The disclosure of this topic involves an appeal to the lyrical works of F. Tyutchev and A. Fet, reflecting the peculiar 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 lyrics of nature became the greatest artistic achievement of F. Tyutchev. The landscape is given by the poet in dynamics, movement. V.N. Kasatkin in the monograph “The Poetic Worldview of F.I. Tyutchev": "Movement in nature is conceived by Tyutchev not only as a mechanical movement, but also as an interconnection, a mutual transition of phenomena, a transition from one quality to another, as a struggle of contradictory manifestations. The poet captured the dialectic of movement in nature. Moreover, the dialectic of natural phenomena reflects the mysterious movements of the human soul. Concrete visible signs outside world give rise to a subjective impression.
V.N. Kasatkina emphasizes: “For Tyutchev, nature is a living organism that feels, feels, acts, has its own passions, its own voice and shows its own character, just as it happens with people or animals.”
A.A. Fet writes about Tyutchev’s poems: “By the nature of his talent, Mr. Tyutchev cannot look at nature without the corresponding bright thought arising in his soul at the same time. To what extent nature is spiritualized before him, he best expresses himself.
Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
Nature for Tyutchev is always young. 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 devoted seven poems to spring: “Spring Thunderstorm”, “Napoleon’s Grave”, “Spring Waters”, “Winter is angry for a reason”, “Even the earth looks sad, but the air already breathes in spring”, “Spring”, “ No, my addiction to you ... ". “In the last program poem of the poet, where he poetically formulated his attitude to the earth as the attitude of a son to his mother, he created the image of the spring earth. Spring for him 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 fascinated 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 filled with joy: “The blue of heaven laughs, washed by night with dew”, 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 May days, like a "ruddy light round dance", crowd merrily after spring.
Belinsky wrote to Tyutchev: “Your springs do not have wrinkles, and, as the great English poet says, the whole earth smiles at this morning hour of the year and life as if it did not enclose graves.”
Indeed, Tyutchev's poetry is optimistic; it affirms a beautiful future, in which a new, happiest tribe will live, for the freedom of which the sun "live and will warm hotter." The whole outlook of the poet reflects the love and thirst for life, embodied in the jubilant lines " Spring waters"("Snow is still whitening in the fields ...") and "Spring Thunderstorm". Consider the poem "Spring Waters":
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say ...
They say all over the place:
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
Crowds merrily after her.
Spring is perceived by the poet not only as a wonderful time of the year, but also as a 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, pictures, feelings contained in the poem “Spring Waters” “... appear to be genuine and alive, they affect the reader directly and deeply, apparently, because they resonate in subconscious. Consistency and fusion of meaning, words and music enhance this effect, manifesting itself not as a static, but as a moving, dynamic unity.
... Tyutchev's lyrics are mostly 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 methods, which are carried out both in parallel and mixed up: firstly, these are verbal repetitions (“running”, “going”), creating the illusion of water movement and a spring flood of feelings, and, secondly, this is a system sound recordings imitating the gurgling and overflowing 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 change in time. “The snow is still whitening 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, a game, a fairy tale and something else, irrational. It includes us in a poetic carnival, in a spontaneous action ... "
According to Tamara Silman, “there is almost no “neutral colloquial” element in this poem, it is entirely a figurative embodiment of the spring awakening of nature, moreover, in three of its stages: in the form of the remnants of the outgoing winter ..., in the form of a stormy, unrestrained 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), went into epigraphs for various works in prose and verse, part of the line "Spring Messengers" became the name of the famous novel by E. Sheremetyeva.
In the poem “Spring Thunderstorm”, not only a person merges with nature, but also nature is animated, humanized: “spring, the first thunder, as if frolicking and playing, rumbles in the blue sky”, “rain pearls hung, and the sun gilds threads”. The spring action unfolded in the higher spheres and met with the exultation 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 been the most capacious and poetically accurate expression of a thunderstorm - over a field, forest, garden, over the green expanses of a beginning spring in Russia "- we read in a critical article by Lev Ozerov" I love a thunderstorm in early May ... (History of one poem) "-" Sixteen Diamond lines of Russian lyrics Tyutchev kept in his soul for a quarter of a century. And isn’t that a miracle of concentrated skill!”
In the process of studying critical materials, we saw that in scientific papers There are two opposite views on the poem "Spring Thunderstorm". 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 catch a deep feeling of the native landscape. But even those verses in which signs of a real area are not given are perceived as a landscape of Russia, and not of any other country. “I love a thunderstorm at the beginning of May ...” - isn’t it about a Russian thunderstorm? Isn't the poem "Spring Waters" talking 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 put the place of their writing 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. Some game natural forces, in which the acoustic beginning exceeds the visual, which is facilitated by alliteration, onomatopoeia. Through the whole poem flowing, rattling, booming-roaring sounds "g", "l", "r" pass. Geographical and "national" signs fade into the background. Errors and inaccuracies in the image ("Here the rain splashed, the dust flies", "The din of birds does not stop in the forest") have no meaning and are drowned in the general din and noise. Everything is subject to the general mood, celebration and the play of light and joy. And so that we do not make a mistake, the poet tells us a summary:
You will say: windy Hebe.
Feeding Zeus' eagle.
A thundering goblet from the sky.
Laughing, she spilled it on the ground.
The assertion that these verses are about Russian nature is the same myth ... ”- and the author does not say another word in support of his statement, no argument.
G.V. Chagin, like Lev Ozerov, believes that Tyutchev's poems are about Russian nature. Here is what he says about this: “It is 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. The beauty of Russian nature from a young age entered the heart of the poet precisely from the fields and forests that surrounded his dear Ovstug, from the quiet, shy meadows near the Desna River, boundless blue skies native Bryansk.
True, Tyutchev wrote his first poems about nature in Germany. There was born, which became famous, his "Spring Thunderstorm". Here is how it looked in the "German" version, first published in 1829 in Raich's magazine "Galatea":
I love the storm in early May:
How fun spring thunder
From edge to edge
Rumbles in the blue sky!
And this is how this first stanza sounds already 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,
Rumbles in the blue sky.
“The nature of the revision, in particular 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 increased attention was observed in Tyutchev’s work to conveying direct impressions from paintings and natural phenomena,” - wrote K.V. Pigarev in his monograph on the poet. And Tyutchev's poems, which describe pictures of nature when traveling from Moscow to Ovstug, confirm these words:
Reluctantly and timidly
The sun looks down on the fields.
Chu, it thundered behind the cloud,
The earth frowned….
In Tyutchev's cycle of poems about spring there is one, so called "Spring", amazing in the depth and strength of the feeling invested in it, forever new:
No matter how the hand of fate oppresses,
No matter how deceit torments people,
No matter how wrinkles roam the forehead
And the heart, no matter how full of wounds;
No matter how severe tests
You were not subject, -
What can resist breathing
And the first meeting of spring!
Spring... she doesn't know about you,
About you, about grief and about evil;
Her eyes shine with immortality,
And not a wrinkle on the forehead.
Only obedient to its laws,
At a conventional hour flies to you,
Light, blissfully indifferent,
As befits the deities.
Based on this poem, we can say that for a 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 a person is ready to merge with nature, to become its particle:
And the life of the divine world
Although for a moment be involved!
Let's turn to the reading of "Spring" by O.V. Orlov:
“The long poem “Spring” (forty lines! 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, satisfaction. This idea is expressed in the last eight lines of the work. The previous four stanzas prepare the reader for this conclusion. Their main idea: the divine eternity of spring, its imperishability and equanimity. She flies to people "bright, blissfully indifferent, // As befits deities." There are quite a few tropes and figures in this poem. The author uses comparisons, exclamations, contrasts (highlighting the detail he needs): “A lot of clouds roam 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 sprinkles flowers over the ground ... What kind of "flowers" - is not specified. The former, bygone springs are only called "faded". Therefore, there is no talk of colors here either. But there is a given, though only in a general form, olfactory sign (sometimes essential in Tyutchev): Fragrant tears. This fragrance is completely conditional: only the tears of a deity can smell fragrant; Aurora pours them in a poem.
Such a voluminous, forty-line poem contains no mention of any color or any 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 the hand of fate oppresses ...”), when reading which Leo Tolstoy once came into such excitement that shed tears. The poem consists of five 8-verse 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 in the present is spilled.” And the instructive teacher's tone in the final lines can no longer cool the heated imagination, especially when the author is ready to sacrifice his favorite game of feelings, deceit, and pantheism, spilled at the beginning of the poem:
The game and the sacrifice of privacy!
Come, reject the feelings of deceit
And rush, cheerful, autocratic,
Into this life-giving ocean!
Come, with its ethereal jet
Wash the suffering chest -
And the life of the divine-universal
Although for a moment be involved!
Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative beginning of being, he now enthusiastically accepts her charms, but remembers that she is alien to human grief, evil, for “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 her, 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, on the contrary, he tears off from her" the cover thrown over the abyss. And he does it with the same decisiveness with which other Russian writers took off the masks from social phenomena.
The images of nature for Tyutchev are not only objects of admiration, but also forms of manifestation of the mysteries of being. His relationship with nature is active, he wants to tear out her secrets, delight in her beauty is combined in him with doubts and rebellion.
In the poem "Winter is angry for a reason..." the poet shows the last fight between the outgoing winter and spring:
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only 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 complicated in terms of design, ... however, the set of visual techniques is the same."
“The method of putting forward substantivized signs, actions, states to a grammatically dominant place in the syntagma is Tyutchev’s essential element that determines the impressionistic nature of his lyrics. V. Shor defines the fundamental approach to the depicted world, which was called “impressionistic”, as follows: “The object must be reproduced in the same way as it is perceived in a direct sensual collision 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, movement. Any phenomenon must be grasped in an absolutely instantaneous aspect.
The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, inner tension and drama. Not only beautiful pictures of nature open before the reader, but he sees “concentrated life”. Tyutchev, like no one else, knew how to convey the colors, smells, sounds of the world around him.
"Nature's idle spy" - so Fet himself semi-ironically defined his attitude to one of the main themes of his work. That is how - as one of the finest masters of landscape lyrics, Fet entered the anthologies and numerous poetry collections of "poets of nature" along with Tyutchev, Maikov, Polonsky.
A. Fet, like F. Tyutchev, reached brilliant artistic heights in landscape lyrics, becoming a recognized singer of nature. Here his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes, their peculiar, individual perception were manifested. L.N. Tolstoy very subtly captured Fet'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 morning dawn shimmers into sound." Fet's sense of nature is universal, for he has the richest possibilities of poetic "hearing" and "vision". Fet expanded the possibilities of a poetic depiction of reality, showing the inner connection between the world of nature 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 fix changes in nature. Observations in his poems are constantly grouped and perceived as phenological signs. Landscapes of Fet are not just spring, summer, autumn or winter. Fet depicts more private, 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 a precisely defined 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, immediacy and acuteness of Fet’s perception of nature”, “wonderful lines about spring rain, about the flight of a butterfly”, “penetrating landscapes”, is right when he talks about Fet’s poems: “His poems entered Russian nature, became an integral part of it."
But then Marshak notices: “Nature with him is exactly on the first day of creation: bushes of trees, a bright 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 acquires a decorative character.
Fetov's aestheticism, "admiration for pure beauty", sometimes leads the poet to deliberate prettiness, even banality. One can note the constant use of such epithets as "magical", "gentle", "sweet", "wonderful", "affectionate", etc. This narrow circle of conditionally 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 seraphim", her eyes are "like flowers fairy tale”, dahlias - “like living odalisques”, heaven - “incorruptible like paradise”, etc.”.
“Of course, Fet's poems about nature are strong not only in concreteness and detail. Their charm is primarily in their emotionality. The concreteness of observations is combined in Fet with the freedom of metaphorical transformations of the word, with a bold flight of associations.
“Impressionism at that 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 appeared 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 the artist, the impression that caused the work is more precious than the thing itself that caused this impression.”
“Fet depicts the outside world in the form in which the mood of the poet gave it. With all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing a lyrical feeling.
“Fet values \u200b\u200bthe 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 Fet song refers to one point of being ...” - Nikolai Strakhov noted. Fet himself wrote:
Only you, poet, have a winged word sound
Grabs on the fly and fixes suddenly
And the dark delirium of the soul and herbs an indistinct smell;
So, for the boundless, leaving the meager valley,
An eagle flies beyond the clouds of Jupiter,
A sheaf of lightning carrying instantaneous in faithful paws.
This fixation “suddenly” is important for the poet, who appreciates and expresses the fullness of organic being, its involuntary states. Fet is a poet of concentrated, concentrated states.
Such a method required an extraordinarily sharpened gaze into reality, the finest, most meticulous fidelity to nature, when all the senses were strained: eye, ear, touch. Fet's nature strikes us with the truth of life, ”N.N. Fet described the landscape lyrics in this way. Strakhov. And further: “Fetov's poetry of momentary, instantaneous, involuntary states lived at the expense of direct pictures of being, real, surrounding. That is why he is a very Russian poet, very organically absorbing and expressing 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 voice of water...
There is not a single verb in the narrator's monologue - Fet's favorite trick, but there is also not a single defining word here, except for the pronominal adjective "this" ("these", "this"), repeated eighteen times! Refusing epithets, the author seems to admit to the impotence 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 dwelling of man. 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 are heard (“... a sigh of a night village”). In the last lines, the gaze of the lyrical hero is turned inward, into his feelings (“darkness and heat of the bed”, “night without sleep”).
For a person, 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 that exists.
Lesson Objectives:
- to systematize knowledge on the lyrics of F.I. Tyutchev and A.A. Fet;
- to teach children to find common ground in the work of poets;
- instill a love for Russian poetry.
Equipment:
- reproductions "Winter Landscape", "Thunderstorm";
- portraits of F.I. Tyutchev<Рисунок 1>and A.A. Fet<Рисунок 2>;
- a tape recorder, cassettes with romances, an exhibition of books about F.I. Tyutchev and A.A. Fet; each student has printouts of poems on the table that will be heard in the lesson.
During the classes
Hello guys!
Today we will consider the artistic world of the lyrics of F.I. Tyutchev and A.A. Fet.
Our task- to systematize the knowledge that you received while studying the works of these poets.
In addition, today's lesson will help you prepare for writing.
We'll talk to you about lesson plan On the desk):
- landscape poetry of Tyutchev and Fet;
- philosophical lyrics;
- lyrics of love.
Write down the points of the plan in a notebook!
1. Landscape lyrics.
Where were Tyutchev and Fet from?
(both from the Oryol province: Fet - Novoselki of the Mtsensk district, Tyutchev - Ovstug in the Bryansk region)
What other poets and writers, natives of the Oryol province, do you know?
(Koltsov, Turgenev, Leskov)
What topic did both poets pay a lot of attention to?
(nature theme)
Tyutchev and Fet - nature singers central Russia.
And Voskresensk (the city in which the lesson takes place) is the middle lane? (Yes)
This means that Fet and Tyutchev could observe approximately the same landscape that we see outside the window and on the reproduction (a reproduction depicting winter is attached to the board).
Let's listen to Tyutchev's poem "Winter is angry for a reason."
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.And everything got busy
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
What surprised you about this poem? What are its features?
(Nature comes alive, personifications)
Now listen to A.A. Fet's poem.
She came - and melts everything around,
Everything wants to give life
And the heart, a prisoner of winter blizzards,
All of a sudden forgot how to shrink. (froze with delight)Spoke, bloomed
All that yesterday languished dumbly,
And the sighs of heaven brought
From the dissolved gates edema. (Paradise)
What is the poem about? (About the coming of spring)
What unites the poems of Tyutchev and Fet? (one topic)
Please note that very often Tyutchev and Fet are interested in transitional moments: both are waiting for spring.
What do you associate spring with? (Approaching spring rains, spring thunderstorms)
What is the image of a thunderstorm associated with? What is its meaning?
(Thunderstorm as a cleansing force, nature comes to life after a thunderstorm)
Prove it to me.
Let's see how Tyutchev's image of a thunderstorm is revealed.
(The student reads the poem “Spring Thunderstorm” by heart)
Spring thunderstorm.
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbles in the blue sky.The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung,
And the sun gilds the threads.An agile stream runs from the mountain,
In the forest, the din of birds does not stop,
And the noise of the forest and the noise of the mountains -
Everything echoes cheerfully with thunder.You say: windy Hebe,
Feeding Zeus' eagle
A thundering cup from the sky
Laughing, she spilled it on the ground.
Which artistic medium helps convey the beauty of nature? (personification)
Find epithets in this poem.
And now I will read Fet's most famous poem:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!
What is special about this poem?
(Many name sentences)
L.N. Tolstoy remarked: “There is not a single verb in it. Each expression is a picture…”
2. Philosophical lyrics.
Tyutchev and Fet are often called singers of nature. But think, are they looking at nature in isolation or is it related to something else?
(Tyutchev and Fet are singers of nature, but they do not consider it separately, the harmony of the human soul and nature, the interaction of nature with the human soul is important for them.)
Nature often makes the poet think, reflect on life. What are the names of the poems in which the poet reflects on life and death, on the place of man in the world, on beauty and ugliness? (Philosophical lyrics)
So Tyutchev:
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open,
The same eternal surf and rebound,
The same ghost is disturbingly empty. (“Wave and Thoughts”)
Between what does Tyutchev draw a parallel in this poem?
(Movements in nature coincide with the excitement of the human soul, thought)
And Fet's description of nature conveys the state of man. For example, in the poem “What sadness! End of the alley…” (1862)
There is not a shred of azure in the sky,
In the steppe everything is smooth, everything is white,
One raven against the storm
Wings flap heavily.And the soul does not dawn
It is the same cold that is around,
Lazily the thought falls asleep
Over dying labor.
We also see a parallel of the nature and state of the human soul.
Every poet has to sum up to your creativity. Fet glorifies death at the end of life, hoping for peace after it. This is due contradictions in his life.
What contradictions do you remember in Fet's life, what did he spend a lot of effort on?
(Fet put a lot of strength to prove that he is a nobleman Shenshin)
Fet gets tired of this, seeks peace in the other world in the poem "Death" (1878)
The blind seek in vain where the road is,
Trusting feelings to blind guides;
And if life is a noisy god's bazaar,
Only death is his immortal temple.
Tyutchev has a different perception of life and death.
When decrepit forces
We are starting to change
And we must, as old-timers,
Give newcomers a place, -
Save us then good genius,
From cowardly reproaches,
From slander, from anger
For a life changing...
(Tyutchev does not regret what he has lived, although his life was full of suffering. He perceives death not as a salvation from life, but as a natural, natural phenomenon)
3. Lyrics of love.
Guys, what contradictions do you remember in the life of Tyutchev and Fet, reflected in the lyrics of love? What unites the personal life of Fet and Tyutchev?
(Both survived the tragedy. Tyutchev's first wife, Eleanor Peterson, died early; late love for Elena Aleksandrovna Denisyeva, condemned by society, led to the poor woman also dying.
The suicide of Maria Lazich, a girl who loved Fet and was abandoned by him because of her poverty, left an indelible mark on the poet's soul)
Therefore, this feeling is carried in the lyrics tragic character.
Listen to Tyutchev's recollection of the last hours of E.A. Denisyeva:
All day she lay in oblivion,
And shadows covered her all,
Lil warm summer rain - its jets
The leaves sounded merry.And slowly she came to her senses
And I started listening to the noise
And listened for a long time - passionate,
Immersed in conscious thought...And so, as if talking to myself,
Consciously she spoke
(I was with her, killed, but alive): (Why?)
“Oh, how I loved it all”You loved, and the way you love -
No, nobody has succeeded yet!
Oh my God! .. and survive it ...
And the heart was not torn to shreds ...
1864, Nice
There is almost no joy in love.
Listen to an excerpt from the romance. Whose poem is it based on?<Приложение 1>
(The romance “I met you - And all the past ...” sounds on Tyutchev’s verses.)
The romance is dedicated to Amalia Lerchenfeld (Baroness Krüdener).
What is the feeling when listening to it?
(Light sadness, sadness for bygone youth)
Listen to one more romance (to Fet's verses “Don't wake her up at dawn”).
Don't wake her up at dawn
At dawn she sleeps so sweetly;
Morning breathes on her chest
Brightly puffs on the pits of the cheeks.And her pillow is hot
And a hot tiring dream,
And, blackening, they run on their shoulders
Braids tape on both sides.
We see that the image of a beloved can evoke in a poet not only tragic memories, but also bright feelings.
Our lesson is coming to an end.
Today we learned even more about the work of great poets. Proof of their greatness and talent are the prophetic words of Tyutchev himself about Russia:
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.
Even Pushkin said that a poet must be a prophet. And we are increasingly convinced of how prophetic Tyutchev's poems about Russia were.
The significance of A.A. Fet was well said by his contemporary Alexei Mikhailovich Zhemchuzhnikov 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,
Irresistible beauty.
And let him in old age
Changed capricious names
Now a publicist, then a poet -
Redeem Shenshin's prose
Poems captivating Fet.
Now write down home essay topics :
1. The lyrics of F.I. Tyutchev in my perception.
2. Lyrics by A.A. Fet in my perception.
3. Free theme based on the work of F.I. Tyutchev and A.A. Fet (the topic is formulated by the student himself).
The results of the lesson, grading.
Additional questions for the lesson. Poets and Politics.
Fet and Tyutchev in their work were far from political life, social issues.
But we can still find an attitude to grandiose historical events in their poems.
Remember Pushkin's lines:
And on the ruins of autocracy
Write our names! (“To Chaadaev”, 1818)
You have been corrupted by self-rule,
And his sword struck you.
What does it mean?
(Tyutchev believes that without a deep knowledge of Russia, any political action will turn into violence, autocracy. But at the same time, he highly appreciates Pushkin!)
There is an inscription on the stand: “You, as the first love, the heart of Russia will not forget.” Tyutchev about Pushkin.
A.A. Fet does not want to interfere in public battles at all. For him, joy is in poetry, in creativity, and not in society:
I feel joy
I do not want
your battles.
And even turns away from the suffering person:
For the sake of your torment I will not change
Freedom to an eternal calling.
This distinguishes him from Nekrasov: “Do not believe that the one who does not have bread / / Is not worth your prophetic strings” (“Poet and Citizen”), “I dedicated the lyre to my people”, etc.
Fet in his work tries to close himself from politics, social topics withdraw into yourself.
The poetic world of feta.
A. A. Fet is one of those Russian poets whose fame was not loud either during life or after death. He wrote in a non-poetic era, and, by the way, he himself never aspired to fame. In life, he was interested in completely different problems: at the age of 14, he was declared illegitimate and deprived of his paternal surname Shenshin, and at the same time his inheritance, and therefore Fet the man devoted his whole life to being recognized as a nobleman. But the Fet artist over the years has created wonderful world magic poetry, poetry for which he was repeatedly reproached by Russian criticism, which could not find in the poet's lyrics the social motives that were so necessary for her. Indeed, A. Fet defiantly opposed himself to his time, declared that he was not obliged to be a citizen, lived contrary to the spirit of the times. That is why the work of A. Fet was branded with the label “art for the sake of art”. And for a long time no one wanted to see all the beauty of his work, which reflected the poet's surprisingly hopeless views on life, because when asked about the mood of his soul, he always answered: "Desert!"
Back in 1850, A. Fet wrote: “My ideal world was destroyed long ago...” The place of this world was taken by everyday life. And the more the poet immersed himself in her, the more he strove to get out of her power in his poems. In the last, best, collection of poems by A. Fet “Evening Lights”, where the contradictions between Fet-man and Fet-poet are most sharply reflected, the need to break out into the open air saturated with the air of poetry clearly sounds:
Easily
With a splash of wings
fly in -
To the world of aspirations
worship
And prayers;
I feel joy
I do not want
your battles.
This aspiration is reminiscent of A. Fet’s famous saying: “Whoever is not able to throw himself from the seventh floor upside down with an unshakable belief that he will soar through the air, he is not a lyricist ...” A. Fet generally has many epithets “airy”, “winged”, the verbs “fly”, “soar”, “take wings”.
The departure from the real world to the world created with the help of art is a characteristic feature of romanticism. Indeed, Fet has much in common with the lyricist Zhukovsky. But there are also significant differences. In the ideal lyrical world of Fet, in contrast to V. Zhukovsky, there is nothing mystical, otherworldly. The eternal object of art, according to A. Fet, is beauty, which is inherent in reality itself and therefore inescapable. “The world in all its parts is equally beautiful...” Nothing terrible, cruel, ugly has access to the world of Fet's lyrics. Partly, perhaps, this is its one-sidedness: “reproduction is not an object, but only its ideal.”
The lyricism of A. Fet rings in unison with beauty. But the concept of "beauty" A. Fet attaches a philosophical meaning. Poetry, after all, is the penetration into “the innermost essence of the world”, which, say, science cannot do. Artistic knowledge consists in embracing the subject in its entirety, and of all the arts, poetry offers the greatest opportunity for this.
The lyrics of A. Fet are extremely mobile. The poet makes all objects “sway, tremble, tremble”. His poetry is full of smells: nature and love are saturated with “fragrances”, “aromas”, “smells of herbs”, “fragrant nights”. Sight and hearing often merge together: the distance rings, the sounds of the song become a silvery path, the singer's voice turns into a moon, a dawn, a sea. A special place in the lyrics of A. Fet is occupied by music. In the poem “The night shone...” the song embodies the image of the beloved woman. Music is nascent feelings, semi-feelings, subtle nuances. The poems of A. Fet are unusually melodic; it is no coincidence that many of them formed the basis of romances.
In A. Fet, everything depicted by him is unclear, vague, indefinite. He lacks words, he complains about the inferiority of the language:
How poor is our language? - I want and I can not. -
Do not pass it on to friend or foe,
What rages in the chest like a transparent wave...
That is why he likes to oppose the “rough” human words with the language of flowers, “clearly speaking” night silence (the poem “Fragrant night, blessed night ...”). The poetry of silence - one of Fet's favorite techniques - conveys the power of feeling much stronger than a cry (“I won’t tell you anything ...”). And at the same time, A. Fet achieves tremendous musicality of the verse:
Rye ripens over a hot field,
And from the field to the field
Whimsical wind blows
Golden overflows.
A. Fet was often pointed to grammatical errors, but sometimes he himself manages to defeat grammar: in the poem “Whisper, timid breathing ...”, for example, there is not a single verb.
Although the world of Fet in all its manifestations is equally beautiful, it still comes down to three main components: nature, love, music, which are closely interconnected, intertwined and form a single artistic world. A. Fet's description of nature acquires a romantic sound, and one of the properties of the poet's lyricism is the ability to voice mute nature.
The basis of most love poems by A. Fet is the recognition of an expensive female image:
Just meet your smile
Or I will catch your gratifying glance, -
It is not for you that I sing a song of love,
And your beauty is darling!
The true subject of A. Fet's poems is not what touched the heart at the moment, but those feelings of falling in love with beauty that are evoked at the same time.
The world of Fet can be called the world of “unity of opposites”, their harmonious merging. The main word in the lyrics of Athanasius Fet can be called the word “insane”. But in this madness, in this fusion of music, nature and love, there is the highest expression of the poetry of the world, a reflection of earthly beauty in the mirror of art:
I won't tell you anything
I won't disturb you at all
And what I silently say
I dare not hint at anything.
Themes of nature in the lyrics of Fet and Tyutchev.
Fet's nature:
Fet's natural lyrics, embodied in such poems as "I came to you with greetings", "Whisper. Timid breathing", "What sadness! End of the alley", "This morning, this joy" and others. For Fet, nature is primarily a temple. Temple where love lives. Nature in Fet's lyrics plays the role of special luxurious scenery, against 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 is the highest reality. F is a great landscape painter. His landscapes are distinguished by their concreteness, the ability to convey the subtlest changes in nature during the day. He is not interested in statics, there is a barely perceptible dynamics. This applies to the verses 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 the relation to nature harmoniously. Chaos, abyss, orphanhood are unknown to him. On the contrary, the beauty of nature infuses the soul with a sense of the fullness and joy of being. 1848 - verse "Spring Thoughts"; 1854 - verse "bees"; 1866 - the verse "I came, and everything around is melting"; 1884 - "The garden is all in bloom." In the landscape lyrics, a certain Fetov universe of beauty (philosophy) is born: “on a haystack at a southern night ...”. The image of the universe is majestic and close to man. In communion with the beauty of the universe, salvation for the hero's lyre: "Torn out by life, the treachery of hope." Natural phenomena in F are more detailed, more specific than those of their predecessors. Seeks to capture the phenomena of nature. Basically F uses natural colors, shades. He needs to capture the moment. Favorite season is spring, i.e. it's not static. He likes to describe the evening / morning landscape. The ability to “voice” even silent nature is a remarkable property of the muses of Fet's lyricism: in his poems, she not only shines with beauty, but also sings with it.
Tyutchev's nature:
Tyutchev is the most natural-philosophical of all Russian poets: about 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 enclosed in the depths of the universe, a terrible, incomprehensible secret that nature hides from man ("What are you howling about, the night wind ...",; "The evening is hazy and rainy .. .", ; "Day and night", )
