Poets of pure art
Poets of pure art A picture of Russian literary life in the 3050s. would be incomplete if we did not take into account the existence of poetry, the so-called. pure art. Under this conventional name the work of those poets who defended the ideology of the conservative part of the landowner class can be united. This group was headed by Tyutchev and the young Fet, A. Maikov (the first edition of his poems 1842), N. Shcherbina (Greek poems, Odessa, 1850; Poems, 2 vols., 1857) and others actively participated in it. The undoubted predecessor of this line in Russian poetry there was Zhukovsky, in some motifs Pushkin (the period of departure into the theory of self-sufficient art 1827-1830) and Baratynsky. However, neither Pushkin nor Baratynsky received such comprehensive development of the motives of pure art as in the subsequent era of Russian poetry, which was undoubtedly explained by the worsening decomposition of the class that fed them. It is not difficult to establish the noble origin of this poetry: sympathy for the estate, admiration of its nature, the serene life of its owner run through the entire work of any of these poets. At the same time, all these poets are characterized by complete indifference to the revolutionary and liberal tendencies that dominated the social life of that time. It is deeply logical that in their works we will not find any of the popular ones in the 4050s. However, denouncing the feudal police regime in its various aspects, the fight against serfdom, defending the emancipation of women, the problem of superfluous people, etc. are not of interest to these poets engaged in the so-called. eternal themes of admiring nature, the image of love, imitation of the ancients, etc. But indifferent to the initiatives of liberals and revolutionaries, they willingly left the sphere of their solitude in order to speak out in an invariably conservative and reactionary spirit on important problems of current life that threatened the life of their class (cf. Tyutchev’s condemning message to the Decembrists and incense.
F.I. Tyutchev is a poet of truly “pure”, bright art. His poetic word embodied inexhaustible wealth artistic meaning, it is full of deep philosophizing, reflections on the essence of being. Throughout creative path the poet has not lost his characteristic world, cosmic, universal spirit.
Although the main fund of the poet's legacy is only a little less than two hundred laconic poems (if you do not take into account youthful poems, translations, poems for the occasion and poems dictated by the poet during a serious dying illness), his lyrics have remained relevant and interesting for more than a century . A century ago, the great Russian poet A. A. Fet rightfully said about the collection of Tyutchev’s poems:
Tyutchev Fedor Ivanovich (1803 - 1873)
Tyutchev Fyodor Ivanovich (1803–1873), Russian poet, diplomat, corresponding member of the St. Petersburg Academy of Sciences since 1857. Born on November 23 (December 5), 1803 in the Ovstug estate, Bryansk district, Oryol province. in an old noble family. Tyutchev spent his childhood in the Ovstug estate, in Moscow and the Troitskoye estate near Moscow. The patriarchal landowner life reigned in the family. Fyodor Tyutchev, who showed an early ability to learn, received a good education at home. His teacher was the poet and translator S.E. Raich (1792–1855), who introduced Tyutchev to the works of antiquity and classical Italian literature. At the age of 12, the future poet, under the guidance of his mentor, translated Horace and wrote odes in imitation of him. For the ode “For the New Year 1816” in 1818 he was awarded the title of employee of the “Society of Lovers of Russian Literature”. In the “Proceedings” of the Society in 1819, its first 
This publication is a free adaptation of the “Epistle of Horace to Maecenas.”
In 1819 Fyodor Tyutchev entered the literature department of Moscow University. During his studies he became close to M. Pogodin, S. Shevyrev, V. Odoevsky. At this time, his Slavophile views began to take shape. As a student, Tyutchev also wrote poetry. In 1821 he graduated from the university and received a place in the College of Foreign Affairs in St. Petersburg, in 1822 he was appointed a supernumerary official of the Russian diplomatic mission in Munich.
In Munich, Tyutchev, as a diplomat, aristocrat and writer, found himself at the center of the cultural life of one of the largest cities in Europe. He studied romantic poetry and German philosophy, became close to F. Schelling, and became friends with G. Heine. Translated into Russian the poems of G. Heine (the first of the Russian poets), F. Schiller, I. Goethe and other German poets. Fyodor Tyutchev published his own poems in the Russian magazine “Galatea” and the almanac “Northern Lyre”.
In the 1820s–1830s, Tyutchev’s masterpieces of philosophical lyrics “Silentium!” (1830), “Not what you think, nature...” (1836), “What are you howling about, night wind?..” (1836), etc. In poems about nature, the main feature of Fyodor Tyutchev’s work was obvious on this topic: the unity of the image of nature and thoughts about it, the philosophical and symbolic meaning of the landscape, the humanization, spirituality of nature.
In 1836, in Pushkin’s journal Sovremennik, on the recommendation of P. Vyazemsky and V. Zhukovsky, it was published under the signature of F.T. a selection of 24 poems by Tyutchev entitled “Poems sent from Germany.” This publication became a milestone in his literary fate, brought him fame. Tyutchev responded to the death of Pushkin with prophetic lines: “The heart of Russia will not forget you, like its first love” (January 29, 1837).
In 1826, Tyutchev married E. Peterson, then had an affair with A. Lerchenfeld (several poems are dedicated to her, including the famous romance “I met you - and all the past...” (1870). The affair with E. Dernberg turned out to be so scandalous that Tyutchev was transferred from Munich to Turin. Tyutchev had a hard time with the death of his wife (1838), but soon married again - to Dernberg, without permission leaving for the wedding in Switzerland. For this he was dismissed from the diplomatic service and deprived of the title of chamberlain.
For several years Tyutchev remained in Germany, and in 1844 he returned to Russia. Since 1843, he published articles on the Pan-Slavist movement “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, and worked on the book “Russia and the West”. He wrote about the need for an Eastern European union led by Russia and that it was the confrontation between Russia and the Revolution that would determine the fate of humanity. He believed that the Russian kingdom should extend “from the Nile to the Neva, from the Elbe to China.”
Tyutchev's political views aroused the approval of Emperor Nicholas I. The title of chamberlain was returned to the author, in 1848 he received a position at the Ministry of Foreign Affairs in St. Petersburg, and in 1858 he was appointed chairman of the Committee of Foreign Censorship. In St. Petersburg, Tyutchev immediately became a prominent figure in public life. Contemporaries noted his brilliant mind, humor, and talent as a conversationalist. His epigrams, witticisms and aphorisms were heard by everyone. The rise of Fyodor Tyutchev’s poetic creativity also dates back to this time. In 1850, the Sovremennik magazine reproduced a selection of Tyutchev’s poems, once published by Pushkin, and published an article by N. Nekrasov, in which he ranked these poems among the brilliant phenomena of Russian poetry, putting Tyutchev on a par with Pushkin and Lermontov. In 1854, 92 poems by Tyutchev were published in the appendix to Sovremennik, and then, on the initiative of I. Turgenev, his first collection of poetry was published. Tyutchev’s fame was confirmed by many of his contemporaries - Turgenev, A. Fet, A. Druzhinin, S. Aksakov, A. Grigoriev and others. L. Tolstoy called Tyutchev “one of those unfortunate people who are immeasurably higher than the crowd among whom they live, and therefore always alone."
Tyutchev's poetry was defined by researchers as philosophical lyrics, in which, according to Turgenev, thought “never appears naked and abstract to the reader, but always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inextricably.” This feature of his lyrics was fully reflected in the poems “Vision” (1829), “How the ocean embraces the globe...” (1830), “Day and Night” (1839), etc.
Fyodor Tyutchev’s Slavophile views continued to strengthen, although after Russia’s defeat in the Crimean War he began to see the task of the Slavs not in political, but in spiritual unification. The poet expressed the essence of his understanding of Russia in the poem “Russia cannot be understood with the mind...” (1866). Despite these views, Tyutchev’s lifestyle was exclusively European: he moved in society, reacted keenly to political events, did not like village life, did not attach any importance to of great importance Orthodox rites.
As throughout his life, in his mature years Tyutchev was full of passions. In 1850, being a married man and the father of a family, he fell in love with 24-year-old E. Denisyeva, almost the same age as his daughters. The open relationship between them, during which Tyutchev did not leave his family, lasted 14 years, they had three children. Society perceived this as a scandal, Denisyeva’s father disowned her, and she was no longer accepted in the world. All this led Denisyeva to a severe nervous breakdown, and in 1864 she died of tuberculosis. The shock of the death of his beloved woman led Tyutchev to the creation of the “Denisyev cycle” - the pinnacle of his love lyrics. It included the poems “Oh, how murderously we love...” (1851), “I knew the eyes - oh, these eyes!..” (1852), “ last love"(1851–1854), “There is also in my suffering stagnation...” (1865), “On the eve of the anniversary of August 4, 1865.” (1865), etc. Love, glorified in these poems by Tyutchev as the highest thing that is given to man by God, as “both bliss and hopelessness,” became for the poet a symbol of human life in general - torment and delight, hope and despair, the fragility of that only thing, what is available to man is earthly happiness. In the “Denisyev cycle” love appears as a “fatal fusion and fatal duel” of two hearts.
After Denisyeva’s death, for which he blamed himself, Tyutchev went to his family abroad. He spent a year in Geneva and Nice, and upon returning (1865) to Russia he had to endure the death of two children from Denisyeva, then his mother. These tragedies were followed by the deaths of another son, only brother, and daughter. The horror of approaching death was expressed in the poem “Brother, who has accompanied me for so many years...” (1870). In the lines of this poem, the poet foresaw his “fatal turn.”
Poetry
Tyutchev began writing poetry as a teenager, but he rarely appeared in print and was not noticed by either critics or readers. The poet's real debut took place in 1836: a notebook of Tyutchev's poems, transported from Germany, falls into the hands of A.S. Pushkin, and he, having accepted Tyutchev's poems with amazement and delight, published them in his Sovremennik magazine. However, recognition and fame came to Tyutchev much later, after his return to his homeland, in the 50s, when Nekrasov, Turgenev, Fet, Chernyshevsky spoke admiringly of the poet and when a separate collection of his poems was published (1854). And yet Tyutchev did not become a professional writer, remaining in public service until the end of his life.
A brilliant artist, a deep thinker, a subtle psychologist - this is how Tyutchev appears in his works. The themes of his poems are eternal: the meaning of human existence, nature, the connection of man with it, love. The emotional coloring of most of Tyutchev’s poems is determined by his restless, tragic worldview:
And I sow with noble blood
You quenched the thirst for honor -
And the overshadowed one fell asleep
Banner of the people's sorrow.
Let your enmity
He will judge
Who hears the blood shed...
You are like my first love,
The heart will not forget Russia!.. Or:
There is a high meaning in separation:
No matter how much you love, even one day, even a century,
Love is a dream, and a dream is one moment.
Is it early or late to wake up,
And man must finally wake up...
The poet felt the autocracy of the human “I”, a manifestation of individualism, cold and destructive, as the most severe disaster and grave sin. The illusory, illusory, fragility of human existence constantly disturbs the poet. In the poem “Look how in the expanse of the river...” he compares people to melting ice floes:
All together - small, large,
Having lost my former image,
Everyone is indifferent, like an element, -
They will merge with the fatal abyss!..
In the last years of his life, the image of an all-consuming abyss appears again in the poet’s poem “From the life that raged here...”
In relation to nature, Tyutchev shows the reader two positions: existential, contemplative, perceiving the world around him with the help of the senses, and spiritual, thinking, striving to guess the great secret of nature behind the visible veil.
Tyutchev the contemplator creates such lyrical masterpieces as “Spring Thunderstorm”, “In the Initial Autumn...”, “The Enchantress of Winter...” and many similar, short but charming figurative landscapes. Tyutchev the thinker sees in nature an inexhaustible source for reflections and generalizations of the cosmic order. This is how the poems “Wave and Thought”, “Fountain”, “Day and Night” were born.
The joy of being, happy harmony with nature, serene rapture with it are characteristic of the poet’s poems about spring:
The earth still looks sad,
And the air already breathes weight,
And the dead stalk in the field sways,
And the oil branches move.
Nature hasn't woken up yet,
But through the thinning sleep
She heard spring
And she involuntarily smiled...
Glorifying spring, Tyutchev invariably rejoices at the rare opportunity to experience the fullness of life. He contrasts heavenly bliss with the beauty of spring nature:
What is the joy of paradise before you,
It's time for love, it's time for spring,
Blooming bliss of May,
Ruddy color, golden dreams?..
Tyutchev’s lyrical landscapes bear a special stamp that reflects the properties of his soul. Therefore, his images are unusual and striking in their novelty. Its branches are boring, the earth is frowning, the stars are talking quietly among themselves, the day is growing thin, the rainbow is exhausted. Nature sometimes delights and sometimes frightens the poet. Sometimes it appears as the tragic inevitability of cataclysms:
When nature's last hour strikes,
The composition of the earth's parts will collapse
Everything visible will be covered by waters again,
God's face will be depicted in them!
But in his doubts and fears and searches, the poet comes to the conclusion that man is not always at odds with nature, he is equal to it:
Bound, connected from time to time
Union of consanguinity
Intelligent human genius
With the creative power of nature...
Say the cherished word -
And a new world of nature
Tyutchev's poetry is the poetry of deep and fearless thought. But Tyutchev’s thought is invariably fused with the image, conveyed in precise and bold, unusually expressive colors.
Tyutchev’s poems have a lot of grace and plasticity; they contain, as Dobrolyubov puts it, “sultry passion” and “severe energy.” They are very complete, complete: when reading them, one gets the impression that they were created instantly, in a single impulse. Despite the skeptical notes in Tyutchev’s poetry, who sometimes claims that all human activity is a “useless feat,” most of his works are filled with youth and an ineradicable love of life.
Art as a social phenomenon
Abstract >> Culture and artInvolvement in the system of public relations. “ Art For art", or " clean art”, is an aesthetic concept that asserts... purely utilitarian objects (table, chandelier), a person cares about benefits, convenience, and beauty. Exactly That's why art ...
Art ancient Egypt (8)
Abstract >> Culture and artThey were obliged to follow established canons. That's why V art slave-owning Egypt also retained a number of conventions... . Sometimes the idea of the pharaoh's divinity was conveyed purely by external means: the king was depicted together...
Art, its origin and essence
Abstract >> Culture and artLife's on the way" pure art" devoid of real content, leads... to which it appeals art. Speaking about the literature of the last century, poet
Poet-philosopher Fyodor Ivanovich Tyutchev created wonderful lyrical monologues about the meaning of life, the purpose of a poet and poetry. His original talent placed him on a par with the great poets. The fate of Tyutchev as a poet is not entirely ordinary. He began publishing his poems at the age of 15, but remained without readers for many years. In 1936, A.S. Pushkin published 24 poems by Tyutchev in his magazine Sovremennik, speaking about them “with amazement and delight.” After this there was a long period of silence. And only in 1850, in the same magazine, Nekrasov’s words were heard about Tyutchev as a wonderful Russian poet, “a top talent.” A collection of his poems was published in 1854, when the poet was already 50 years old. The name Tyutchev becomes a favorite for Turgenev, Dostoevsky, Fet, Maykov. About 400 poems make up the poet’s literary heritage, but their significance is great. Tyutchev's work is complex and contradictory. I was captivated by the poet’s succinct, laconic lines, behind which one can discern the anxiety of a restless, passionate soul. But I managed to understand this anxiety relatively recently, when I learned to perceive Tyutchev’s poems not only with my feelings, heart, but also with my mind. What had previously vaguely worried me now struck me with the depth and harmony of thought. The poetic world of Tyutchev is the world of a romantic and philosopher. Despite the fact that his poems are full of contradictions, written as if at a spiritual fracture, they generally represent a surprisingly harmonious system
It is to such a person that secrets are revealed: for him “the suns breathe”, “the forests speak”, the thunderstorm consults “in a friendly conversation”. It is to him, a mortal, that Poetry flies from heaven. Tyutchev is looking for harmony in nature, because beauty and purposefulness must be embodied in it. In Tyutchev's poems about nature, it is difficult not to detect a preference for spring. The feeling of harmony, joy, contentment speaks in the lines dedicated to the spring and summer seasons. The poet’s masterpiece is “Spring Waters,” which received an enthusiastic assessment from Nekrasov.
Spring is coming, spring is coming.
We are young SPRING messengers,
She sent us ahead!
Love lyrics occupy a special place in the poet’s work. Each poem here is a masterpiece of sorts. Lawless in the eyes of the world love for E. A. Denisyeva was reflected in the tragic cycle of poems. Many of them are characterized by tragedy and breakdown. The poet perceives love not as happiness, but as a fatal passion that brings grief to both.
Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
Tyutchev's poems dedicated to Russia and the Russian people are widely known.
“...They don’t argue about Tyutchev; whoever does not feel it, thereby proves that he does not feel poetry,” - with these words of Ivan Sergeevich Turgenev, I end the conversation about the Russian poet, whose high artistic skill and deep philosophical thought place him among the giants of Russian classical literature.
20. Poetry of “pure art”: representatives, themes, figurative world.
“Pure art” (or “art for art’s sake”, or “aesthetic criticism”), a direction in Russian literature and criticism of the 50-60s of the 19th century, which is characterized by in-depth attention to the spiritual and aesthetic features of literature as an art form that has a Divine source of Goodness, Love and Beauty. Traditionally, this direction is associated with the names of A.V. Druzhinin, V.P. Botkin, P.V. Annenkov, S.S. Dudyshkin. Among the poets, the position of “pure art” was shared by A. A. Fet, A. N. Maikov, N. F. Shcherbina. The head of the school was A.V. Druzhinin. In their literary assessments, critics developed not only the concepts of beauty, the aesthetic itself, but also the categories of moral, philosophical, and sometimes social order. The phrase “pure art” had another meaning - “pure” in the sense of perfect, ideal, absolutely artistic. Pure is, first of all, spiritually filled art, strong in its methods of self-expression. The position of the supporters of “pure art” was not to tear art away from life, but to protect its truly creative principles, poetic originality and the purity of its ideals. They did not strive for isolation from public life (this is impossible for anyone to achieve), but for creative freedom in the name of establishing the principles of the perfect ideal of art, “pure”, which means independent of petty needs and political predilections. For example, Botkin spoke about art as art, putting into this expression the entire complex of concepts related to creativity free from social order and perfect in its level. The aesthetic is only a component, albeit an extremely important one, in the system of ideas about true art. Annenkov published critical articles more often than Botkin. He owns over two dozen voluminous articles and reviews, the fundamental work “Materials for the biography of Alexander Sergeevich Pushkin” and, perhaps, the richest in memoirs of the 19th century. "Literary Memoirs". An important point in Annenkov’s aesthetic views was the question of the artistry of art. Annenkov does not deny the “influence” of art on society, but considers this possible under the condition of true artistry. And the expression “pure” here does not mean the isolation of art from the urgent demands of social life, but the perfection of its quality, and not only in terms of form, but also in content. Druzhinin based his judgments about art on three provisions that were the most important from the point of view of his aesthetic system: 1) Art is the highest degree of manifestation of the human spirit, which has a Divine source, in which the “ideal” and “real” are combined in a very complex and specific way; 2) Art deals with the universally significant, revealing it, however, through the “inner” world of an individual person and even “particulars” through beauty, beautiful (if there is an ideal) images; 3) While stimulating a person’s aspirations to the ideal, art and literature cannot, however, subordinate themselves to social pragmatism to such an extent as to lose their main advantage - to remain a source of moral transformation, a means of introducing a person to the highest and eternal values of spiritual existence.
A picture of Russian literary life of the 30-50s. would be incomplete if we did not take into account the existence of poetry, the so-called. "pure art". Under this conventional name the work of those poets who defended the ideology of the conservative part of the landowner class can be united. This group was headed by Tyutchev and young Fet, A. Maikov (the first edition of his poems - 1842), N. Shcherbina, (“Greek poems”, Odessa, 1850; “Poems”, 2 vols., 1857) and others actively participated in it The undoubted predecessor of this line in Russian poetry was Zhukovsky, in some motifs Pushkin (the period of departure into the theory of self-sufficient art - 1827-1830) and Baratynsky. However, neither Pushkin nor Baratynsky’s motifs of “pure art” received such comprehensive development as in the subsequent era of Russian poetry, which was undoubtedly explained by the worsening decomposition of the class that fed them.
It is not difficult to establish the noble origin of this poetry: sympathy for the estate, admiration of its nature, the serene life of its owner run through the entire work of any of these poets. At the same time, all these poets are characterized by complete indifference to the revolutionary and liberal tendencies that dominated the social life of that time. It is deeply logical that in their works we will not find any of the popular in the 40-50s. topics - denouncing the feudal police regime in its various aspects, the fight against serfdom, defending the emancipation of women, the problem of superfluous people, etc. are not of interest to these poets engaged in the so-called. “eternal” themes - admiration of nature, the image of love, imitation of the ancients, etc. But indifferent to the undertakings of liberals and revolutionaries, they willingly left the sphere of their solitude in order to speak out in an invariably conservative and reactionary spirit on important problems of current life that threatened life of their class (cf. Tyutchev’s condemning message to the Decembrists and the incense burned to Nicholas I by A. Maykov in his poem “The Stroller”): in aesthetic views It was no coincidence that these representatives of the landowner right resurrected the subjective idealistic concepts of Kant and Schelling, which had long been overcome by the rest of the literature: here again, for example, they preached. the doctrine of the absolute gap between the artist and the cold and indifferent crowd. These poets had their own teachers in world poetry; in modern poetry they were predominantly German romantics, close to them in their political and aesthetic passionism. No less than the poets of “pure art” were close to ancient literature, the works of Anacreon, Horace, Tibullus, Ovid, which attracted them with the harmony of their worldview and the serenity of their epicureanism. Many translations and imitations of the ancients were given by Shcherbina, Fet, Maikov. Their dominant and most popular genre, however, was lyric poem, in which the poet’s experiences were revealed against the fragrant background of estate landscapes (urban civilization almost did not attract their attention).
It is impossible to deny the significance of the artistic level of this poetry, manifested in the sophistication of its images, and in the refinement of the composition, and in the melodic structure of the verse. But all these indisputable advantages are developed in the lyrics of “pure art” due to the richness, diversity, and most importantly, the progressiveness of the social content contained in it. The ideology of the poets of “pure art” is poor and unpromising; it could not have been otherwise given the political positions they all took. This explained their rather weak influence on subsequent Russian poetry, since its main movements (Nekrasov, Kurochkyan) were certainly hostile to the group of Fet and Maikov. The poets of the noble right did not create such aesthetic values that could be included in the creative fund of classical poetry and would retain their significance for the modern reader. The only exceptions were Fet and Tyutchev, the first - by his artistic penetration into the world of nature, the second - by the acuteness with which he expressed the overwhelming feeling of the collapse of his class, which he subjectively experienced as a universal crisis of consciousness.
A.A.Fet F.I.Tyutchev
Features of poetry of “pure art” SIGNS
Poetry of hints, guesses, omissions. Poems have no plot: lyrical miniatures convey not thoughts and feelings, but the “volatile” mood of the poet. Art should not be connected with life. The poet should not interfere in the affairs of the poor world. This is poetry for the elite.
The main themes of poetry of “pure art”
LOVE
NATURE
ART
The lyrics are distinguished by their richness: tenderness and warmth.
Imagery, non-traditional comparisons, epithets; humanizing nature, finding an echo of one’s moods and feelings.
Singability and musicality
RUSSIAN SPRING With fluffy willows, the first lily of the valley, asking sun rays, with translucent leaves of blossoming birches, bees crawling “into every carnation of fragrant lilacs,” cranes screaming in the steppe.
Poetry A.A. FetaNature in the poet's poems:
RUSSIAN SUMMER with sparkling burning air, a blue, hazy sky, golden tints of ripening rye in the wind, purple smoke of sunset, the aroma of mown flowers over the fading steppe.
Poetry A.A. FetaNature in the poet's poems:
RUSSIAN AUTUMN With colorful forest slopes, birds stretching into the distance or fluttering in leafless forests, herds on trampled stubble.
Poetry A.A. FetaNature in the poet's poems:
RUSSIAN WINTER The running of distant sleighs on shiny snow, the play of dawn on a snow-covered birch, the patterns of frost on the double window glass
Poetry A.A. FetaNature in the poet's poems
A.A. Fet describes natural phenomena in more detail and appears more specific than those of his predecessors. In his poems, Fet describes not only traditional birds that have received the usual symbolic coloring, such as an eagle, a nightingale, a swan, but also such as a harrier, an owl, a sandpiper and others, and each bird is shown in its originality.
Comparison of poetry about nature by Fet and Nekrasov.
Nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the connection of nature with human needs and human labor.
Nature is closely connected with human labor, with that. what it gives to a person.
The desire to record changes in nature Observations about changes in nature are constantly grouped and perceived as phenological objects Depiction of more frequent, more specific and shorter periods of seasons
Features of landscape lyrics:
Accuracy and clarity make Fet's landscapes strictly local: as a rule, these are landscapes of the central regions of Russia. Fet likes to describe precisely a certain time of day, objects of this or that weather, the beginning of this or that phenomenon in nature.
Admiration for pure beauty. Deliberate beauty. Even banality Constant use of such epithets as “magical”, “gentle”, “sweet”, “wonderful”, “affectionate”
What brings Fet’s poetry closer to impressionism?
The desire to convey an object in fragmentary, instantly capturing every sensation of a stroke. The poet is interested not so much in the object as in the impression made by the object. Fet says: “For an artist, the impression that caused the work is more valuable than the thing itself that caused this impression.”
What is nature in Fet’s poems?
Gloomy autumn daysThe first spring flowerA languorous Central Russian afternoonShort northern nightThe cry of a mosquitoThe hoarse call of a corncrake
Fet about creativity:
“A poet is one who sees in an object something that no one would see without his assistant.” “The whole world is filled with beauty” “It is impossible not to sing, praise, or pray in front of eternal beauty.”
Conclusion
Fet is a master of verbal depiction of the subtlest states in the human soul. His poems are filled with philosophical meaning, because they human life correlated with eternal life and renewal of nature. The metaphorical nature, heightened emotionality and unusual syntax of Fet’s poetry help him create unique artistic images, depicting the complex spiritual life of a person.
Poetry of F.I. Tyutchev. Features of poetry.
Tyutchev's work is characterized by a living sense of Infinity and Eternity as reality, and not some abstract, abstract categories. Tyutchev is the discoverer of new imaginative worlds of poetry.
Features of poetry.
The scale of Tyutchev’s poetic associations is amazing. The most vivid is the “double being” of the split human soul expressed in love lyrics Tyutcheva.
Love lyrics. What is love?
“suicide” “bliss and hopelessness” “fatal duel” “violent blindness of passions” This is the element
“She lay in oblivion all day…”
The inevitable fading of the beloved: “and all her shadows were already covering her” against the backdrop of the summer riot of nature: Warm rain was pouring - its streams sounded cheerfully through the leaves.
"Twins"
The motive of death is intertwined with the motive of love: And whoever is in an excess of sensations, When the blood boils and freezes, Did not know your temptations - Suicide and love.
Poems included in the Denisevsky Cycle:
"Predestination"
Tyutchev looked into the depths of the human soul: Love, love - says legend - the Union of the soul with the dear soul, Their union, combination. And their fatal fusion, And... the fatal duel.
Specifics of Tyutchev’s poetics:
If in the first period of his creativity Tyutchev acts as a poet of a philosophical plan, then in mature age the poetry of thought is enriched by the complexity of feelings and moods. For expression complex world human soul, the poet uses associations and images from the natural world. He not only depicts the state of the soul, but its “beating”, the movement of inner life, depicting the invisible mystery of gestures inner world through the visible dialectics of natural phenomena.
Specifics of Tyutchev’s poetics:
The poet has the ability to convey not the object itself, but those of its characteristic plastic features by which it is guessed. The poet encourages the reader to “complete” what is only outlined in the poetic image. The sound and color structure of Tyutchev’s lyrics is unique in the inseparability of impressions from colors and sounds; the artistic image integrates the “sound of color” and “color sound” (“sensitive stars”; ray , bursting through the window with a “ruddy loud exclamation,” etc.) These features of Tyutchev’s poetic style can be observed when analyzing his lyrics. When interpreting his texts about nature, it is necessary not only to pay attention to their philosophical nature, but also to trace the evolution of meanings and moods in the poems of early and late period.
Specifics of Tyutchev’s poetics:
In poems about nature of the late period, we pay attention to the appearance in them of the image of the Motherland, colored by moods of sadness and inexpressible suffering. (“These poor villages...”) “How good you are, O night sea...” - the author brings a lot of new things into depiction of the natural world and the world of the human soul. (V. Zhukovsky “The Sea” - in the mood and figurative series of these poems there are grounds for comparing them).
Tyutchev
The philosophical character of poetry, in which thought always merges with the image. In poetry, Tyutchev strives to comprehend the life of the Universe, to comprehend the secrets of space and human existence.
Fet
The tragic nature of the lyrics, the dominant feeling is tension, at the same time, the light and optimism inherent in Fet's poetry. Dialectics of tragedy and joy, overcoming dramatic situations with a sense of harmony of the world
Features of the poetic style of Tyutchev and Fet
Tyutchev
Life, according to Tyutchev, is a confrontation between hostile forces. The dramatic perception of reality combined with an inexhaustible love of life
Fet
Beauty in his poems is suffering overcome, joy extracted from pain. Life in Fet’s poems is a moment fixed in eternity
Features of the poetic style of Tyutchev and Fet
Tyutchev
The human “I” in relation to nature is not a drop in the ocean, but two equal infinities. The internal, invisible movements of the human soul are consonant with the visible dialectic of natural phenomena
Fet
The impressionistic nature of the depiction of feelings, their fragmentation and extreme imagery. The strict artistic structure of the poems, their inner balance and a feeling of sketchiness, deliberate raggedness
Features of the poetic style of Tyutchev and Fet
Tyutchev
The figurative system of Tyutchev's lyrics combines the objective realities of the external world and the subjective impressions of this world made on the poet. Mastery in depicting the harmony of the objective realities of the external world and the depth of the internal world
Fet
Increased metaphorical nature of poetry, dynamism and musicality of artistic images. The predominance of mood over thought, thought is “dissolved” in music
Features of the poetic style of Tyutchev and Fet
Tyutchev
The poet's skill in creating phonetic and pictorial images, combining sound recording with an unexpected palette of colors and color images
Fet
Mastery in the use of parallelisms, repetitions, periods, rhythmic pauses, richness and depth of poetic intonations, sound instrumentation
Preview:
Creativity of F.I. Tyutchev
Questions and assignments for the poem “Silentium!”
1. What depths of the world does the poet depict in the poem? Which world is described in more detail? What is characteristic of a person’s inner world?
2. What are the signs of the external world? What pictures of nature are important for the poet to create an image of the outside world?
3. Why external world prevents a person from focusing on his inner life? Why does the word “be silent” become the leitmotif of the poem?
4. What poetic meaning is revealed in the fact that the poem is titled in Latin? Why inner life Can only silence save a person?
5. What character does the abundance of verbs in the imperative mood give to the text?
6. How and for what purpose are the images of night and day contrasted in the poem? Why do the images of the poem move from the pictures of the night to the “rays of day”?
Questions and assignments for the poem “The gray shadows mixed...”
1. What philosophical meaning does the description of the evening twilight acquire in the poem? What images depict the silence of the outside world? Why is this silence so necessary for the lyrical subject?
2. Why is the evening hour for him “an hour of unspeakable melancholy”? How to understand the words: “Everything is in me, and I am in everything!”?
3. What character does the abundance of ellipsis, short syntactic constructions, and fragmentary descriptions give to the first stanza?
4. What poetic meaning is emphasized by the many imperative verbs in the second stanza?
5. What details of the external world does the poet notice? What are the colors, sounds, smells of the outside world? In what relationship should a person and the outside world exist “at sunset”?
6. Why does the lyrical subject long to “taste destruction”? How to understand this image?
Questions and assignments for the poem “Not what you think, nature...”:
1. To whom are the lines of the poem addressed? How are the world of nature and the world of “external, alien forces” interconnected in the text?
2. Why does the poet believe that the inability to hear the life of nature is not the fault of those who “do not see or hear”?
3. Does the lyrical subject hear the life of nature? Prove your opinion.
4. Find common features in the poems “Not what you think, nature...”, “The gray shadows mixed...” and “Silentium!”
Independent research work
(comparative analysis of the poem F. Tyutcheva “The earth still looks sad...”
and A. Fet’s poem “More fragrant bliss of spring...”)
Comparative analysis tasks
- Identify Features artistic form each poem.
- What poetic meaning can be seen in this?
- What are these poems about? Do they have allegorical overtones?
- What images of poems can be considered symbolic images?
- Compare the vocabulary, syntax, poetic intonations of the poems.
- Draw conclusions about the similarities and differences between the feelings and artistic images of these poems.
- Draw conclusions about the main features of the poetic style of Tyutchev and Fet, manifested in these poems.
Creativity of A.A. Fet
Questions and assignments for the poem “Whisper, timid breathing...”
1. What feeling is dominant in the poem? Does the mood change as the text progresses?
2. What character does the text’s lack of verbiage and fragmentary descriptions give it? Is it possible to talk about fragmentation, randomness of feeling, or is it holistic?
3. How images of nature and internal state person in each stanza of the poem?
4. What meaning is revealed when analyzing the poetic space of a poem? To do this, compare the first and second stanzas.
5. How do colors and sounds help understand the feelings of the lyrical subject? Why in the first stanza the external world and the internal state of a person are perceived mainly aurally, and in the second stanza - visually?
6. What metaphorical images become key in the third stanza? What does the color scheme sound like in it? Is it possible to talk about the symbolism of color?
7. Why is the crown of a love encounter - tears, and in the natural world - dawn? Why is the word “dawn” repeated twice?
8. How does your analysis help you understand the poetic meaning of the poem, its emotional pathos?
Questions and assignments for the poem “By a wavy cloud...” (1843):
1. What parts can this poem be divided into? What mood is permeated by each part?
2. What is the imagery of this poem? How are the external world and the internal state of a person related in it?
3. Which character traits Fet's poetry manifested itself in this poem?
Questions and assignments for the poem “Another May Night” (1857):
1. What literary associations does the title of this poem evoke in the reader?
2. What mood is the poem permeated with? Does the mood change as the text progresses? What poetic meaning does the exclamatory intonation of the 1st stanza give to the text?
3. Why does the May night cause not only love, but also anxiety in the lyrical subject?
4. Why does the poet compare the young foliage of birch trees with the dress of a bride? What contradictory states of mind are revealed in this case?
5. How do we see the lyrical subject of the poem? What feelings does he have and why? What words and expressions convey his condition?
6. What is dramatic in the depiction of feelings in stanza 4? Why does the poet go “to her” with the “last” song?
Questions and assignments for the poem “Dawn bids farewell to the earth” (1858):
1. What “double life” is the poet talking about in the last quatrain?
2. What images-symbols are there in the poem?
3. Find the figurative and expressive means used by the poet and determine their artistic role in the poem.
4. How can pictures of nature on the eve of sunset be related to human life?
Questions and assignments for the poem “This morning, this joy” (1881):
1. What objective realities paint a picture of spring?
2. What character does its “verblessness” give to the poem?
3. What colors, sounds, smells characteristic of spring does the poet notice?
4. What feeling is imbued with the poem? Why does his lyrical subject experience a “night without sleep”?
5. What meaning does the use of anaphora give to the poem?
6. What visual and expressive means are used to create poetic images nature and inner state of man?
In the middle of the 19th century, disputes between supporters of the so-called “pure” and “utilitarian” art intensified. The first believed that art has meaning in itself, as the reproduction and creation of something beautiful that always excites the soul of a person, the second put art at the service of social tasks. Representatives of “pure” art were Tyutchev, Fet, Maikov, Polonsky, Grigoriev and some other poets, representatives of “utilitarian” art were Nekrasov, Pleshcheev, Nadson. A.K. occupied a difficult position in this struggle. Tolstoy. Each side was obviously right in its own way; supporters of “pure” art turned to eternal universal humanistic values, representatives of “utilitarian” art rightly pointed out the need to fight for the democratization of society through the means of art.
Among the poets of “pure” art, Pushkin’s motifs of poetry as a divine gift, incomprehensible to the uninitiated, were widely developed. So, turning to his Muse, Fet writes: “Caring carefully for your freedom, / I did not invite the uninitiated to you / And to please their slavish rampage / I did not desecrate your speeches.” The muse appears to the poet as “an imperishable goddess with a thoughtful smile on her brow,” “a cherished shrine.” Tyutchev developed this motif even further: in the poems “Silentium”, “Be silent, please, don’t you dare wake me up...”, “We are not given the opportunity to predict...” the poet talks about the fatal misunderstanding of people with each other, which even the poet is unable to overcome. Tyutchev also hears Pushkin’s motif of contrasting the poet with the crowd; So, about his soul, he writes: “My soul, Elysium of shadows, / What do life and you have in common! / Between you, ghosts of the past, better days, / And this insensitive crowd?..” The Pushkin and Lermontov tradition of understanding poetry as a divine gift, and the poet as a prophet, is also developed by Grigoriev: “The poet is a prophet, it is given to him / To see in someone else’s future. / He is familiar with everything that is dark for others, / Fate’s chosen one. / The unknown distance / Of the days to come is naked...” We find an interesting interpretation of poetry in Polonsky: he was perhaps the first to bring art and science closer together. “The world, like a new sun, shines / The light of science, and only with him / The Muse adorns the brow / With a fresh wreath "
A.K. took an interesting position on the question of the purpose of poetry. Tolstoy. Not alien to the themes and problems of “pure” art in his lyrics, he nevertheless admitted in one of his poems: “Art for art’s sake / I match with a bird’s whistle.” He also owns a wonderful miniature about the citizenship of art, about the connection of the poet with the fate of his homeland and people:
A writer, if only he is a Wave, and the ocean is Russia,
Can't help but be outraged
When the elements are outraged.
A writer, if only he is the nerve of a great people.
Can't help but be amazed
When freedom is defeated.
Writers of the opposite direction defended citizenship in art, the need to serve high social ideals. Art, in their opinion, should lead to struggle, even if the poet himself will not be awarded a laurel wreath for his work. Here, Gogol’s traditions of contrasting the easy road of sublime creativity and the thorny path of the citizen poet were very strongly felt, as for example, in this poem by Pleshcheev: “Even though the smooth path is tempting, / But you are yours.” high goal, / Poet, both in songs and in deeds / Be unshakably faithful... Walk through the thorns / Without encouragement and a crown. / And be a fearless fighter, / A fighter for human rights.”
