One of the central those poetry A. Feta is the topic of nature. Future landscape features can be said universal. Many verses are devoted to sketches of various states of Russian nature, ordinary and invisible, but as if seen for the first time. Preparing its poems to the publication, Fet has placed them, subordinating the change of seasons (Spring cycles, "Summer", "Autumn", "Snow", "Evening and Nights"). Nature gives rise to his inspiration in its most different manifestations - this is the holistic picture of the universe ("Silent Starry Night" (1842), "on a stack of hay ...", and a tiny detail of the surrounding poet of a friend and the usual world ("River Rye over hot "(End of 50s)," Swallows are disappeared ... "(1854)," The cat sings, her eyes "(1842)," Bell "(1859)," First Lydysh "(1854), etc.).
In addition, nature is a plot of support, point of reference, from
which begins and philosophical reflections on life and death, and the approval of the immortal force of art, and the feeling of the reviving the power of love.
The world in lyrics Feta is full of rustling, sounds that man with
a less sophisticated soul will not hear. Even "the breathing of flowers has a clear language." He hears how "I was crying, a mosquito feeds, / falls smoothly a sheet", as the buzz of the May Beetle breaks down, suddenly having flown onto a fir:
Rumor, revealing, grows,
As a midnight flower.
("I am waiting for an alarm ...")
(1886)
Tell that the sun rose,
That it is hot light
On sheets fluttered
Tell me that the forest woke up
All woke up, the branch of each
Each bird was fixed
And the spring is full of thirst ...
("I came to you with greetings ...")
(1843)
world: Juniper, spruce standing on the edge. Warm and lively, the head of the fire for the grapped traveler is closer and brighter than the distant and insensitive luminaries, indifferently illuminating everything around:
I have forgotten about the cold night, -
Before the bones and to the heart.
What embarrassed, hesitating, bespar away,
As if the sparks in the smoke flew ...
Such multigid, expressive and depth is the vast majority of feta poems, which they would have talked about.
Fet has expanded the possibilities of a poetic image of reality, showing the internal relationship of the nature of nature and the world of man, spiritualizing nature, creating landscape paintings, reflecting in the entire fullness of the human soul. And it was a new word in Russian poetry.
"Fet seeks to fix changes in nature. Observations in his verses are constantly grouped and perceived as phenologic signs. Feta landscapes are not just spring, summer, autumn or winter. Feta depicts more private, shorter and thereby more specific seasons. "
"This accuracy and clarity makes feta landscapes strictly local: as a rule, these are landscapes of the central regions of Russia.
Fet likes to describe exactly the determinant time of day, signs of one or another weather, the beginning of a phenomenon in nature (for example, rain in the poem "Spring Rain").
Right S.Ya. Marshak in his admiration "the freshness, the immediacy and the sharpness of the Fetovo perception of nature", "the wonderful rows about the spring rain, about the flight of the butterfly", "heartfelt landscapes", - right when he speaks about verses of Feta: "His poems entered Russian nature, steel Its integral part. "
But immediately Marshak notices: "His nature is exactly on the first day of creation: Kushchi trees, a bright river ribbon, nightingale rest, murmuring the key ... If annoying modernity and invades other times in this closed world, then she immediately loses its practical The meaning and acquires the character decorative. "
Fetovo aestheticism, "worship in front of clean beauty," sometimes leads a poet to deliberate beautifulness, even banalities. It is possible to note the constant use of such epithets as "magic", "gentle", "sweet", "wonderful", "smear", etc. This narrow circle of conditionally poetic epithets is attached to a wide range of reality phenomena. In general, epithets and comparisons of Feta sometimes suffer from some wellness: the girl is "meek seraphim", her eyes - "like flowers of a magical fairy tale," Georgina - "like alive Odalisky", heaven - "Non-Paradise", etc. " .
"Of course, not only the concreteness and the detail of the poems of feta about nature. Their charm is primarily in their emotionality. The specifics of observations are combined with feta with freedom of metaphoric transformations of the word, with a bold flight of associa. "
"Impressionism in that first stage, to which only can be attributed to the work of Feta, enriched and drowned the techniques of realistic letters. Poet Zorkko peers into the outside world and shows him as he appeared to his perception, what seems to him in this moment. He is interested in not so much the subject as the impression produced by the subject. Fets so says: "For the artist, the impression that caused the work is more expensive to the very thing that caused this impression."
"Fet depicts the outside world as the poet's mood gave him. With all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing a lyrical feeling. "
"Fet is very valuable by a mig. For a long time he was called the poet instant. "... He cares only one moment of feeling or passion, he is all in the present ... Each feta song refers to one point of being ..." - Nikolai Nikolai. Feta himself wrote:
Only you, poet, winged words sound
Grabs on the fly and suddenly fixes
And dark delirium souls and grasses obscure smell;
So, for the busty leaving a scanty dol,
Flies for the clouds of Jupiter Eagle,
Sheaf zipper carrying instant in loyal paws.
This morning, this joy,
This power and day and light,
This blue arch
This cry and strings,
These flocks, these birds,
This voice is ...
There is no verb in the monologue of the narrator - a favorite reception of feta, but there is also no defining words here, except for the pronounced adjective "this" ("these", "this"), repeated eighteen times! Refusing epithets, the author as if admits to the impotence of words.
The lyrical plot of this short poem is based on the movement of the eye of the narrator from the heavenly arch - to the ground, from nature - to the housing of a person. First we see the sky blue and bird flocks, then sounding and blooming spring earth - willows and birch trees, covered with gentle foliage ("This fluff is not a sheet ..."), mountains and dents. Finally, the words about man sound ("... Sighy of the Night Selene"). In the last lines look lyrical hero Folding inside himself, in his feelings ("Moch and Fire Bed", "Night Without Sleep").
For a person, Spring is connected with the dream of love. At this time, creative forces are awakened in it, allowing "soar" over nature, to conscious and feel the unity of all things:
These dawns without eclipse.
This sigh of the night serenities,
This night is without sleep,
This meal and heat bed,
This fraction and these trills,
It's all - spring.
IN poetic world Feta is important not only visual images, but also auditory, and olfactory, and tactile. In the poem "This morning, this joy ..." The narrator hears "talk of water", a cry and a sliding singing of birds ("fraction" and "TREL", "ZYK" and "whistle"), buzzing bees and moshcars. Special attention to the "music of the world" can be found in most works of the poet. Fet is generally one of the most "musical" Russian poets. The poet suggests its works by harmonious sounds, melodic intonations. The author skillfully uses sound resistance - so, a lot of whistling and hissing sounds in the last rows of the second stanza ("These midges, these bees, / this zyk and whistle ...") Allows not only to imagine, but also to "hear" Live music meadows, and the penultimate line of the poem ("This fraction and these trills ..."), thanks to the cluster of the sounds of "Dr", "TR", as it were, playing the sound of bird flocks.
Fetovsky lyrical hero does not want to know suffering and grief, think of death, see social evil. He lives in his harmonious and light world, created from the most exciting paintings by its beauty and infinitely diverse paintings of nature, sophisticated experiences and aesthetic shocks.
"The" wide and generalized meaning of the "spring" landscapes (paintings) Fet reaches exclusively due to the fact that emotions and experiences of the lyrical "I" seems to penetrate into the surrounding world, they are broken in it, they are "recognized" through nature. The landscape is not self-fed, he reveals the life of the soul, lives in unison with her. "The originality of Feta," one of the researchers of its poetry N.N. comes to the conclusion. Skatov, - is that the human human humanity is found with his natural nature. "
In the "Spring" cycles, light paintings and motifs of blossom, love, youth predominate. "Human" and "natural" in these paintings or merge together, or, developing in parallel, strive for unity. For Feta, this is a fundamental philosophical and aesthetic installation, expressed by them repeatedly, and the most clearly formulated in the article about the poems of F. Tyutchev (1859): "In the work, it is truly beautiful there is a thought ... But it is impossible ... to determine where it is necessary to look for it ... but what exactly She is here, for it the secret kinship of nature and spirit or even their identity. " It was in this one of the most sincere convictions of a feta, strictly implemented in his lyrics, especially in the 40s-50s, and contains an inexhaustible "source of optimism, a light feeling," freshness "," inadeclaid "- such definitions generously awarded his criticism "
Multiples of beauty of the outside world every time he leads the poet in joyful amazement: beauty lies in each, the most tiny and, it would seem a minor particle of this world:
Look around - and the world is daily
Multi-raced and wonderful.
The smaller beauty of the world, in front of which it is impossible not to sing, not to pray, not pray, "the eternal source of inspiration of the poet, she will not be optimistic about all life troubles, the freshness of the perception of the world.
"The outside world is painted by the moods of the lyrical" I ", animated, animated them. Anthropomorphism is connected with this, characteristic identity of nature in Feta poetry.
When Tyutcheva, the trees wander and sing, the shadow frowns, the azure laughs, the arch of heavenly sluggishly looks, and the carnations are lucously look, - these predicates can no longer be understood as metaphors.
Fet is in this further Tyutchev. He has "flowers look with longing in love," Rosa "Strangely smiled", Iva "friendly with painful dreams", the stars pray, "and dreams the pond, and a sleepy poplar is sleepy", and in another poem, the poplar "will not ride nest Trells. " Human feelings are attributed to nature phenomena without direct communication with their properties. Lyrical emotion is scattered in nature, infecting it with the feelings of the lyrical "I", uniting the world of the poet's mood. "
Here's how B.YA responds. Bukhstack on the "spring" lyrics of the poet: "Fet - without a doubt one of the most wonderful Russian poets-landscape players. In his verses, the Russian spring appears in front of us - with fluffy versions, with the first valley, asking for sunlight, with translucent leaves of blossomed birches, with bees, captivating "in every carnation of fragrant lilacs", with cranes screaming in the steppe. "
Let's look at the poem "I am waiting for me, anxiety is aroused ...":
I am waiting for me, the alarm
Waiting here on the path:
This trail through the garden
You promised to come.
I swinging, the mosquito feeds,
Dropped smoothly ...
Rumor, revealing, grows,
As a midnight flower.
As if string broke out
Beetle, riming on fir;
Hoarse girlfriend called
Immediately at the feet of the corner.
Quietly under the forest
Sleep young bushes ...
Oh, as smelled in the spring! ..
This is probably you!
"The poem, as often at Feta, is extremely intense, is inclined immediately not only because the alarm says: this alarm and from the injection tension of the repeat at the very beginning (" Waiting ... Waiting ... "), and from a strange, like meaningless definition - "On the path". But in this "very" there is also a limit, the limb, as for example and in the poem "shone the night ..." - "the piano was all revealed ...", where the word "all" carries the return to the end and opened the piano here as the opened soul. A simple path "Through the Garden" has become "the most way" with an endless already multigid meaning: fatal, first, last, by burned bridges, etc. In this maximum intense state, a person across iniquity perceives nature, and himself, giving her, begins to live like nature. "Hearing, revealing, growing like a midnight flower" - in this comparison with the flower there is not only a bold and surprisingly visual defining of human hearing, materialization, detecting its naturalness. Here the process of this coolness is transmitted here into the world of nature ("hearing, revealing, grows ..."). That is why the poems "hoarse girlfriend called / immediately at the feet of the corner" already cease to be a simple parallel from nature's life. It "hoarsely" belongs not only to the bird, but also to a person standing here, on the "path", already, perhaps, with the intercepted, dry throat. And also organically included in the world of nature it turns out:
Quietly under the forest
Sleep young bushes ...
Oh, as smelled in the spring! ..
This is probably you!
This is not an allegory, not comparison with the spring. She is Spring herself, naturalness itself, too, in this world is organic living. "Oh, as smelled in the spring!" - This middle line belongs as much to her, young, how much to young bushes, but the same line and unites it and nature, so that it is like all natural world, and the whole natural world is like it "- this reading of the poem under consideration found N.N. Skatova.
In the "Evening Fires" - late collection of feta poems - the principle of organizing texts based on the compounds of the authorized by the author of "parts", which excite readers, applies in its most diverse options. And this is natural, since the presence of "parts" and their logically not justified immediately selection in a closed text remains an effective means of initiating associations that expand the semantic and emotional text capabilities.
An example of the text, the pushing reader on the speculation of an underwritten by the author, can serve as the poem "May night" (1870), about which L. Tolstoy wrote: "... a poem is one of the rare themselves, in which it is impossible to add or change the word: it is also self and Charming ... "You, gentle!", Yes, and everything is pretty. I do not know you better. "
Backward tough on us flies
Last crowd.
Transparent segment gently melts
At the lunar sickle.
Spring reigns mysterious power
With stars on the brow. -
You, gentle! You have been happiness to Sulil
On vulnery earth.
And happiness where? Not here, in the Wednesday,
And it is like smoke.
For him! for him! air road -
And in eternity to fly away!
"The poem is thematically decayed into two equal parts: in the middle of the second stanza. The first half of the text draws a spring night sky. Dynamic picture of the movement of clouds. It is transmitted not only by changing their name - backward clouds and then the segment of them, but reflected in the rhyme glasses, emphasizing the topic of "dissolving" - flies - melts, as well as the appeal to the word crowd (cloud) placed between two rhyme verbs, and as a result This, as it were, characterizing the plastic appearance of moving clouds and the swiftness of their movement (the crowd is something crowd, moving with a solid mass).
The first two verses of the first stanza distinguishes from the two second not only the marked nature of the cloud cover, and the segment melts softly - but also the appearance of a new object in the sky - a lunar sickle, a combination of storming of the Strip.
The first half of the following stanza continues the theme of the first, but logically does not flow out of it, although it is connected with it. The jump on the specific description of the spring sky to the summary conclusion is determined, on the one hand, a further change in the pattern of the sky (it was cleared of clouds and stacked stars), on the other hand, the conclusion of the poet caused by the beauty of the spring night, its power exciting force.
These poems pay attention to some thematic unity of their constituent elements: the abstract conclusion in the verse "the spring the mysterious power" reigns was quite self-sufficient to express the impression of the powerful strength of spring without joining the following verse "with the stars on the chel", which violates the natural thematic ratio of elements within the offer. On whose brow stars? The grammatical dependence in the proposal nominates the sentence of the word "spring mysterious power" as a subject. The word man entails the personification of the subject, which resists his real understanding. Indeed, the verse "with the stars on the chel" continues the theme of the spring sky, designed his appearance after the clouds of clouds. Using stars pure sky acts in these words as if the crown of Almighty Spring Mysterious Power, especially tangible in this May night.
What caused the transition to a purely intimate theme of the second half of the poem? Apparently, two factors: the influence of the Spring Force, the Renaissance, which reigns, subordinating to itself everything in nature, therefore, a person, he initiates sad-lyrical mood and memories. The power of spring exposure and the charm of the May night stretched the associative thread to once the same night and to his beloved woman, and also opened thoughts about unfulfilled happiness, the analogue of which and the clouds melting in the lunar radiance.
So: May night - the sky - the charm of the heyday of the spring of vitality - reasoning on the topic: "What is happiness?", Capturing the pessimistic conclusion - this is the staircase of the feelings that the author deploys in this small poem.
It should be, maybe still dwell on some of the word, fluctuating their usual syntactic compound: a crowd of clouds, a segment of cloud (cf. crowd of kids, cutting, segment of the fabric). If the word segment in the value "residue", and not "part of what, n." Attaches attention to some unusuality of its use, the word crowd (cloud) is aesthetically very significant, because It detects here the effectiveness of its inner form - "Something crowded, grateful and moving mass", reinforcing the plasticity of the movement of air masses. Unusual appears to be gently (melting), meaning "smoothly", "not sharply", "slowly, as if dissolving."
The text of the poem is based on the basis of the individual consumption of the words of a possible synonymous series, the collision of the words of different thematic plans, motivated by the personal will of the artist, fluctuating their usual consumption. "
"With all the truthfulness and concreteness of the description of Nature in Feta, it is as if dissolved in a lyrical feeling, serving its expression."
A.A. Fet acutely feels the beauty and harmony of nature in its passing and variability. In his landscape lyrics, there are many smallest details of the real life of nature, which correspond to the diverse manifestations of spiritual experiences of the lyrical hero. For example, in the poem "More May night", the beauty of the spring night gives rise to the hero of the state of emotion, expectations, languor, the involuntary of the expression of feelings:
What night! All stars to one
Heat and krotko in the soul look again,
And in the air for the songs of nightingale
Alarm and love is dealt.
In each storm of this poem, two opposite concepts are dialectically combined, which are in a state of perpetual struggle, causing a new mood every time. So, at the beginning of the poem, the cold north, the "kingdom of ice" is not only opposed to warm spring, but also gives rise to it. And then two poles appear again: on one warmth and meekness, and on the other "anxiety and love", that is, the state of anxiety, expectations, vague premonitions.
In the poem of 1847 "What for the evening ..." We see a delete and scope of people or, or rather, the Koltsovsky song:
So all the spring lives!
In grove, in the field
All trembles and sings
Unwittingly.
We will shut down that in the bushes
Choolds are these -
Come with a song on the mouth
Our kids;
And not children, so will pass
With the Song Grandson:
To them with spring will lower
The same sounds.
That this is not random touches, convinces one remarkable poem. It seems clearly testifies to Feta even to Epos. "YU. Ayhenwald once noticed that for food poetry, there are not transitions, but breakthroughs. Here is such a "breakthrough" in Epos and presented a poem of 1844:
Already the willow is all fluffy
Spread around the circle;
Spring again fragrant
Owned the wing.
Stanny Tuchka rushing
Warmly illuminated
And in the soul again ask
Pleny dreams.
Everywhere diverse
Painting is busy looking
Summit crowd idle
People, something glad ...
Some kind of secret thirst
The dream is broken -
And over my soul
Spring swears.
Here we see the Feta not only rare, but also for a rarity successful example, when a personal mood merges with the general mood of other people, the masses, the people, expresses it and dissolves in it.
Later Fetovsky poems are close to Tyutchevsky. Fet is generally close to Tyutchev as a representative of the "melodic" line in Russian poetry. But in a number of senile poems, Fet is adjacent to the "oratorical" line Tyutchev.
Symbols of nature, building a poem on the comparison of nature and man or on the basis of the image from the sphere of nature with an implied analogy with a person, a philosophical thought, then jigging for the metaphor, then directly formulated in the didactic style - all this especially brings closer feta with Tyutchev.
Here is a poem "I'm glad when from earthly left ..." (1879):
I am glad when from earthly leave,
Spring thirst for stern
To a stone balcony fence
In the morning, curly climbs ivy.
And nearby, native confusion bush,
And rushing and afraid to fly,
Family of picheek young
Calling a caring mother.
I do not move, I do not worry.
I don't envy you?
Here, here it is here, at hand,
Breaks on a stone pillar.
I'm glad: she does not distinguish
Me from stone in the light
Trembles wings, flies
And catches the midges on the fly.
"The poem transfers the joy of attachment to the life of nature in the days of the" spring thirst ", as Fet says here, repeating the expression from the early poem" I came to you with greetings ... "(" and spring full of thirst "). The topic is traditional in poetry. But here, besides feeling, there is a shade of thought: the joy to see how the bird is "a caring mother" - "trembles wings, flies and catches the midges on the fly"; Joy, bordering envy ("I don't envy you?"), it is connected with the recognition of the organic life of nature is more natural, majestic and wise than human life, despite the unconsistant translation of nature or, rather, thanks to this unconsciousness.
Ivy, the "cloud" to the fencing of the balcony to be stuck around it, compared with birds producing as unconscious, but biologically expedient actions. "
On the present, and, by the way, one of the favorite those feta - the topic of the arrival of spring - it is convenient to trace the evolution of feta from impressionistic painted images to the creation of characters. "In the 40s, the arrival of spring is painted mainly in the nature of the Spring Sensings of the Lyrics:
In the new leaves of a lilac bush
Obviously glad the fun day.
Snain laziness, fine laziness
Members are full of me.
("Spring in the South")
In the 50s, the arrival of spring is usually shown by the selection will take, as in the already quoted poem "More Spring-soul Nega ..." or in the poem "Again the invisible effort ...":
... so the sun is black circles
In the forest trees circled.
Zarya stretches with a tint of Alom.
Inside the brilliance of unprecedented
Snow-covered skate ...
Etc.
In the 60s, due to the philosophical deepening theme, the approach to it changes again. FF again leaves from detailed descriptions, strengthens the personification of nature phenomena, but this personification is more generalized, the earlier: the character does not appear a lilac bush, but Spring itself; Specific manifestations of spring are replaced by its symbolic attributes:
I was waiting. Bride-kanitsa
Again, you descended on the ground.
And the morning shakes the bugger,
And you all pay a hundredfold,
What the autumn is scarce took.
You flashed, you won,
About secrets whispering deity
Flowers recent grave,
And unconscious power
It is a celebration.
The topic is given in such a generalized form that a meager autumn and a victorious spring are opposed to each other; And that spring is not replaced by autumn, and the winter is, apparently, with such a degree of generalization of poetic thought does not play roles.
In the poem there is in essence only one more or less specific feature: "Morning shakes the bugger"; It says here about the same thing about what and in just a quoted poem ("Zarya Dawn is a tint of Alom"). But we will pay attention to: Bearing in mind, Fet says not about Bagryanz, but about the bugger - Aloma Tsarsky Circuit, Porphyre Tsarice-Spring. The royal and young freshness of spring are united in the "Bride-Tsaritsa" symbol, although in terms of life realities - the bride would have to be a princess, and not the queen.
Even less concretened image: "It blooms the recent grave." It does not mean that some fresh grave bloomed, which means that everything that has recently seemed dead, he blooms.
But here's another development of the same topic, relevant by the end of the 70s:
The depths of heaven again clear
Smells in the air Spring,
Every hour and every moment
Range is approaching.
Sleep in the coffin ice
Enchanted bedtime, -
Sleep, mute and cold,
All in power is she.
But wings of hanging birds
It turns the snow from the eyelashes,
And from the already dead dreams
Cut drops of tears.
Signs of spring here are only the most common: the clarity of the sky, the spring air, the arrival of birds, the melting of snow. The theme of the spring revival of Nature is embodied in the image of a fairy tale about the dead princess, but only in the form of the most common symbols: the groom is approaching, the bride sleeping in the coffin begins to revive. These are the characters, and not just an impersonation. In the previous poem under the "bride", it is clear that spring; But it is possible to say that this time spring is not called "bride", and "fiance"? This inconsistency in grammatical genus always strongly avoids the language, folklore, and poetry. Rather, it is here that the bride and the bride are the symbols of the coming spring nature embodied in two beginnings: a carrier and perceiving revival.
Such "non-fermentedness" of characters makes it possible for extraordinary freedom in choosing attributes. So, the tears of the bride are, apparently, the spring droplets; But such details do not add up to the visual image of the "bride", as it is impossible to imagine the visually branches of the "groom" with "wings of hanging birds".
The poem "More Spring Soul Nega ..." captures such a moment in nature, when spring has not come yet, but the feeling of spring has already arisen. It would seem that in nature nothing changed: the snow did not melt, the roads were frozen, trees without leaves, but for some small signs and simply intuitively people are already waiting for spring and rejoices her arrival.
Pay attention to the initial line "More Spring of the scented Nega ...". Fet resorts to one of its favorite figurative expressions - "Nega". In modern vocabulary, this word seems outdated, and in the poetic dictionary of the XIX century it used often, and Fet willingly used it. This is a noun, a single adjective "gentle", the verb "is not fat"; their semantic meaning - Pleasure with a shade of softness, subtleties, grace.
The sound tool also draws attention. In the first two verses, there are sounding with sound [H].
More spring fragrant flashers
We did not have time to fade ...
The picture is specified by some details, drawing winter: it is snow, frozen path. In the second stanza, the sketch continues, the dynamics increase due to the use of a large number of verbs, three of which, in addition, are in the position of the rhymes: "warming up", "yellowing", "dares." Speaking of winter, Fet introduces bright spring paints into the poem: "Zarya", "blushing", "yellow." Disclaiming the fact that spring has already come, he seems to bring her arrival, mentioning that the "sun heats" that the nightingale sings in a currant bush. The image of spring arises from denials and is generalized in the last stubborn, which begins with the antithesis: "But the revival of the message is alive // \u200b\u200bthere is ...". The sounds associated with the word "life" are a particular role: "revival", "live", "accomplishing".
The poem moves from denial to approval and is completed by the steppe beauty "with a brush of the Sizem on the cheeks." Fet made the subject of art, in general, not poetic things: a currant bush, a nine blush. However, these are accurate details that allow you to feel and understand that it is not about spring at all, but about the spring in Russia, which Fet knows and, undoubtedly, loves, despite all the reproaches of contemporaries in the excitement.
This poem seems to be echoing with Tyutchevsky "still the lands of the saddeen appearance ...", written significantly earlier.
Nature images in feta poems are diverse. Among them are sustainable characters, for example: morning, dawn and spring. Many colors (rose, lily of the lily, lilac) and trees (Iva, Bereza, Oak). As already mentioned, the arrival of spring is one of Feta's favorite motifs. Spring renewal of nature, the flourishing of life causes the poet to have a tide of strength, a raised mood. In his verses as the characters appear a lilac bush, a fluffy shoulder, fragrant valley, asking sunlight, cranes screaming in the steppe. With all the truthfulness and concreteness of natural images, they primarily serve as a means of expressing a lyrical feeling. Spring's motive helps the poet to convey the most important sense - joyful adoption of the surrounding world, the desire to run to meet on footing day. " Wonderful lines about the spring rain, about the flight of the butterfly, about bees, catching in fragrant flowers, will be warm feelings in the soul of each person. Spring warms all the living and the poems of Feta about the spring caress the rumor, tower the soul, strengthen the "fight" even "bestine hearts".
With the motif of spring in Feta lyrics, the image of the dawn is closely connected. Zarya identifies the fire of the sun. At the beginning of the day, all the colors of nature are transparent and clean, the rays of the sun illuminate the earth with gentle light. The mysterious world shines in the reflections of dawn, giving birth to the magical power of inspiration. Spring is a source of alert delight, it makes it possible to touch the beautiful heart.
Over the poems of feta, filled with clean air, spring, stars, beauty, movement, thirst for flight, do not give the time or space. His verses are forever young and beautiful.
In the poem dedicated to Feta, "you heart off, Tyutchev calls his" sympathetic poet. " This poem Tyutchev is written in response to the message of Feta with a request for a portrait of him. Another message of Tyutcheva Fetu, written at the same time (April 1862), establishes the blood relationship of two Russian lyrics:
Great Mother's favorite
The stock edge of your walk -
More than once under the shell visible
You are her progress ...
The Great Mother-Nature gives another "instinct prophetic-blind." Feta's diet, from the point of view of Tyutchev, enviable: under the visible shell of nature, he saw the invisible, "her own" - nature. This characteristic of Tyutchev was awarded one Fet. Reading this poem, it is difficult to get rid of the idea that we have a very thin characteristic of the lyrics of the Tyutchev himself ...
As you know, Feta has a penetrating article about Tyutchev's poetry and four poetic messages to him. Three of them are written in Tyutchev, fourth - after his death. Finally, Fet has implemented the translation of the French poem Tyutchev:
Oh I love to go back
To the source of your first days
And, Intrusted the heart, admire
All the same charm of speeches.
The translation is resistant in the spirit of Tyutchev poetry and speaks of the respectful penetration of feta in its essence.
The context was the combination of these two names - Tyutchev and Feta: Some brings them closer, others oppose. The block has words: "All the triumph of a genius, not accompanied by Tyutchev, contained fet." This is the approval of the highest kinship of our lyrical poets.
Landfasting Tyutchev in the cosmic scale of a poetic feeling, Fet in the most advanced his poems touched the eternal themes directly related to the being of a person. Fetovo person is in constant and diverse communication and conversation with nature. In the most ordinary items Fet finds poetry. Gardener, mushroom picker, hunter, agronomist, phenologist, traveler, referee, drawingwoman will find in verses Feta dozens of their interests of interest, by which they would have passed if the poet did not point these details. What is their specialty or special interest, the poet by virtue of his vision reveals in verses with an unexpected party even for them.
Two artists naturally different results. Where Tyutchev has one-only picture, Feta has a great set of etudes, fractional and persistent development of the same topic in an infinite chain of options.
Following Tyutchev, along with him, Fet has improved and infinitely diversified the finest art of lyric composition, building miniatures. For the apparent repeatability, they are infinite diversity and diversity, an incessant lyrical counterpoint, imprinting the complexity of human spiritual life.
The "first valley" feta consists of three stanz. The first two quatrains are about the valley, which "from under the snow" asks "sunlight", which is clean and the gifts - the gift of "igniting spring". Next about the valley, the poet does not say. But his qualities are overturned by a person:
So the virgin sighs for the first time -
What - it is unclear to herself, -
And timid sigh fraud
Absorbent life young.
This is the Tyutchev construction, fine and cleverly perceived by feta and mastered it.
Of course, this is not imitation and not borrowing. The common tasks of the Russian philosophical lyrics, the spirit of the era, the relationship of creative manners play a decisive role here. "
Not a thought, not a philosophical or social tendency appreciates Fets in Tyutchev's poetry, but clairvoyance of beauty: "So many beauty, depth, strength, in one word of poetry!". Fet has defined the main sphere of aesthetic clairvoyance of Tyutchev. If Nekrasov emphasized the deep understanding of the nature of Tyutchev, then Feta has a poet's creativity called the Association with a night starry sky.
For Nekrasov, Tyutchev is associated with the earth, it knows how to convey in plastic images. For Feta Tyutchev - "The most air" embodiment of romanticism, he is the "midnight of the nestless" singer.
The entry of Tyutchev to Feta poetry, Fetovo artistic understanding of the beloved poet is expressed in its dedication 1866. "Spring passed - the forest darkens." Three strokes of four (first, third, fourth) Wovers from Tyutchev's images and motifs: "Spring", "Spring Brooks", "Sad Willow", "Niva", "Western singer", "Midnight of the Supplement", "Spring Call" "Smiled through the dream."
Conclusion
Together with Tyutchev Fet - the most brave experimenter in Russian poetry of the XIX century., Putting the path in the field of rhythm achievements of the XX century.
We highlight them common features: unity of aesthetic views; Community Topics (love, nature, philosophical understanding of life); Lyrical dating warehouse (psychological depth, subtlety of feeling, elegance of the syllable, the deposit of the language, the ultraless artistic perception of nature).
Total for Tyutchev and Feta is the philosophical understanding of the unity of man and nature. However, Tyutchev, especially in early lyrics, images associated with nature, is abstraction, generalization, conventions. Unlike Tyutchev, Feta has more specific at the level, often subject. This is seen from the thematic proximity of the poems, the characteristics of their construction, the coincidence of individual words, the characteristics of the figurative range of both poets, the symbols of the details of Tyutchev and their concreteness in feta.
Comparing the lyrical works of Feta and Tyutchev, we can conclude that the Tyutchev poem always implies the reader's acquaintance with the previous creativity of the poet, giving the synthesis of the author's figurative search at the moment, at the same time it is openly for associative connections with new poems that can be created by the poet ; Fetovo poem - as if the entry of one instant experience or impressions in the chain of experiences, it is a link in this chain that does not have a mutual start and end, but this "piece of life" is independent. Those. Such, like Tyutchev, mandatory associations with other poems, does not have a feta.
So, summarize once again, what signs, or qualities, nature allocates Tyutchev, creating a poetic image of spring in his work. Paints are interested only in a small extent. Color epithets are few and, as a rule, are unoriginal. They are usually deprived of his main sense load. But the verbs of the movement usually play a major role, transmitting the state of nature objects. Hearing and tactile, tactual signs of the landscape are put on the fore. Before Tyutchev, auditory images did not play a similar role in any of the Russian poets.
Feta nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the relationship of nature with human needs and human labor. He really values \u200b\u200bMiG, seeks to fix changes in nature and likes to describe exactly the determinant time of day. In his work, the poetic image of spring is compared with experiences, psychological advantage of man; In the "Spring" cycle, Fet showed the ability to convey natural sensations in their organic unity.
In lyrics Feta, like Tyutchev, the poetic image of spring is inseparable from the human person, his dreams, aspirations and gusts.
List of used literature
1. Literary Dictionary-Directory. - M.: Academy, 2005.
2. Tyutchev F.I. Poems. Letters. - M., Gichl, 1957.
3. Fet A.A. Works. - in 2 tons - T.2. - M., 1982.
4. Bukhstab B.Ya. A.A. Fet: Sketch of Life and Creativity / Academy of Sciences of the USSR. - 2nd ed. -L.: Science. Leningrad branch, 1990.
5. Preface B.Ya. Bachelor to KN: A.A. Fet. Poem. L., 1966.
6. Gorelov A.E. Three destinies: F. Tyutchev, A. Sukhovo-Kobylin, I. Bunin. - L.: Sov. writer. Leningr. Deposit, 1976.
7. Grigorieva A.D. Word in Tyutchev poetry. - M.: Science, 1980.
8. Grigorieva A.D. "A.A. Fet and its poetics "// Russian Speech No. 3, 1983.
9. Kasatkina V.N. Poetic worldview F.I. Tyutchev. - Saratov, ed. Sarat. University, 1969.
10. Lagunov A.I. Athanasius Fet. - H.: Rockies; Vesta, 2002.
11. N. N. N.A. Full Cathedral Op., T.9, M., Gichl, 1950.
12. Nikitin G. "I love a thunderstorm in early May ..." // Lit. Study No. 5, 2003.
13. L. L. Poetchev Poetchev. M.: Art. lit., 1975.
14. Ozers L. A.A. Fet (about the skill of the poet). - M.: Knowledge, 1970.
15. L. Ozers "I love a thunderstorm in early May ..." // Youth №2, 1979.
16. Orlov O.V. Poetry Tyutchev: Special Course Guide for Students, Philol. Fact State University. - M.: Publishing House of Moscow State University, 1981.
17. Silman T. Notes about lyrics. - M.-L., 1977.
18. Skatov N.N. Lyrics A.A. Feta (origins, method, evolution). - M., 1972.
19. Tolstoy L.N. Complete collected works, anniversary edition, T.11. Goslitisdat, M., 1932.
20. Chagin G.V. Fedor Ivanovich Tyutchev: (185 years old). - M.: Knowledge, 1985.
Sunny rays, with translucent leaves of blossomed birches, with bees, captivating "in every carnation of fragrant lilacs", with cranes, screaming in the steppe. " Let's look at the poem "I am waiting for me, anxiety is arranged ...": I am waiting for me, anxiously spread, I wait here on the path: this path through the garden you promised to come. I swinging, the mosquito feeds, flies smoothly ... rumor, revealing, growing like a midnight flower. As if the string broke off the beetle, riming on a fir; Having called a girlfriend immediately at the feet of the corner. A young bushes are sleeping under the forest of the forest ... Oh, how spring smelled! .. This is probably you! "The poem, as often at Feta, is extremely intense, is inclined immediately not only because the alarm says: this alarm and from the injection tension of the repeat at the very beginning (" Waiting ... Waiting ... "), and from a strange, like meaningless definition - "On the path". But in this "very" there is also a limit, the limb, as for example and in the poem "shone the night ..." - "the piano was all revealed ...", where the word "all" carries the return to the end and opened the piano here as the opened soul. A simple path "Through the Garden" has become "the most way" with an endless already multigid meaning: fatal, first, last, by burned bridges, etc. In this maximum intense state, a person across iniquity perceives nature, and himself, giving her, begins to live like nature. "Hearing, revealing, growing like a midnight flower" - in this comparison with the flower there is not only a bold and surprisingly visual defining of human hearing, materialization, detecting its naturalness. Here the process of this coolness is transmitted here into the world of nature ("hearing, revealing, grows ..."). That's why the poems "hoarse girlfriend called / immediately at the feet of the corner" already cease to be a simple parallel from the life of nature. It "hoarsely" belongs not only to the bird, but also to a person standing here, on the "path", already, perhaps, with the intercepted, dry throat. And also organically included in the world of nature it turns out: the young bushes are sleeping under the sinter of the forest ... Oh, how smelled in the spring! .. This is probably you! This is not an allegory, not comparison with the spring. She is Spring herself, naturalness itself, too, in this world is organic living. "Oh, as smelled in the spring!" - This middle line refers as much to her, young, how much to the young bushes, but the same line and unites it and nature, so that it is like the whole natural world, and the whole natural world is like it "- this reading of the poem under consideration we find N.N. Skatova. In the "Evening Fires" - late collection of feta poems - the principle of organizing texts based on
