poetry. The poet perceives nature through beautiful metaphors and epithets.
She came, and everything around melted,
Everything wants to give itself to life,
And the heart, a prisoner of winter blizzards,
Suddenly I forgot how to squeeze. (Frozen with delight)
It spoke, it bloomed
Everything that yesterday languished silently,
And the sky brought sighs
From the dissolved gates of Eden. (Paradise)
How cheerful the small clouds are!
And in inexplicable triumph
Round dance through trees
Puffs of greenish smoke.
The sparkling stream sings,
And from the sky a song, as it used to be;
It seems to say:
Everything that forged has passed.
You can't have petty worries
Although you won’t be ashamed for a moment.
You can't stand in front of eternal beauty
Don't sing, don't praise, don't pray.
What is the poem about? ( About the coming of spring)
What unites the poems of Tyutchev and Fet? ( one topic. Tyutchev and Fet are singers of nature, but they do not consider it separately; for them, the harmony of the human soul and nature, the interaction of nature with the human soul is important.)
Please note that very often Tyutchev and Fet are interested in transitional moments: both are waiting for spring. Spring is an extraordinary time of year that inspires and has inspired many writers and poets, artists and composers.
Afanasy Fet wrote a lot about spring throughout his life. He even has a cycle of poems called “Spring”. The main thing for him is to show his mood. He tries to express his impression of spring. This mysterious force refreshes, renews a person, renews his strength, and brings him a joyful feeling.
What do you associate with spring? (...associative series or syncwine)
The beauty and naturalness of their poetry is perfect, the poems are expressive and musical. “This is not just a poet, but rather a poet-musician...” - P.I. said about Fet. Chaikovsky.
Musicality is a feature of the lyrics of Tyutchev and Fet. Many romances were written based on their poems, which became widely known. ( The romances “Spring Waters” and “I Came to You with Greetings” are played)
So, we noted that they consider nature in unity with the mental state of a person, with his worldview. Nature often makes poets think and reflect on life. What are the names of poems in which the author reflects on life and death, on man’s place in the world, on beauty and ugliness in the world around him? (Philosophical lyrics)
Philosophical lyrics are a rather relative concept. This is what we call deep reflections in poetry about the meaning of existence, about the fate of man, the world, the universe, about man’s place in the world. The poems of Tyutchev and Fet are usually classified as philosophical lyrics. This is another feature of the landscape lyrics of poets.
4. Stage of consolidation of knowledge.
Work in groups.
1 group- analyzes Fet’s poem “What sadness! The end of the alley..." (1862)
What sadness! End of the alley
Again in the morning he disappeared into the dust,
Silver snakes again
They crawled through the snowdrifts.
There is not a shred of azure in the sky,
In the steppe everything is smooth, everything is white,
Only one raven against the storm
It flaps its wings heavily.
And it doesn’t dawn on my soul,
It has the same cold as all around,
Lazy thoughts fall asleep
Over dying labor.
And all the hope in the heart is smoldering,
That, perhaps, even by chance,
The soul will become younger again,
Again the native will see the land,
Where storms fly by
Where the passionate thought is pure, -
And only visibly to the initiates
Spring and beauty are blooming.
We also see a parallel between the nature and state of the human soul. For Fet, the connection between what happens in the inner world of a person and the phenomena of the external world is undeniable, and he never tires of emphasizing this connection. Fet is a master of verbal depiction of the subtlest states in the human soul. His poems are filled with philosophical meaning, because in them human life is correlated with eternal life and the renewal of nature. The metaphorical nature, heightened emotionality and unusual syntax of Fet’s poetry help him create unique artistic images that depict the complex spiritual life of a person. - What artistic means help convey the beauty of nature? (Personification, epithets, comparisons, metaphors)
Group 2 - analyzes Tyutchev’s poem “How unexpected and bright..”
How unexpected and bright
On the damp blue sky
Aerial arch erected
In your momentary celebration!
One end stuck into the forests,
Gone behind the clouds for others -
She covered half the sky
And she became exhausted at the height.
Oh, in this rainbow vision
What a treat for the eyes!
It is given to us for a moment,
Catch him - catch him quickly!
Look, it has already turned pale, another minute or two - and then what?
Gone, somehow gone completely,
What you breathe and live.
The work of students in groups is checked.
5. Stage of inclusion in the knowledge system. Conclusions and generalization on the topic of the lesson.
Let's return to the goals of our lesson. Have we found all the answers? What's left unexamined? Do you have any questions??.(children's answers)
Then look at your notes and draw a conclusion: what common features and artistic features of the landscape lyrics of Tyutchev and Fet can be named?(answers)
What distinguishes their landscape poetry? Name individual traits.
6. Reflection stage.
- I suggest finishing the lesson with the “Left Hand” technique: circle your hand and fill in with notes, based on your impressions of the lesson -1) it was important and interesting...
2) on... the issue I received specific advice, knowledge
3) it was difficult for me, or I didn’t like it... because..
4) my assessment of the class atmosphere...
5) it wasn’t enough for me...
Students voice what they have written down
Lesson results, assessments.
Homework: write an essay based on the epigraph of the lesson
1.1 Landscape lyrics by F.I. Tyutchev and A.A. Feta and its features
Disclosure of this topic involves turning to the lyrical works of F. Tyutchev and A. Fet, reflecting the unique perception of nature, its influence on the spiritual world, thoughts, feelings, moods of each of the authors.
In an effort to fully and deeply disclose the topic, it is necessary to pay attention to the general direction of the creative searches of poets, as well as their individuality and originality.
The lyric poetry of nature became F. Tyutchev's greatest artistic achievement. The landscape is presented by the poet in dynamics and movement. V.N. speaks about this. Kasatkina in the monograph “The Poetic Worldview of F.I. Tyutchev": "Movement in nature is thought of by Tyutchev not only as mechanical movement, but also as interconnection, mutual transition of phenomena, the transition of one quality to another, as a struggle of contradictory manifestations. The poet captured the dialectic of movement in nature.” Moreover, the dialectics of natural phenomena reflects the mysterious movements of the human soul. Concretely visible signs of the external world give rise to a subjective impression.
V.N. Kasatkina emphasizes: “Tyutchev’s nature is a living organism, feeling, sensing, acting, having its own preferences, its own voice and manifesting its own character, just as it happens with people or animals.”
A.A. Fet writes about Tyutchev’s poems: “Due to the nature of his talent, Mr. Tyutchev cannot look at nature without a corresponding bright thought simultaneously arising in his soul. To what extent nature appears spiritualized to him is best expressed by himself.
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
Nature is always young for Tyutchev. Autumn and winter do not bring her senile death. The poet expressed in his poems the triumph of Spring as youth. In the 1930s, he dedicated seven poems to spring: “Spring Storm”, “Napoleon’s Tomb”, “Spring Waters”, “Winter is angry for good reason”, “The earth still looks sad, but the air already breathes in spring”, “Spring”, “ No, my passion for you..." “In the poet’s last programmatic poem, where he poetically formulated his relationship to the earth as the relationship of a son to his mother, he created the image of a spring land. For him, spring is a beautiful child, full of life, all manifestations of which are filled with high poetry. The poet loves the young peals of the first thunder in early May, he is delighted by the noisy spring waters - the messengers of a young spring, the spring breath of air:
What is the joy of paradise before you,
It's time for love, it's time for spring,
Blooming bliss of May,
Ruddy light, golden dreams? ..."
“The existence of Mother Earth is full of joy: “The azure of heaven laughs, washed with dew at night,” spring thunder “as if frolicking and playing rumbles in the blue sky,” the heights of the icy mountains play with the azure of the sky, nature smiles at spring, and spring drives away winter with laughter , the days of May, like a “ruddy, bright round dance,” crowd merrily behind the spring.”
Belinsky wrote to Tyutchev: “Your springs have no wrinkles, and, as the great English poet says, the whole earth in this morning hour of the year and life smiles as if it did not contain graves.”
Indeed, Tyutchev’s poetry is optimistic; she affirms a wonderful future, in which a new, happiest tribe will live, for whose freedom the sun “will warm more alive and hotter.” The poet’s entire worldview reflects the love and thirst for life, embodied in the jubilant lines of “Spring Waters” (“The snow is still white in the fields...”) and “Spring Thunderstorm.” Consider the poem “Spring Waters”:
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
“Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her.
The poet perceives spring not only as a wonderful time of year, but also as the victory of life over death, as a hymn to youth and human renewal.
Gennady Nikitin in the article “I love a thunderstorm in early May...” says that the images, paintings, feelings contained in the poem “Spring Waters” “... appear to be authentic and alive, they affect the reader directly and deeply, apparently because they resonate with subconscious. The consistency and unity of meaning, words and music enhance this effect, manifesting itself not as a static, but as a moving, dynamic unity.
...Tyutchev's lyrics are predominantly not colored, but voiced and set in motion. Nature is depicted by him in open and hidden transitions and determines the typology of his poems. In this case, the dynamism of the play is achieved by two techniques that are carried out both in parallel and mixed: firstly, these are verbal repetitions (“running”, “walking”), creating the illusion of water movement and a spring flood of feelings, and secondly, this is a system sound recordings that imitate the gurgling and overflow of streams.
The poem “Spring Waters” is not large in size, but it contains a voluminous and panoramic picture of the awakening of a huge world, its changes over time. “The snow is still white in the fields,” and before our mind’s eye the “ruddy, bright round dance” of the “May days” is already unfolding. The word “round dance” is not accidental here. It is very old, dense and sacred. It is designed to revive our childhood, games, fairy tales and something else, irrational. It includes us in a poetic carnival, in a spontaneous action...”
According to Tamara Silman, “there is almost no “neutral conversational” element in this poem, the whole thing is a figurative embodiment of the spring awakening of nature, and at its three stages: in the form of the remnants of the passing winter..., in the form of a stormy, uncontrollable flood of rivers and streams..., and, finally, in the form of May days foreshadowing the warm summer season...".
This poem became a romance (music by S. Rachmaninov), was divided into epigraphs for various works in prose and verse, part of the line “Spring Messengers” became the title of the famous novel by E. Sheremetyeva.
In the poem “Spring Thunderstorm,” not only man merges with nature, but also nature is animated, humanized: “the first thunder of spring, as if frolicking and playing, rumbles in the blue sky,” “rain pearls hung, and the sun gilded the threads.” The spring action unfolded in the highest spheres and was met with the jubilation of the earth - mountains, forests, mountain streams - and the delight of the poet himself.
“Since childhood, this poem, its images and its sound have merged for us with the image and sound of a spring thunderstorm. The poem has long become the most capacious and poetically accurate expression of a thunderstorm - over a field, a forest, a garden, over the green expanses of the beginning spring in Russia,” we read in Lev Ozerov’s critical article “I love a thunderstorm in early May... (The story of one poem)” - “Sixteen Tyutchev kept the diamond lines of Russian poetry in his soul for a quarter of a century. And isn’t this a miracle of concentrated skill!”
In the process of studying critical materials, we saw that in scientific works there are two opposing views on the poem “Spring Storm”. So, for example, Lev Ozerov in his work “Tyutchev’s Poetry” says that “in the poet’s poems, inspired by Russian nature, it is not difficult to grasp a deep feeling of the native landscape. But even those poems that do not give signs of a real location are perceived as a landscape of Russia, and not of any other country. “I love thunderstorms at the beginning of May...” - isn’t this about a Russian thunderstorm? Doesn’t the poem “Spring Waters” talk about Russian nature?
Somehow the “ruddy, bright round dance” does not fit with the landscape of Italy or Germany. It is not necessary to mention local names in verses or indicate the place where they were written under the date. Our feeling in this case does not deceive us. Of course, these are poems about Russian nature.”
We find a refutation of this opinion in the above-mentioned article by G. Nikitin: “The poet tells someone not about a specific thunderstorm, not about living contemplation, but about his impression, about the music that left a mark on his soul. This is not a thunderstorm, but a certain myth about it - beautiful and sublime. A certain play of natural forces in which the acoustic principle exceeds the visual, which is facilitated by alliteration and onomatopoeia. The pouring, thundering, booming sounds “g”, “l”, “r” run through the entire poem. Geographical and “national” signs fade into the background. Errors and inaccuracies in the image (“The rain is splashing, the dust is flying”, “The din of birds is not silent in the forest”) have no meaning and are drowned in the general din and noise. Everything is subordinated to the general mood, celebration and play of light and joy. And so that we are not mistaken, the poet gives us a summary:
You will say: flighty Hebe.
Feeding Zeus' eagle.
A thunderous goblet from the sky.
Laughing, she spilled it on the ground.
The statement that these poems are about Russian nature is the same myth...” - and the author does not say another word to support his statement, no argument.
G.V. Chagin, like Lev Ozerov, believes that Tyutchev’s poems are about Russian nature. Here’s what he says about this: “It’s not for nothing that Tyutchev is called the singer of nature. And of course, he fell in love with her not in the living rooms of Munich and Paris, not in the foggy twilight of St. Petersburg, and not even in the patriarchal Moscow full of flowering gardens in the first quarter of the 19th century. From a young age, the beauty of Russian nature entered the poet’s heart precisely from the fields and forests that surrounded his dear Ovstug, from the quiet, shy meadows of the Desna region, and the vast blue skies of his native Bryansk region.
True, Tyutchev wrote his first poems about nature in Germany. His “Spring Storm” was born there and became famous. This is what it looked like in the “German” version, first published in 1829 in Rajic’s journal “Galatea”:
I love the storm in early May:
How fun is spring thunder
From one end to another
Rumbling in the blue sky!
And this is how this first stanza sounds in the “Russian” edition, that is, revised by the poet after returning to his homeland:
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbling in the blue sky.
“The nature of the revision, especially the second stanza additionally introduced into the text, indicates that this edition arose no earlier than the end of the 1840s: it was at this time that in Tyutchev’s work there was increased attention to the transfer of direct impressions from paintings and natural phenomena,” - wrote K.V. Pigarev in his monograph about the poet. And Tyutchev’s poems, which describe pictures of nature during trips from Moscow to Ovstug, confirm these words:
Reluctantly and timidly
The sun looks over the fields.
Chu, it thundered behind the cloud,
The earth frowned...
In Tyutchev’s cycle of poems about spring there is one, called “Spring”, amazing in the depth and strength of the feeling invested in it, forever new:
No matter how oppressive the hand of fate is,
No matter how much deception torments people,
No matter how the wrinkles roam the brow
And the heart is no matter how full of wounds;
No matter how severe the tests
You were not subordinate, -
What can resist breathing?
And I will meet the first spring!
Spring... she doesn't know about you,
About you, about grief and evil;
Her gaze shines with immortality,
And not a wrinkle on my forehead.
She is only obedient to her laws,
At the appointed hour he flies to you,
Light, blissfully indifferent,
As befits a deity.
Based on this poem, we can say that for the young poet the world is full of secrets, mysteries that can only be comprehended by an inspired singer. And this world, full of secrets and animated, according to Tyutchev, is revealed to man only in short moments, when man is ready to merge with nature, to become a part of it:
And the life of the divine-universal
Although for a moment be involved!
Let's turn to the reading of “Spring” by O.V. Orlov:
“The long poem “Spring” (forty lines! That’s a lot for Tyutchev), written in the late 30s, develops the poet’s favorite philosophical theme: the need to merge with the ocean of nature in order to achieve bliss and contentment. This idea is expressed in the last eight-line of the work. The previous four stanzas prepare the reader for this conclusion. Their main idea: the divine eternity of spring, its immutability and equanimity. She flies to people “bright, blissfully indifferent, // As befits deities.” There are quite a lot of tropes and figures in this poem. The author uses comparisons, exclamations, contrasts (highlighting the detail he needs): “There are many clouds wandering across the sky, // But these clouds are hers.”
However, what qualities of nature are reflected here? It is said about spring that it is bright, blissfully indifferent, fresh. She showers flowers over the ground... What “flowers” are not specified. Former, bygone springs are called only “faded.” Therefore, there is no talk about paints here either. But there is a given, although only in general form, olfactory sign (sometimes significant in Tyutchev): Fragrant tears. The fragrance is completely conditional: only the tears of a deity can smell; in the poem it is Aurora who pours them.
Such a voluminous, forty-line poem does not contain any mention of any color or paint.”
According to Gennady Nikitin, “the most complete embodiment of the theme of the awakening of nature should be recognized as the lines of “Spring” (“No matter how oppressive the hand of fate ...”), when reading which Leo Tolstoy once became so excited that he shed tears. The poem consists of five eight-line lines and, along with poetic abstractions, contains many living warm-blooded signs of spring. The didactic chill gradually melts from stanza to stanza under the pressure of being, the resurrected forces of renewal - “Their life, like a boundless ocean, // All is spilled in the present.” And the instructive teacher’s tone in the final lines can no longer cool down the heated imagination, especially when the author is ready to sacrifice his favorite play of feelings, deception, and pantheism poured out at the beginning of the poem:
Game and sacrifice of private life!
Come, reject the deception of feelings
And rush, cheerful, autocratic,
Into this life-giving ocean!
Come, with its ethereal stream
Wash the suffering chest -
And divine-universal life
At least be involved for a moment!”
Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative principle of existence; he still enthusiastically accepts its charms, but remembers that it is alien to human grief and evil, for “it is blissfully indifferent, // As befits deities.” And as a continuation of this indifference, there arises, also stable for the poet, the motive of an effective moment, the manifestation of all the forces of the human thirst for life.”
In an essay about Tyutchev, Lev Ozerov made the following, very subtle, remark about Tyutchev’s type of perception of natural phenomena: “Turning to it, Tyutchev solves all the most important political, philosophical, psychological issues. Images of nature create not only the background, but the very basis of all his lyrics.” And further: “He does not decorate nature, he, on the contrary, tears off from it “the veil thrown over the abyss.” And he does this with the same determination with which other Russian writers tore off the masks from social phenomena.”
For Tyutchev, images of nature are not only objects of admiration, but also forms of manifestation of the mysteries of existence. His relationship with nature is active, he wants to tear out its secrets, admiration for its beauty is combined in him with doubts and rebellion.”
In the poem “Winter is angry for a reason...” the poet shows the last battle of the passing winter with spring:
No wonder winter is angry,
Her time has passed -
Spring is knocking on the window
And he drives him out of the yard.
Winter is still busy
And he grumbles about Spring.
She laughs in her eyes
And it just makes more noise...
This fight is depicted as a quarrel between an old witch - winter and a young, cheerful, mischievous girl - spring. According to Gennady Nikitin, this poem is written in the same vein as “Spring Waters,” but the difference is that the latter is “much more complex in constructive terms, ... but the set of visual techniques is the same.”
“The technique of promoting substantivized features, actions, states to the grammatically dominant place in the syntagm is in Tyutchev an essential element that determines the impressionistic character of his lyrics. V. Shor defines the fundamental approach to the depicted world, which is called “impressionistic”: “The object must be reproduced in the same way as it is perceived during a direct sensory encounter with it. Those. with all those random, passing features that were inherent in him at the moment of observation. You need to be able to capture its variability and movement. Any phenomenon must be grasped in an absolutely instantaneous aspect.”
The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, internal tension and drama. The reader sees not just beautiful pictures of nature, but he sees “concentrated life.” Tyutchev, like no one else, knew how to convey the colors, smells, and sounds of the surrounding world.
“Nature is an idle spy” - this is how Fet himself semi-ironically defined his attitude towards one of the main themes of his work. That’s right - as one of the finest masters of landscape lyricism, Fet entered the anthologies and numerous poetry collections of “poets of nature” along with Tyutchev, Maykov, Polonsky.
A. Fet, like F. Tyutchev, reached brilliant artistic heights in landscape lyricism, becoming a recognized singer of nature. Here his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes, and their unique, individual perception were revealed. L.N. Tolstoy very subtly captured Fetov’s unique quality - the ability to convey natural sensations in their organic unity, when “the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of dawn shimmers into sound.” Fet's sense of nature is universal, for he has the richest capabilities of poetic “hearing” and “vision”. Fet expanded the possibilities of poetic depiction of reality, showing the internal connection between the natural world and the human world, spiritualizing nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry.
“Fet strives to record changes in nature. Observations in his poems are constantly grouped and perceived as phenological signs. The landscapes of Feta are not just spring, summer, autumn or winter. Fet depicts more specific, shorter, and thus more specific segments of the seasons.”
“This precision and clarity makes Fet’s landscapes strictly local: as a rule, these are landscapes of the central regions of Russia.
Fet likes to describe precisely definable time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in the poem “Spring Rain”).
S.Ya. is right. Marshak, in his admiration for the “freshness, spontaneity and sharpness of Fet’s perception of nature”, “wonderful lines about spring rain, about the flight of a butterfly”, “soulful landscapes”, is right when he says about Fet’s poems: “His poems entered Russian nature, became an integral part of it."
But then Marshak notes: “His nature is as if on the first day of creation: thickets of trees, a light ribbon of a river, a nightingale’s peace, a sweetly murmuring spring... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and takes on a decorative character.”
Fetov's aestheticism, “admiration for pure beauty,” sometimes leads the poet to deliberate beauty, even banality. One can note the constant use of such epithets as “magical”, “tender”, “sweet”, “wonderful”, “affectionate”, etc. This narrow circle of conventionally poetic epithets is applied to a wide range of phenomena of reality. In general, Fet’s epithets and comparisons sometimes suffer from some sweetness: the girl is a “meek seraph,” her eyes are “like the flowers of a fairy tale,” dahlias are “like living odalisques,” the heavens are “incorruptible like paradise,” etc.”
“Of course, Fet’s poems about nature are strong not only in their specificity and detail. Their charm lies primarily in their emotionality. Fet combines the concreteness of his observations with the freedom of metaphorical transformations of words, with a bold flight of associations.”
“Impressionism at its first stage, to which Fet’s work can only be attributed, enriched the possibilities and refined the techniques of realistic writing. The poet vigilantly peers into the outside world and shows it as it appears to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet says so: “For an artist, the impression that caused the work is more valuable than the thing itself that caused this impression.”
“Fet depicts the outside world in the form that the poet’s mood gave it. For all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing lyrical feelings.”
“Fet values the moment very much. He has long been called the poet of the moment. “... He captures only one moment of feeling or passion, he is all in the present... Each song of Fet refers to one point of being...” noted Nikolai Strakhov. Fet himself wrote:
Only you, poet, have a winged sound
Grabs on the fly and fastens suddenly
And the dark delirium of the soul and the vague smell of herbs;
So, for the boundless, leaving the meager valley,
An eagle flies beyond the clouds of Jupiter,
Carrying an instant sheaf of lightning in faithful paws.
This consolidation of “suddenly” is important for a poet who appreciates and expresses the fullness of organic existence and its involuntary states. Fet is a poet of concentrated, concentrated states.
This method required an unusually keen gaze into reality, the subtlest, most meticulous fidelity to nature, when all the senses were tense: the eye, the ear, the touch. Fet’s nature amazes us with the truth of life,” this is how N.N. described Fet’s landscape lyrics. Strakh. And further: “Fetov’s poetry of immediate, instantaneous, involuntary states lived at the expense of direct pictures of being, real, surrounding. That is why he is a very Russian poet, who very organically absorbed and expressed Russian nature.”
This morning, this joy,
This power of both day and light,
This blue vault
This cry and strings,
These flocks, these birds,
This talk of water...
There is not a single verb in the narrator’s monologue - Fet’s favorite technique, but there is also not a single defining word here, except for the pronominal adjective “this” (“these”, “this”), repeated eighteen times! By refusing epithets, the author seems to admit the powerlessness of words.
The lyrical plot of this short poem is based on the movement of the narrator's eyes from the vault of heaven to the earth, from nature to the human dwelling. First we see the blue of the sky and flocks of birds, then the sounding and blooming spring land - willows and birches covered with delicate foliage (“This fluff is not a leaf...”), mountains and valleys. Finally, words about a person sound (“... the sigh of a night village”). In the last lines, the lyrical hero’s gaze is turned inward, into his feelings (“the darkness and heat of the bed,” “a night without sleep”).
For humans, spring is associated with the dream of love. At this time, creative forces awaken in him, allowing him to “soar” above nature, to recognize and feel the unity of all things.
The first biographical feature in Tyutchev’s life, and a very characteristic one that immediately catches the eye, seems to be the impossibility of compiling his complete, detailed biography. However, despite the paucity of external biographical material...
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Image of the seasons by F.I. Tyutchev and A.A. Feta
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Study of poetry of the 19th-20th centuries
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Love in the lyrics of Fyodor Ivanovich Tyutchev
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Philosophy in Fet's poetry
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When they talk about a sonnet, they immediately remember the lines “The stern Dante did not despise the sonnet, Petrarch poured out the heat of love in it...”. Pushkin, with exquisite grace, not only listed the outstanding sonnetists, but seemed to point to the origins of the sonnet...
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Let us add that if in the characterization of Godunov given by Pushkin, remorse plays a large role, Tsar Boris Tolstoy suffers not so much from moral torment and his guilt, but from the clear consciousness that the crime was committed in vain, that the people did not appreciate the sacrifice that he brought for the country, and turned away from him. He dies with the bitter knowledge that everything he has done for the country and people has been forgotten, that he was wrong.
The theme of nature in the lyrics of F. Tyutchev, A. Fet and N. Nekrasov.
Fet's nature:
Fet’s natural lyrics, embodied by
V such poems as “I came to you with greetings”, “Whisper. Timid breathing”, “What sadness! The end of the alley”, “This morning, this joy” and others. For Fet, nature is first and foremost a temple. The temple where love lives. Nature
V Fet's lyrics play the role of special luxurious scenery, against the background of which a subtle feeling of love develops. Nature is also the temple in which inspiration reigns, this place - or even a state of mind - in which you want to forget about everything and pray to the beauty reigning in it.
Beauty and harmony for Fet are the highest reality. F is a magnificent landscape painter. His landscapes are distinguished by their concreteness and ability to convey the subtlest changes in nature during the day. He is not interested in statics, there is subtle dynamics. This applies to poems dedicated to the seasons. Fet’s nature is unusually humanized, it seems to dissolve in the feeling of the lyricist. Unlike Tyutchev, the hero F perceives his relationship to nature harmoniously. He knows nothing of chaos, the abyss, or orphanhood. On the contrary, the beauty of nature infuses the soul with a feeling of completeness and joy of being. 1848 – poem “Spring Thoughts”; 1854 – verse “bees”; 1866 – verse “She came, and everything around melts”; 1884 – “The garden is all in bloom.” In landscape lyricism, a certain Fetovian universe of beauty (philosophy) is born: “on a haystack at night in the south...”. The image of the universe is majestic and close to man. In familiarization with the beauty of the universe, salvation for the hero’s lyrics: “Exhausted by life, by the treachery of hope.” F’s natural phenomena are more detailed and specific than those of his predecessors. Strives to record natural phenomena. F mainly uses natural colors and shades. It is important for him to capture moments. Favorite time of year is spring, i.e. it's not static. He loves to describe the evening/morning landscape. The ability to “voice” even silent nature is a remarkable property of Fet’s lyricist muses: in his poems she not only shines with beauty, but also sings with it.
Nature in Nekrasov: Nekrasov is the creator of the national Russian landscape as a complete and comprehensively developed artistic system. The image of a sad, dull land runs through all the poet’s work: muddy colors discolored by rain, the lingering sounds of the wind moaning in the fields, sobbing in the forests. “Kochis, potholes, constant spruce trees! // A raven croaks over the white plain...” (“Fire”, 1863); “September was noisy, my native land // Everyone was crying endlessly in the rain...” (“Return”, 1864); “Infinitely sad and pitiful // These pastures, meadow fields, // These wet, sleepy jackdaws, // That sit on top of the haystack...” (“Morning”, 1874).
Moisture mixes with the ground and air, forming dirt, slush, drizzle, fog - favorite elements of Nekrasov’s landscape. Muddy roads
covered with sheets of wet snow. Dampness penetrates everywhere, as if nature is constantly crying, blowing its nose, suffocating from a cold.
Nekrasov creates a special aesthetics of an “ugly”, “disgusting” landscape, directly opposite to the ideal of “beautiful” and “sublime” nature that dominated poetry for many decades: “An ugly day begins - // Muddy, windy, dark and dirty... "("About the weather. Part I", 1865). He was one of the first to introduce the motif of rain into Russian poetry - not refreshing, sparkling like A. Fet or A. Maykov, but lingering, mournful, flowing like tears down the windows, between the sky and the eye “like a black net hanging.” As a St. Petersburg poet, N. Nekrasov is well acquainted with the atmosphere of dank dampness, condensed water vapor that makes the air heavy - even “the wind is suffocating” for him.
At the same time, Nekrasov also contains colorful, festive descriptions of nature, which, with their emotional uplift and aesthetics of personification, go back to folklore (spring in “Green Noise”, winter in “Frost, Red Nose”).
Among the trees Nekrasov predominates are gloomy, stern ones - pine and spruce, among the birds ("a flock of black birds flew after me") - dark jackdaws, ominous, heavy crows, plaintive waders with their drawn-out cries and groans (in previous poetry, nightingales and swans dominated , larks, swallows, almost absent from Nekrasov). Nekrasov introduces into poetry images of exhausted, worn-out working animals - not “horses”, but “horses” (“Frost, Red Nose”, 1863; “About the Weather. Part I”; “Despondency”, 1874).
What’s new with Nekrasov is the abundance of meadow and field motifs. For the first time, wheat and rye are poeticized, ears swaying in the wind and waves running in waves, “the rustle of a golden field” (“The Unharvested Strip”, 1854; “There is noise in the capitals, the flowers are thundering...”, 1857; “Silence”, 1857; “Despondency” ).
The poet’s attention is so focused on the earth that an indicative feature of his work is the comparative rarity of images of the starry sky, moonlight, and celestial bodies in general, so characteristic of Tyutchev’s and Fetov’s landscapes (cf., however, “A Knight for an Hour”). It is not often that Nekrasov shows the sun, and even then it is stingy, dim, and clouded (“The Unhappy,” 1856). This Nekrasovian feature - the inattention of a person busy working on earth to heaven - was inherited by most poets of the first decades of the Soviet era (including M. Isakovsky, A. Tvardovsky, faithful to Nekrasov’s traditions).
Nekrasov is the first to poetically comprehend the connection between the uniqueness of nature and the way of national life (“With the poverty that surrounds us // Here nature itself is at the same time.” “Morning”), as well as the pattern of national creativity, including his own. Melancholy songs of the wind in the fields, mournful wolf moans in the forests - this is the sound prototype of the folk lingering songs, which are echoed by Nekrasov’s muse; as the voice of Russian nature itself, the poet recognizes his work in the poems “The Beginning of the Poem” (1864), “Return” (1864), “Newspaper” (1865).
Nekrasov, the founder of the urban landscape, was the first to convey in poetry the stuffy smell of city air, which had absorbed “clouds of doom from colossal chimneys,” the sight of stagnant water blooming in canals, in a word,
recreated nature in the place of its disastrous interweaving with civilization (“Bad Weather”; “About the Weather” - parts I and II, 1859-1865). At the same time, he described the village from the point of view of a city dweller, a “summer resident”, as a “suburban” area, which with its free wind drives away from the soul the rubbish inspired by the capital (“Outside the City”, 1852; “The Beginning of the Poem”; “Despondency”)
nature in Tyutchev:
Tyutchev is the most natural-philosophical of all Russian poets: approximately five-sixths of his creative heritage are poems dedicated to nature. The most important theme introduced by the poet into the Russian artistic consciousness is chaos contained in the depths of the universe, an eerie, incomprehensible secret that nature hides from man (“What are you howling about, the night wind...”; “The evening is hazy and stormy... .", ; "Day and night", )
