Natural lyrics of Tyutchev and Fet. "Eternal themes in the lyrics of F
Fedor Tyutchev was seventeen years older than Afanasy Fet. The difference in age, the places they visited and lived in, left their mark on the works of the great Russian lyricists, who, like no one else, managed to express their thoughts and feelings in poetic form. Mass contemporary readers treated their poetry rather coldly, and only time put everything in its place. These two geniuses are close in their reverent attitude towards and love. Let's compare Tyutchev and Fet.
The uniqueness of the poetry of F.I. Tyutchev
Fedor Ivanovich wrote a little more than four hundred poems in his life. divides them into three periods. We will confine ourselves to the analysis of works that reflect the life of nature with its deep philosophical overtones, and love lyrics. A comparison of Tyutchev and Fet in these areas of poetry shows the difference between the captivating grace of A. Fet's "pure art" and F. Tyutchev's fullness of thoughts and genuine, albeit stingy, expressions of feelings.
Living in Nice after the death of E. Denisyeva, which he was very worried about, the poet writes a bitter poem in which he compares his life with a bird whose wings are broken off. She, seeing the bright brilliance of the south, its serene life, wants and cannot rise. And all of it "trembles with pain and impotence." In eight lines we see everything: bright nature Italy, the brilliance of which does not please, but disturbs, the unfortunate bird, which is no longer destined to fly, and the Man who experiences her pain as if it were his own. Comparison between Tyutchev and Fet, who also experienced a personal drama, is simply impossible here. They speak Russian, but in different languages.
The poem "Russian Woman", which consists of two stanzas, is still relevant today.
Its colorless and useless existence in the vast, deserted, nameless expanses is briefly outlined. The lyrical hero compares her life to a cloud of smoke that gradually disappears in the dim foggy autumn sky.
But what about love? It is only analyzed. The poem "Summer 1854" at the beginning is permeated with delight, the witchcraft of love, which was given to two "for no reason at all." But he looks at with "anxious eyes." Why and where does such joy come from? The rational mind cannot simply accept it. We have to get to the truth. According to lyrical hero it's just a demonic delusion...
F. Tyutchev is a subtle psychologist, and no matter what topic he takes on, he will certainly appear before us in all the grandeur of a genius.
Musical gift of A. Fet
A comparison of Tyutchev and Fet shows that no matter what picture both poets take, it will certainly reflect the face of nature or love, often intertwined together. Only A. Fet has more thrill of life, transitions of states. The poet reveals the world and its beauty to us, reproducing them very accurately and improving human nature. “May Night” is a poem that L. Tolstoy immediately learned by heart.
Here is a picture of the night sky with melting clouds, and the promise of love and happiness on earth, which turns out to be achievable only in heaven. In general, with all the undeniable musicality, Fet came to a joyful, almost pagan perception of life.
The relationship between man and nature in two poets
When comparing the lyrics of Tyutchev and Fet, it turns out that for Tyutchev there is no harmony between man and nature. He stubbornly tries to solve her eternal riddle, which this sphinx may not have. Fet, on the other hand, admires her beauty against her will, she flows into him and splashes out in the form of enthusiastic works on sheets of paper.
What does love mean for each of them
Tyutchev believes that love destroys a person. She is out of harmony. This element, which suddenly comes and destroys an established life. It only brings suffering. A comparison of the poetry of Tyutchev and Fet shows that the latter and in adulthood there are bright and enthusiastic colors to describe the feeling that has flared up: “The heart easily indulges in happiness.”
He remembers and never for a moment forgets his youthful love, but does not turn away from her tragedy in Alter ego and believes that for true love there is a special court - it cannot be separated from his beloved.
The world is a creation of the Creator. Both poets are trying to know the Creator through nature. But if F. Tyutchev looks at the world with a tragic and philosophical look, then A. Fet, like a nightingale, sings a song to its enduring beauty.
1.1 Landscape lyrics by F.I. Tyutchev and A.A. Feta and its features
The disclosure of this topic involves an appeal to lyrical works 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 focus creative search 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 human soul. Concretely visible signs of the external 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 dedicated 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 is already breathing in spring”, “Spring”, “No, my passion for 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 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”, heights ice mountains they play with the azure sky, nature smiles at spring, and spring drives away winter with laughter, May days, like a “ruddy bright 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 worldview of the poet reflects the love and thirst for life, embodied in the jubilant lines of "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 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, 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 piece is achieved by two methods, which are carried out both in parallel and mixed: firstly, these are verbal repetitions (“running”, “going”), creating the illusion of water movement and spring flood feelings, and, secondly, it is a sound recording system that imitates 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, all of it is a figurative embodiment of the spring awakening of nature, and 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”. Spring action unfolded in 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 in early May ...” - perhaps we are talking not about the 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. A certain play of 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 with young years 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, the boundless blue skies of his native Bryansk region.
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 a favorite philosophical theme poet: about 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 oppressive the hand of fate ...”), 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, because she 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 on Tyutchev, Lev Ozerov made the following very subtle remark about Tyutchev's type of perception of natural phenomena: “Turning to her, Tyutchev decides 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 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 direct sensory 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, internal stress 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 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 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 sharpness 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 amazes us with the truth of life "- this is how he described landscape lyrics Feta N.N. 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 vault of heaven- to the earth, from nature - to the dwelling of man. First we see the blue of the sky and bird flocks, then 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.
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Type of: a lesson in the integrated application of knowledge and skills (solution of an educational and practical problem).
Target: highlighting by students the essential features of the poetics of Tyutsev and Fet's poems about nature through a comprehensive analysis.
Tasks:
- determine the originality of the poetics of each author;
- develop the ability to analyze, make the transition from isolating and comprehending individual components to generalization, synthesizing at a new level;
- to cultivate a careful and sensitive attitude to the worldview of the author, to cultivate aesthetic taste.
DURING THE CLASSES
I. Preparation for the perception of the topic of the lesson, understanding the results independent reading
- Today we continue our conversation about the mysteries of biography, about the features of the work of Tyutchev and Fet, two poets traditionally defined by critics as twin poets. Is it so? We will try to answer this question.
Our work with you will be structured as follows:
- We will get acquainted with the reports and presentations that you have prepared.
- Let's hear artistic reading poems by Tyutchev and Fet.
- Let's do a little creative experiment.
- In the course of work, I think we will expand our understanding of the work of Tyutchev and Fet. But I wanted to start today's conversation with my favorite lines.
(The teacher reads Tyutchev's poem "Lazy breathing misty noon" and Fet's poem "What a night ...")
“Winter is not angry for nothing ...”, “Snow is still whitening in the fields ...”, “I love a thunderstorm in early May ...”, “A wonderful picture, how sweet you are to me ...”, “There is in the original autumn ...”
II. Setting the goal of the lesson
- Tell me, what do all those poems that we just named have in common?
– Yes, they are all about nature, and this is not accidental. The life of nature was one of the central themes in the lyrics of Tyutchev and Fet. “Not what you think, nature,” said Tyutchev.
- And what is she? How do poets define it? These questions will be at the head of our conversation today. And you will talk about the lyrics of the nature of Tyutchev and Fet, presenting your lyrical collections, reports and presentations.
III. Examination homework. Group work
- I propose to work in this way:
a) listen to each presentation;
b) fix in the notebook the ideas of poets about nature;
c) comprehend what was heard through questions for understanding.
Groups make presentations and read poetry(Attachment 1 , Annex 2 )
IV. Analysis of the work of groups
– Do you think the views of poets on the theme of nature coincide?
We have two versions. Let's see how true each of them is, identify common features and differences.
- The lyrics of Tyutchev and Fet can be called landscape-philosophical. Each of the poets relies in his work on a certain direction in art and philosophy. The mythologization of images and the personification of nature are the favorite methods of both.
- A lot in common, right? But now let's take a closer look.
- And yet, what is more common or different?
F. I. Tyutchev |
|
Mythologization of images |
|
1. Dialogue and struggle of chaos and space | 1. In the world of nature, harmony, cosmic harmony |
2. Man on the verge of worlds (chaos and space) | 2. Man is a particle of this huge world |
3. The abyss of the world is fatal, frightening and alluring | 3. Solemnly high abyss, introducing a person to eternal harmony |
Personification of nature |
|
Nature is not animated, it really is alive, thinking, feeling | Nature is a means of expressing human feelings. |
Reliance on a certain direction in art |
|
Pantheism. (Nature is God, infinite and eternal) | Impressionism (The desire to convey an instant impression of the pictures of the world) |
- If you had to determine what exactly is the originality of each of the poets, which "Tyutchev" and "Fetov" element would you name?
V. Organization of creative experiment
- A poem is a kind of unity of means and techniques, ideological content. In the realm of ideas, we have identified the uniqueness of each author. Will our conclusions be confirmed at the level of sound, words, features of the structure of the work? I suggest doing a creative experiment. There are poems on the tables in groups; epithets are deliberately omitted in them. The task of the groups is to enter epithets, to reconstruct the poem.
_________, _________ charm:
_______ brilliance and variegation of trees,
_______leaves___, ____ rustle.
_________ and __________ azure
Above the ______________ earth.
And, like a premonition of ______ storms,
______, ________ wind at times.
That _______ fading smile,
Group work
- We write out the epithets on the board. (Guys write in the epithets missed by the teacher. The teacher puts on the board a poem without gaps with author's epithets)
Is in lordship autumn evenings
A touching, mysterious charm:
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle.
Foggy and quiet azure
Over the sad orphan land,
And, like a premonition of descending storms,
Gusty, cold wind sometimes
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
- How do your epithets differ from the author's?
- In ordinary speech, these words define the internal state of a person. And the author refers them to the description of nature. For the poet, nature is alive, it thinks and feels like a person.
Can we identify the author of this poem? Of course, this is F.I. Tyutchev.
Now for another poem. Determine the author's technique in creating an image.
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 the waters
These willows and birches
These drops are these tears
This fluff, not a leaf,
These mountains, these valleys,
These midges, these bees,
This tongue and whistle
These dawns without eclipse,
This sigh of the night village,
This night without sleep
This haze and the heat of the bed,
This fraction and these trills,
It's all spring.
– What feeling is the author trying to create by using such morphological and syntactic means? The whole poem is written in nominal sentences, the author only names the objects, but they merge into one musical chord, the poet, as it were, stopped a wonderful moment of life, he does not strive to depict a holistic and complete image of nature. He is interested in the transitional states in it, their subtle and subtle shades.
Who is the author of this poem? Of course, A. A. Fet.
VI. Conclusion
What conclusions can be drawn from today's lesson?
1. In the lyrics of nature Tyutchev and Fet have a lot in common, but there are also differences.
2. We trace the originality of style both at the level of ideas and at the level of artistic means.
3. In the work of each author there is a poem by which we can determine the originality of his poetry.
Fet's poetry is bright, pure, and he chooses the appropriate means.
In Tyutchev's poetry, discord, struggle, for us, people of the 21st century, it is closer, it seems to us more modern.
Have we solved the tasks set at the beginning of the lesson? Have you answered the question. what is nature in the understanding of F. I. Tyutchev and A. A. Fet?
VII. Homework.
The result of our work should be an essay on the topic: “How do you understand the words of F. I. Tyutchev “Not what you think, nature.”
Practice #5
General and different in the poetic vision of F.I. Tyutchev and A.A. Feta
Lyrical hero of F. I. Tyutchev and A. A. Fet
Tyutchev and Fet, who determined the development of Russian poetry in the second half of the 19th century, entered literature as poets of “pure art”, expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.
A distinctive feature of the lyrics of these two poets was that it was characterized by a depth of analysis of the emotional experiences of a person. So, the complex inner world of the lyrical heroes of Tyutchev and Fet is in many ways similar.
A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social activities, and people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works. The lyrical hero reflects certain characteristic features of the people of his time, his class, exerting a huge influence on the formation spiritual world reader.
As in the poetry of Fet and Tyutchev, nature combines two planes: externally landscape and internally psychological. These parallels turn out to be interconnected: the description of the organic world smoothly turns into a description inner peace lyrical hero.
Traditional for Russian literature is the identification of pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, Lermontov. The same tradition was continued by Fet and Tyutchev.
So, Tyutchev uses the method of personifying nature, which the poet needs to show the inseparable connection between the organic world and human life. Often his poems about nature contain reflections on the fate of man. Tyutchev's landscape lyrics acquire a philosophical content.
For Tyutchev, nature is a mysterious interlocutor and constant companion in life, understanding him best of all. In the poem “What are you howling about, night wind?” (early 30s) the lyrical hero turns to the world of nature, talks with him, enters into a dialogue that outwardly takes the form of a monologue:
In a language understandable to the heart
You keep talking about incomprehensible flour -
And dig and explode in it
Sometimes violent sounds! ..
Tyutchev does not have a “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, eternal. organic world Tyutchev is always many-sided and diverse. It is presented in 364
constant dynamics, in transitional states: from winter to spring, from summer to autumn, from day to night:
Shades of gray mixed,
The color faded, the sound fell asleep -
Life, movements resolved
In the unsteady dusk, in the distant rumble ...
(“Shadows of gray mixed”, 1835)
This time of day is experienced by the poet as “an hour of inexpressible longing”. The desire of the lyrical hero to merge with the world of eternity is manifested: “Everything is in me and I am in everything.” The life of nature fills the inner world of man: an appeal to the origins of the organic world should regenerate the whole being of the lyrical hero, and everything perishable and transient should go by the wayside.
The technique of figurative parallelism is also found in Fet. Moreover, most often it is used in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul.
This technique is very interestingly used in the poem “Whisper, timid breathing ...” (1850), which is built on the same nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic concreteness. This poem creates a dotted image, which, when viewed closely, gives chaos, “a series of magical changes”, and in the distance - an accurate picture. Fet, as an impressionist, bases his poetry, and, in particular, the description of love experiences and memories, on the direct fixation of his subjective observations and impressions. Condensation, but not mixing, of colorful strokes gives the description of love experiences sharpness and creates the utmost clarity of the image of the beloved. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them special poetry, mystery and warmth.
However, dating and nature are not just described as two parallel world- the world of human feelings and natural life. The innovation in the poem was that both nature and the date are shown as a series of fragmentary dates, which the reader himself must link into a single picture.
At the end of the poem, the portrait of the beloved and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.
However, in the depiction of nature, Tyutchev and Fet also have a profound difference, which was due primarily to the difference in the poetic temperaments of these authors.
Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev seeks to understand nature by including its system philosophical views turning into a part of his inner world. Tyutchev's passion for personification was dictated by this desire to fit nature into the framework of human consciousness. So, in the poem "Spring Waters" streams "run and shine and speak."
However, the desire to understand, comprehend nature leads the lyrical hero to the fact that he feels cut off from her; therefore, in many of Tyutchev's poems, the desire to dissolve in nature, “to merge with the beyond” (“What are you howling about, night wind?”) Sounds so vividly.
In a later poem, "Grey-gray shadows mingled ..." this desire comes through even more clearly:
Silent dusk, sleepy dusk,
Lean into the depths of my soul
Quiet, dark, fragrant,
All pour and comfort.
So, an attempt to solve the mystery of nature leads the lyrical hero to death. The poet writes about this in one of his quatrains:
Nature is a sphinx. And the more she returns
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.
In the later lyrics, Tyutchev realizes that man is a creation of nature, her fiction. Nature is seen by him as chaos, which inspires fear in the poet. Reason has no power over her, and therefore, in many of Tyutchev's poems, an antithesis of the eternity of the universe and the transience of human existence appears.
The lyrical hero Fet has a completely different relationship with nature. He does not seek to “rise” above nature, to analyze it from the standpoint of reason. The lyrical hero feels himself an organic part of nature. In Fet's poems, the sensory perception of the world is conveyed. It is the immediacy of impressions that distinguishes Fet's work.
For Fet, nature is a natural environment. In the poem “The night shone, the garden was full of moon ...” (1877), the unity of human and natural forces is felt most clearly:
The night shone. The garden was full of moon, lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
The theme of nature in these two poets is connected with the theme of love, thanks to which the character of the lyrical hero is also revealed. One of the main features of Tyutchev's and Fetov's lyrics was that it was based on the world of spiritual experiences. loving person. Love in the understanding of these poets is a deep elemental feeling that fills the whole being of a person.
The lyrical hero Tyutchev is characterized by the perception of love as a passion. In the poem “I knew the eyes, - oh, these eyes!” this is realized in verbal repetitions (“passionate night”, “passion depth”). For Tyutchev, moments of love are “wonderful moments” that bring meaning to life (“In my incomprehensible gaze, exposing life to the bottom ...”).
This poet compares life with the “golden time”, when “life spoke again” (“KV”, 1870). For the lyrical hero Tyutchev, love is a gift sent from above, and some magical power. This can be understood from the description of the image of the beloved.
In the poem “I knew the eyes, - oh, these eyes!” what matters is not the emotions of the lyrical hero, but the inner world of the beloved. Her portrait is a reflection of spiritual experiences.
He breathed (look) sad, in-depth,
In the shadow of her thick eyelashes,
Like pleasure, weary
And, like suffering, fatal.
The appearance of the lyrical heroine is shown not as really reliable, but as the hero himself perceived it. Only eyelashes are a specific detail of the portrait, while adjectives are used to describe the gaze of the beloved, conveying the feelings of the lyrical hero. Thus, the portrait of the beloved is psychological.
Fet's lyrics were characterized by the presence of parallels between natural phenomena and love experiences (“Whisper, timid breathing ...”). 366
In the poem “The night shone. The garden was full of the moon...” the landscape smoothly turns into a description of the image of the beloved: “You sang until dawn, exhausted in tears, that you are alone - love, that there is no other love.”
So, love fills the life of a lyrical hero with meaning: “you are alone - all life”, “you are alone - love”. All worries, in comparison with this feeling, are not so significant:
There are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
Tyutchev's love lyrics are characterized by a description of events in the past tense (“I knew the eyes - oh, these eyes!”, “I met you - and all the past ...”). This means that the poet is aware of the feeling of love as long gone, so his perception is tragic.
In the poem "K. B.” the tragedy of love is expressed in the following. The time of falling in love is compared to autumn:
Like late autumn sometimes
There are days, there are hours
When it suddenly blows in the spring
And something stirs in us...
In this context, this time of the year is a symbol of the doom and doom of a high feeling.
The same feeling fills the poem “Oh, how deadly we love!” (1851), included in the "Denisiev cycle". The lyrical hero reflects on what the “duel of the fatal two hearts” can lead to:
Oh, how deadly we love!
As in the violent blindness of passions
We are the most likely to destroy
What is dearer to our heart! ..
The poem “Last Love” (1854) also fills the tragedy. The lyrical hero here realizes that love may be disastrous: “Shine, shine, the farewell light of the last love, the dawn of the evening!”. Nevertheless, the feeling of doom does not interfere the lyrical hero to love: “Let the blood run thin in the veins, but tenderness does not run out in the heart ...” In the last lines, Tyutchev succinctly characterizes the feeling itself: “You are both bliss and hopelessness.”
However, Fet's love lyrics are also filled with not only a sense of hope and hope. She is deeply tragic. The feeling of love is very contradictory; it is not only joy, but also torment, suffering.
The poem “Do not wake her at dawn” is all filled with a double meaning. At first glance, a serene picture of the morning dream of the lyrical heroine is shown, but already the second quatrain communicates tension and destroys this serenity: “And her pillow is hot, and her tiring dream is hot.” The appearance of epithets such as "tiring sleep" does not indicate serenity, but a painful state close to delirium. Further, the reason for this state is explained, the poem is brought to a climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and the last lines completely change the whole picture: “Don’t wake her up, don’t wake her up, at dawn she sleeps so sweetly.” The end of the poem presents a contrast with the middle and brings the reader back to the harmony of the first lines.
Thus, the perception of love by the lyrical hero is similar for both poets: despite the tragedy of this feeling, it brings meaning to life. Tragic loneliness is inherent in the lyrical hero of Tyutchev. In the philosophical poem “Two Voices” (1850), the lyrical hero takes life as a struggle, a confrontation. And “even though the fight is unequal, the fight is hopeless”, the fight itself is important. This striving for life permeates the entire poem: “Be of good cheer, fight, O brave friends, no matter how hard the battle is, how hard the fight is!” The poem “Cicero” (1830) is imbued with the same mood.
In the poem "Silentium!" (1830), touching upon the theme of the poet and poetry, the lyrical hero understands that he will not always be accepted by society: “How can the heart express itself? How can someone else understand you? The world of spiritual experiences of the hero turns out to be important here: “Only know how to live in yourself - there is a whole world in your soul.”
The lyrical hero Fet's worldview is not so tragic. In the poem “With one push to drive away the living boat” (1887), the lyrical hero feels himself a part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s own.” The contradiction with the outside world here is only external (an oxymoron of “unknown, dear”). “Flowering shores” and “other life” are a description of that mysterious ideal world from which inspiration comes to the poet. Rationally this world is unknowable because it is "unknown"; but, meeting with manifestations of it in everyday life, the poet intuitively feels kinship with the “unknown”. The refined susceptibility of the poet in relation to the phenomena of the external world cannot but spread to other people's work. The ability for creative empathy is the most important feature of a true poet.
In the poem “The cat sings, his eyes narrowed” (1842), Fet does not depict objects and emotional experiences in their causal relationship. For the poet, the task of constructing a lyrical plot, understood as a sequence of mental states of the lyrical “I”, is replaced by the task of recreating the atmosphere. The unity of world perception is conceived not as a completeness of knowledge about the world, but as a set of experiences of a lyrical hero:
The cat sings, squinting his eyes,
The boy is napping on the carpet
A storm is playing outside
The wind is whistling in the yard.
So, the lyrical hero Fet and the lyrical hero Tyutchev perceive reality differently. The lyrical hero Fet has a more optimistic attitude, and the idea of loneliness is not brought to the fore.
So, the lyrical heroes of Fet and Tyutchev have both similar and different features, but the psychology of each is based on a subtle understanding of the natural world, love, as well as awareness of one's destiny in the world.
“Reflection of the world in the lyrics of poetsXIXcentury F. Tyutchev and A. Fet”.
“Tyutchev can tell himself that, in the words of one poet, he created speeches that are not destined to die, and for a true artist there is no higher reward than such consciousness.”
I. Turgenev
The first poem by F. Tyutchev was published in 1819, when he was not yet 16 years old. From the second half of the 20s, the dawn of his creative talent. Russian and Western European romanticism was a kind of poetic school of F. Tyutchev. And not only poetic, but also philosophical. Romanticism, as a literary trend, developed in an aesthetic atmosphere saturated with idealistic philosophical ideas. Many of them were accepted by F. Tyutchev, but this does not mean that his lyrics turned into a poetic presentation of some - someone else's or his own - philosophical system. The poems of F. Tyutchev are, first of all, the most complete expression of the inner life of the poet, the tireless work of his thought, the complex confrontation of the feelings that agitated him. Everything thought over and felt by him invariably clothed in his poems in an artistic image and rose to the height of philosophical generalization.
F. Tyutchev - the author of "Spring Nature" and "Spring Waters" was the finest master of poetic landscapes. But in his inspired poems, glorifying pictures and natural phenomena, there is no soulless admiration. Nature causes the poet to reflect on the mysteries of the universe, on the age-old questions of human existence.
The idea of the identity of nature and man penetrates the lyrics of F. Tyutchev, defining some of the main features of his poetry. For him, nature is the same animated, “reasonable” being as man.
It has a soul, it has freedom,
It has love, it has language.
The poetry of A. Fet is multifaceted, its main genre is lyric poem. Of the classical genres, there are elegies, thoughts, ballads, messages. As an “original Fetov genre” one can consider “melodies” - poems that are a response to musical impressions.
One of the earliest and most popular poems by A. Fet is “I came to you with greetings”:
I came to you with greetings
Tell that the sun has risen, that it is a hot light
The sheets fluttered;
Tell that the forest woke up
All woke up, each branch,
Startled by every bird
And full of spring thirst ...
The poem is written on the theme of love. The theme is old, eternal, and from the poems of A. Fet breathes freshness and novelty. It doesn't look like anything we know. For A. Fet, this is generally characteristic and corresponds to his conscious poetic attitudes. A. Fet wrote: “Poetry certainly requires novelty, and nothing is more deadly for it than repetition, and even more so of itself ... By novelty, I do not mean new objects, but their new illumination with the magic lantern of art.”
He called his poems jokingly (but not without pride) poems "in a disheveled kind." But what is the artistic meaning in the poetry of the “disheveled kind”? Inaccurate words and, as it were, sloppy, “disheveled” expressions in A. Fet’s poems create not only unexpected, but also vivid, exciting images. One gets the impression that the poet does not seem to deliberately think about the words, they themselves came to him. He speaks in the very first, unintentional words. The poem is remarkably complete. This is an important virtue in poetry. A. Fet wrote: "The task of the lyricist is not in the harmony of the reproduction of objects, but in the harmony of tone." In this poem there is both harmony of objects and harmony of tone. Everything in the poem is internally connected with each other, everything is unidirectional, it is said in a single impulse of feeling, as if in one breath.
Another early poem is the lyrical play “Whisper, timid breath…”:
Whisper, timid breath,
trill nightingale,
Silver and flutter
sleepy stream,
Night light, night shadows,
Shadows without end
A series of magical changes
Sweet face...
The poem was written in the late 40s. It is built on one nominal sentence. Not a single verb. Only objects and phenomena that are named one after another: whisper - timid breathing - nightingale trills, etc.
But for all that, a poem cannot be called objective and material. This is the most surprising and unexpected. A. Fet's objects are non-objective. They exist not by themselves, but as signs of feelings and states. They glow a little, flicker. Naming this or that thing, the poet evokes in the reader not a direct idea of the thing itself, but those associations that can usually be associated with it. The main semantic field of the poem is between words, behind words.
Figurative parallelism, which F. Tyutchev willingly uses, is carried out by him in different ways. Not infrequently, he emphasizes the idea of the identity of the phenomena of the external world and the internal world by the very composition of the poem. Let us recall “Fountain”, “The stream thickened and grows dim...”, “Still the earth of sadness looks...”. Each poem consists of two equal stanzas: the first gives an image of nature, the second reveals its allegorical meaning. Close to these poems in its composition is the poem “In the stuffy air, silence ...”. It is also divided into two equal, although less visible parts. In the first three stanzas, the approach of a thunderstorm is depicted, in the other three, the emotional excitement of a young girl who feels an influx of a feeling of love that is still unfamiliar to her. Even more organically, in the form of “two manifestations of one element”, the identity of nature and man is shown in the poem “Wave and Soul”. In many of F. Tyutchev's poems, there is no direct figurative parallelism, but it is guessed in the form of a kind of symbolic subtext (for example, “What are you bending over the waters ...”, “Sleeved by a thing with drowsiness ...”).
Usually nature is depicted by the poet through a deeply emotional perception of a person who seeks to merge with it, to feel like a part of a great whole, to taste the “grace” of “earthly self-forgetfulness”. But F. Tyutchev was also aware of moments of painful consciousness that there is a tragic difference between nature and man. Nature is eternal, unchanging. Not such is a man - "the king of the earth" and at the same time a "thinking reed", quickly withering "cereal of the earth". Man passes, nature remains...
Harmony is found in nature even in "spontaneous disputes." After storms and thunderstorms, "calm" invariably comes, illuminated by sunshine and overshadowed by a rainbow. Storms and thunderstorms also shake the inner life of a person, enriching it with a variety of feelings, but more often leaving behind the pain of loss and spiritual emptiness.
The philosophical background does not make Tyutchev's lyrics of nature abstract. Even N. Nekrasov admired the poet's ability to recreate in the eyes of the reader a "plastically correct" image of the outside world. Whether F. Tyutchev uses all the colors of his poetic palette, whether he resorts to verbal halftones and shades, he always evokes in our imagination images that are accurate, visible and true to reality. And no matter how idealistic his philosophy of nature may be, its artistic embodiment is dear to us because the poet perfectly knew how to convey in his poems the life of nature in its eternal change of phenomena. He caught this life in the turbulent hubbub of great waters, in the fluttering of young birch leaves “with their newborn shadow”, in the play of ripening fields, in the “shine of movement” of the sea, in the “light rustle” of autumn trees. F. Tyutchev felt the “wonderful life” of nature even under the fabulous cover of the “Enchantress of Winter”.
A. Fet liked the reality of life, and this was reflected in his poems. Nevertheless, it is difficult to call A. Fet simply a realist, noticing how he gravitates in poetry to dreams, dreams, and intuitive movements of the soul. A. Fet wrote about beauty spilled in all the diversity of reality. Aesthetic realism in A. Fet's poetry in the 1940s and 1950s was really aimed at the mundane and the most ordinary.
The nature and tension of A. Fet's lyrical experience depend on the state of nature. The change of seasons occurs in a circle - from spring to spring. A. Fet's feeling moves along the same peculiar circle: not from the past to the future, but from spring to spring, with its necessary, inevitable return. In the collection (1850), the cycle “Snow” is highlighted in the first place. The winter cycle of A. Fet is multi-motive: he also sings about a sad birch tree in winter attire, about how “the night is bright, frost shines,” and “frost drew patterns on double glass”. Snowy plains attract the poet:
wonderful picture,
How are you related to me?
white plain,
Full moon,
the light of the heavens above,
And shining snow
And distant sleigh
Lonely run.
A. Fet confesses his love for the winter landscape. A. Fet's poems are dominated by a radiant winter, in the prickly brilliance of the sun, in diamonds of snowflakes and snow sparks, in crystal icicles, in a silvery fluff of frosty eyelashes. The associative series in this lyric does not go beyond nature itself, here is its own beauty, which does not need human spiritualization. Rather, it spiritualizes and enlightens the personality. A. Fet introduced rural landscape, scenes into poetry folk life, appeared in the poems “grandfather bearded”, he “groans and crosses himself”, or a coachman on a daring troika.
The poetry of F. Tyutchev is a kind of lyrical confession of a person who visited “this world in its cancerous moments”, in the era of the collapse of centuries of social foundations, moral dogmas and religious beliefs.
In his lyrical masterpieces, F. Tyutchev outwardly proceeds, as it were, not from a predetermined thought, but from feelings or impressions that suddenly captured him, inspired by the phenomena of the outside world, the surrounding reality, a momentary emotional experience. The poet sees a rainbow and immediately sketches a small, only eight lines “landscape in verse”, as N. Nekrasov aptly called his poetic paintings of nature. But the writing process does not end there. In the creative imagination of the poet, the brightness and transience of the “rainbow vision” entails a different image - a bright and fleeting human happiness. A new stanza appears, and the “landscape in verse” acquires the meaning of a philosophical allegory (“How unexpected and bright...”).
Another example. The hopeless rain inspires the poet with the idea of an equally hopeless human grief, and he writes poems not about rain, but about tears. However, the entire intonation, the entire rhythmic structure of the poem is imbued with the unceasing sound of falling raindrops (“human tears, oh human tears...”).
A. Fet has always attracted the poetic theme of evening and night. The poet early developed a special aesthetic attitude to the night, the onset of darkness. At a new stage of creativity, he already began to call entire collections "Evening Lights", in them, as it were, a special, Fetov's philosophy of the night.
In the “night poetry” of A. Fet, a complex of associations is found: night - abyss - shadows - dream - visions - secret, intimate - love - the unity of the "night soul" of a person with the night element. This image receives a philosophical deepening in his poems, a new second meaning; in the content of the poem, a second plan appears - symbolic. Philosophical and poetic perspective is given to him by the association “night-abyss”. She begins to get closer to human life. The abyss is an air road - the path of human life.
MAY NIGHT
Retarded clouds are flying over us
Last crowd.
Their transparent segment melts gently
At the crescent moon
Mysterious power reigns in spring
With stars on my forehead. -
You gentle! You promised me happiness
On a vain land.
Where is happiness? Not here, in a miserable environment,
And there it is - like smoke
Follow him! after him! air way-
And fly away to eternity.
May night promises happiness, a person flies through life for happiness, the night is an abyss, a person flies into the abyss, into eternity. Further development of this association: night-existence of man-essence of being. A. Fet presents night hours revealing the secrets of the universe. The night insight of the poet allows him to look “from time to eternity”, he sees “the living altar of the universe”. The association night - abyss - human existence, developing in the poetry of A. Fet, absorbs the ideas of Schopenhauer. However, the proximity of the poet A. Fet to the philosopher is very conditional and relative. The ideas of the world as a representation, man as a contemplator of being, thoughts about intuitive insights, apparently, were close to A. Fet.
The idea of death is woven into the figurative association of A. Fet's poems about the night and human existence (the poem "Sleep and Death", written in 1858). Sleep is full of the bustle of the day, death is full of majestic peace. A. Fet prefers death, draws its image as the embodiment of a kind of beauty.
In general, A. Fet's "night poetry" is deeply original. His night is beautiful no less than the day, maybe even more beautiful. Fetov's night is full of life, the poet feels "the breath of the immaculate night." Fetovskaya night gives a person happiness:
What a night! transparent air chained;
Fragrance swirls over the earth.
Oh now I'm happy, I'm excited
Oh, now I'm glad to speak! …
Man merges with night existence, he is by no means alienated from it. He hopes and expects something from him. The association repeated in the poems by A. Fet - night - and expectation and trembling, trembling:
The birches are waiting. Their leaf is translucent
Shyly beckons and amuses the gaze.
They tremble. So maiden newlywed
And her dress is joyful and alien ...
One of the sorcerers of the Russian poetic language, a master of verse, F. Tyutchev was extremely exacting to every written word and understood how difficult it is sometimes given to an artist. In his famous poem "Silentium" the poet confessed:
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
However, in the verses of F. Tyutchev, the thought never turned into a lie. That is why his poems serve as the best proof not of immortality, but of the power of the word. At the same time, it should be noted that in A. Fet, the night nature and man are full of expectations of the innermost, which is available to all living things only at night. Night, love, communication with the elemental life of the universe, the knowledge of happiness and higher truths in his poems, as a rule, are combined.
Creativity A. Fet is the apotheosis of the night. For the Feta-philosopher, night is the basis of world existence, it is the source of life and the keeper of the secret of “double being”, the relationship of man with the universe, she is the knot of all living and spiritual connections. Now A. Fet cannot be called only a poet of sensations. His contemplation of nature is filled with philosophical profundity, poetic insights are aimed at discovering the secrets of being.
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. Concretely visible signs of the external 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 full of joy: “The blue 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 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 worldview of the poet reflects the love and thirst for life, embodied in the jubilant lines of "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 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, 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 piece 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, all of it is a figurative embodiment of the spring awakening of nature, and 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 works 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. A certain play of 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, the boundless blue skies of his native Bryansk region.
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 oppressive the hand of fate ...”), 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, because she 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 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 direct sensory 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 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 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 sharpness 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 seraph", her eyes are "like the flowers of a fairy tale", dahlias are "like living odalisques", the sky is "imperishable 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.