A feta tradition of the German school of poets. Feth translator of German poetry: a poetic aspect

ON. Dobrolyubov, D.I. Pisarev, A.P. Grigoriev about the drama "Thunderstorm".

"Forest." * The originality of the conflict and the system of images in comedy. The symbolic meaning of the name. A satirical depiction of the life of post-reform Russia. The theme of selflessness and self-interest in the play. The theme of art and images of actors. Development of the "hot heart" theme in the play. The ideals of folk morality in Ostrovsky's drama.

"Dowry." * The tragic significance of the name. Development of the theme of the perniciousness of beauty in a collision with the world of self-interest. Motives of temptation, man-thing, brilliance, loneliness in the drama. The image of Paratov. The evolution of the female image in Ostrovsky (Katerina-Larisa). The characters of the "masters of life". A screen adaptation of A. Ostrovsky's drama "Dowry".

Controversy around the finale of the drama "The Dowry" in theater and cinema (for independent reading).

Ostrovsky's comedies "Our people - we will be numbered", "Enough simplicity for every wise man", "Mad money" * (one of the comedies of the teacher and students' choice).

Theatrical and stage discovery of A. N. Ostrovsky. A. N. Ostrovsky - the founder of the Russian theater of the XIX century. The novelty of Ostrovsky's poetics. Types of business people in the plays of A. N. Ostrovsky. The nature of the comic. Features of the language. Author's attitude to heroes. The enduring meaning of the characters created by the playwright.

Literary theory: the concept of drama.

I.A. Goncharov. Information from the biography.

"Oblomov". The creative history of the novel. Ilya Ilyich's Dream as an Artistic and Philosophical Center of the Novel. Oblomov. Inconsistency of character. Stolz and Oblomov. The past and future of Russia. The author's solution to the problem of love in the novel. Love as the harmony of human relations. (Olga Ilyinskaya - Agafya Pshenitsyna). Comprehension of the author's ideal of a person living in a transitional era.

The novel "Oblomov" assessed by critics (N. Dobrolyubov, D. Pisarev, I. Annensky, etc.).

Literature theory: a socio-psychological novel.

I.S. Turgenev. Information from the biography.

"Fathers and Sons". The temporal and all-human meaning of the name and the main conflict of the novel. Features of the composition of the novel. Bazarov in the system of images. Nihilism of Bazarov and a parody of nihilism in the novel (Sitnikov and Kukshina). The moral problematics of the novel and its universal significance. The theme of love in the novel. The image of Bazarov. Features of Turgenev's poetics. The role of the landscape in revealing the ideological and artistic intention of the writer.

The meaning of the final scenes of the novel. The originality of the artistic manner of Turgenev the novelist. The author's position in the novel.

Controversy around the novel. (D. Pisarev, N. Strakhov, M. Antonovich).

Literature theory: Development of the concept of genres and genres of literature (novel). The idea of \u200b\u200bthe writer and the objective meaning of the work of art.

For independent reading: "Rudin", "First Love", "Noble Nest", Poems in Prose.

N.G. Chernyshevsky. * Information from the biography.

What is to be done? (overview).

Chernyshevsky's aesthetic views and their reflection in the novel. Features of the genre and composition. The depiction of the "antediluvian world" in the novel. Images of “new people”. The theory of "reasonable egoism". The image of the "special person" Rakhmetov. The role of dreams in the novel. Vera Pavlovna's fourth dream as a social utopia. The meaning of the ending of the novel.

F.I. Tyutchev. Information from the biography.

Poems: "A kite rose from the clearing ...", "Noon", "Silentium", "Vision", "Gray shadows mixed ...", "Not what you think, nature ...", "January 29, 1837", " I love the Lutheran service ”,“ The mind cannot understand Russia ... ”,“ Oh, how destructively we love ”,“ The last love ”,“ I knew eyes - oh, these eyes ”,“ Nature is a sphinx. And so it is more accurate ... "," We are not given to predict ... "," K. B. " ("I met you - and everything is past ..."), "Day and night", "These poor villages ..." and others.

Philosophy is the basis of the poet's lyrics. The symbolism of the images of Tyutchev's poetry. Social and political lyrics. F. I. Tyutchev, his vision of Russia and its future. Lyrics of love. Disclosure of the poet's dramatic experiences in it.

A.A. Fet. Information from the biography.

Poems: "A wavy cloud ...", "Autumn", "Forgive - and forget everything", "Whisper, timid breath ...", "What happiness is the night, and we are alone ...", "The night was shining. The garden was full of the moon ... "," Another May night ... "," With one push, drive the boat alive ... "," At dawn, you don't wake her up ... "," This morning, this joy ... "," More one forgetful word "," Evening ", etc.

The connection of Fet's work with the traditions of the German school of poets. Poetry as an expression of ideal and beauty. The fusion of the external and internal world in his poetry. Harmony and melody of Fet's lyrics. The lyrical hero in the poetry of A.A. Feta.

A.K. Tolstoy. Information from the biography.

Poems: "I am in the darkness and in the dust ...", "Two camps are not a fighter, but only an occasional guest ...", "A tear trembles in your jealous gaze ...", "Against the stream", "Do not believe me, friend, when in excess of grief ... "," My bells ... "," When all nature trembles and shines ... "," Everyone loves you so much; only your quiet look ... "," Passion has passed, and its alarming ardor ... "," You do not ask, do not spray ... ".

ON. Nekrasov. Information from the biography.

Poems: "Homeland", "In memory of Dobrolyubov", "Elegy" ("Let the changeable fashion tell us ..."), "Yesterday, at six o'clock ...", "On the road", "We are stupid people," "Troika ”,“ Poet and Citizen ”,“ Crying Children ”,“ O Muse, I am at the door of the coffin .. ”,“ I don’t like your irony… ”,“ Blessed is the gentle poet… ”,“ Listening to the horrors of war… ”. Poem "Who Lives Well in Russia".

The civic pathos of the lyrics. The originality of the lyrical hero of the 40s – 50s and 60s – 70s. Genre originality of Nekrasov's lyrics. Folk poetry as a source of originality of Nekrasov's poetry. Variety of intonations. Poetic language. Intimate lyrics.

Poem "Who Lives Well in Russia". The idea of \u200b\u200bthe poem. Genre. Composition. Plot. Moral problems of the poem, the author's position. The variety of peasant types. The problem of happiness. A satirical depiction of the "masters" of life. The image of a woman in the poem. Moral problems of the poem, the author's position. The image of the "people's defender" Grisha Dobrosklonov in revealing the ideological concept of the poem Style features. Combination of folklore stories with realistic images. The originality of the language. Nekrasov's poem is an encyclopedia of peasant life in the middle of the 19th century.

Critics about Nekrasov (Y. Aykhenvald, K. Chukovsky, Y. Lotman).

Literature theory: development of the concept of the nationality of literature. The concept of style.

Poetry lessons. *

A.N. Maikov. “And the city is here again! The ball is shining again ... "," Fishing "," Autumn "," Landscape "," At the Marble Sea "," Swallows ".

A.A. Grigoriev. "You were born to torment me ...", "Gypsy Hungarian", "I do not love her, I do not love ...", Cycle "Up the Volga".

Ya.P. Polonsky. "The Sun and the Month", "The Winter Way", "The Hermit", "Bell", "Prisoner", "Song of the Gypsy".

K. Khetagurov. Life and work (review). Poems from the collection "Ossetian lyre".

N.S. Leskov. Information from the biography.

The story "The Enchanted Wanderer".

Features of the plot of the story. The theme of the road and the image of the stages of the spiritual path of the individual (the meaning of the wanderings of the protagonist). Folk character concept. The image of Ivan Flyagin. The theme of the tragic fate of a talented Russian person. The meaning of the title of the story. Features of the narrative manner of N.S. Leskov.

M.E. Saltykov-Shchedrin. Information from the biography.

"The history of one city" (review). (Chapters: "Address to the reader", "Inventory of the town governors", "Organchik", "Adoration of mammon and repentance", "Confirmation of repentance", "Conclusion".) Subjects and problems of the work. The problem of conscience and moral revival of man.

The originality of the typification of Saltykov-Shchedrin. Satire objects and satirical devices. Hyperbole and grotesque as ways of depicting reality. The originality of the writing style. The role of Saltykov-Shchedrin in the history of Russian literature.

Literary theory: development of the concept of satire, the concept of convention in art (grotesque, "Aesopian language").

F.M. Dostoevsky. Information from the biography.

"Crime and Punishment" The originality of the genre. Reflection of Russian reality in the novel. Social and moral-philosophical problems of the novel. The theory of "strong personality" and its refutation in the novel. Secrets of the inner world of man: readiness for sin, violation of high truths and moral values. The dramatic nature and fate of Rodion Raskolnikov. Raskolnikov's dreams in revealing his character and in the general composition of the novel. Evolution of the idea of \u200b\u200b"duality". Suffering and purification in the novel. Symbolic images in the novel. The role of the landscape. The originality of the embodiment of the author's position in the novel.

Criticism around Dostoevsky's novels (N. Strakhov *, D. Pisarev, V. Rozanov * and others).

Literature theory: problems of contradictions in the worldview and work of the writer. The polyphonism of F.M. Dostoevsky.

L.N. Tolstoy. Life and creative path. Spiritual quest of the writer.

"Sevastopol Stories." * Reflection of a turning point in the writer's views on life in the Sevastopol period. The problem of true and false patriotism in stories. Confirmation of the spiritual principle in a person. Exposing the brutality of the war. Features of Tolstoy's poetics. The meaning of "Sevastopol stories" in the works of L. N. Tolstoy.

Epic novel "War and Peace". Genre originality of the novel. Features of the compositional structure of the novel. Tolstoy's artistic principles in depicting Russian reality: adherence to truth, psychologism, "dialectic of the soul." The connection in the novel of the idea of \u200b\u200bthe personal and the universal. The symbolic meaning of "war" and "peace". Spiritual searches of Andrei Bolkonsky, Pierre Bezukhov, Natasha Rostova. The author's ideal of the family. The meaning of the image of Platon Karataev. "People's Thought" in the novel. The problem of the people and the individual. Pictures of the war of 1812. Kutuzov and Napoleon. Condemnation of the brutality of war in the novel.

Debunking the idea of \u200b\u200b"Napoleonism". Patriotism as understood by the writer. Secular society as depicted by Tolstoy. Condemnation of his lack of spirituality and false patriotism.

Ideological searches of Tolstoy.

Review of creativity of the late period: "Anna Karenina", "Kreutzer Sonata", "Hadji Murad".

The world significance of L. Tolstoy's creativity. L. Tolstoy and the culture of the 20th century.

Literary theory: the concept of an epic novel.

A.P. Chekhov. Information from the biography.

"Student", "Houses" *, "Ionych", "Man in a Case", "Gooseberry", "About Love", "Lady with a Dog" *, "Ward No. 6", "House with a Mezzanine". Comedy "The Cherry Orchard". The originality and all-pervading power of Chekhov's creativity. The artistic perfection of the stories by A.P. Chekhov. Chekhov's innovation. Periodization of Chekhov's work. Work in magazines. Chekhov is a reporter. Humorous stories. Parody of early stories. Chekhov's Innovation in Search of Genre Forms. A new type of story. Heroes of Chekhov's stories.

Comedy " The Cherry Orchard". Chekhov's dramaturgy. Chekhov's theater is the embodiment of the crisis of modern society. "The Cherry Orchard" is the pinnacle of Chekhov's drama. The originality of the genre. The helplessness of the characters in the play. Expanding the boundaries of historical time in the play. The symbolism of the play. Chekhov and the Moscow Art Theater. The role of A.P. Chekhov in the world theater drama.

Criticism about Chekhov (I. Annensky, V. Petsukh).

Literary theory: development of the concept of drama (internal and external action; subtext; role of author's remarks; pauses, roll-overs, etc.). The originality of Chekhov as a playwright.

Foreign literature (review)

W. Shakespeare "Hamlet".

O. Balzac "Gobsek".

G. Flaubert "Salammbeau".

Impressionist poets (C. Baudelaire, A. Rimbaud, O. Renoir, P. Mallarmé, and others).

LITERATURE OF THE XX CENTURY

Introduction

General characteristics of the cultural and historical process at the turn of the 19th and 20th centuries and its reflection in literature. The uniqueness of the development of Russian culture. Painting. Music. Theater. Choreography. The phenomenon of Russian patronage. Traditions of Russian classical literature of the 19th century and their development in the literature of the 20th century. General human problems of the early XX century in prose and poetry. Literary innovation of the early 20th century. The variety of literary movements (symbolism, acmeism, futurism), the reflection in them of the ideological and political struggle of the first post-revolutionary years.

The role of art in the life of society. Polemics on Literature.

D. Merezhkovsky "On the causes of decline and further development of Russian literature", V. Lenin "Party organization and party literature", V. Bryusov. "Freedom of speech", A. Blok "Intelligentsia and Revolution".

Russian literature at the turn of the century

I.A. Bunin. Information from the biography.

Poems *: "Evening", "I won't get tired of repeating you, stars! ...", "We met by chance at the corner", "I came to her at midnight ...", "Feather grass", "And flowers, and bumblebees, and grass , and ears of corn ... ".

Short stories: "Village", "Antonovskie apples", "Chalice of life", "Light breath", "Grammar of love", " Clean Monday"," Mitya's love "," The gentleman from San Francisco "," Dark alleys ".

Philosophicality of Bunin's lyrics. Subtlety of perception of human psychology and the natural world; poeticization of the historical past. Condemnation of the lack of spirituality of existence. Image of the "moment" of life. Realistic and symbolic in prose and poetry. Word, detail, detail in poetry and prose.

Poetics I. A. Bunin.

Critics about Bunin * (V. Bryusov, Y. Aykhenvald, Z. Shakhovskaya, O. Mikhailov).

A.I. Kuprin. Information from the biography.

Short stories: "Olesya", "Duel", "Garnet Bracelet".

A poetic image of nature, the wealth of the spiritual world of heroes. Moral and social problems in Kuprin's stories. Condemnation of the vices of modern society. The story "Garnet Bracelet". The meaning of the title of the story, the dispute about strong, selfless love, the topic of inequality in the story. The tragic meaning of the work. Symbolic and realistic in Kuprin's work.

Critics about Kuprin * (Y. Aykhenvald, M. Gorky, O. Mikhailov).

Poetry of the early twentieth century

Review of Russian poetry and the poetry of the peoples of Russia in the late 19th - early 20th centuries. Konstantin Balmont, Valery Bryusov, Nikolay Gumilev, Osip Mandelstam, Marina Tsvetaeva, Georgy Ivanov, Vladislav Khodasevich, Igor Severyanin, Mikhail Kuzmin, Gabdulla Tukay, etc .; general characteristics of creativity (poems by at least three authors by choice).

Lesson objectives:

Educational: to acquaint students with some facts of A. A. Fet's life and the phenomenon of the poet's "duality"., to give an idea of \u200b\u200bthe main features of Fet's lyrics., to introduce the term impressionism., to remind literary directions - pure and utilitarian art.

Developing: improve the ability to analyze a poetic text, develop the ability to emotionally respond to an artistic word, develop a culture of communication and speech.

Educational: to instill in students a sense of beauty.

Equipment: portrait of A. A. Fet, reproductions of paintings by Claude Monet ("Water lilies", "Street decorated with flags", "Field of poppies"), notes on the board, printouts of Fet's poems for analysis (handout).

During the classes.

Hello guys! Today in the lesson we begin to study the work of A. A. Fet. This is a poet you already know from high school, you all remember his famous poem "Spring", but in high school we analyze Fet's work on a different level. So, in the first lesson, according to tradition, we will talk about the fate of the poet, about his life path and pay attention to the characteristic features of his lyrics. Open your notebooks and write down, please, the topic of our lesson.

life and creation Afanasy Afanasyevich Fet (Shenshina).

(1820 – 1892.)

Write down the years of the poet's life. Guys, now I will tell you about the fate of Fet, this will be my little lecture, please listen carefully and write down the main events, dates, stages of life.

And personality, and fate, and creative biographyFeta unusual and full of mysteries. The poet's life is full of drama and contradictions, and the fact that all these contradictions and paradoxes were intertwined in one person caused an ambiguous attitude towards Fet. It all started literally from the moment of his birth. Fet's mother Charlotte Fet was the wife of the German official Fet, but fled with the Oryol landowner Shenshin to Russia. Then it was an incredibly audacious act, which was discussed for a long time in the living rooms. Already in Russia in 1920, in the Oryol province, Charlotte Fet gave birth to a son, Afanasy. The boy received the surname Shenshin, which is why we indicated the second surname of Fet in the subject line, he bore these two surnames all his life. But when the boy was 14 years old, the Oryol spiritual consistory established that at the time of Fet's birth, the marriage of Charlotte Fet and Shenshin had not been registered, so their son was considered illegitimate. The boy was deprived of the Shenshin surname, all the privileges associated with the title of nobleman, and the right to inherit. For Fet, it was a blow, the consequences of which he experienced throughout his life. From that moment on, Fet had a fix idea, to regain the title of nobleman by all means. Fet received his education at a German boarding school and at Moscow University at the Faculty of Philosophy. IN student years Fet developed a friendship with Apollo Grigoriev, who introduced Fet to Vladimir Soloviev, Yakov Polonsky and other writers. It was at this time that Fet developed an interest in poetry and in 1940 the first poetry collection "Lyrical Pantheon" was published. In 1945, Fet graduated from the university, but instead of completely surrendering to creative activity, he goes into military service. He goes to serve not by vocation, but because at that time a certain military rank could return Fet's nobility. But here, too, fate seems to be playing to them, as soon as Fet reaches a certain rank, a decree immediately comes out giving the right to be called a nobleman to those who are higher in the hierarchy of military ranks than Fet himself; As soon as Fet reaches this highest rank, a similar decree is immediately issued. Without regaining his noble dignity, in 1958 Fet leaves military service. It should be said that during his service Fet did not abandon his literary career, he was published in Sovremennik, Otechestvennye zapiski, Moskvityanin. (The teacher draws attention to the portrait of Fet)

During his service, Fet experienced a difficult personal drama. He met Maria Lazic and fell in love with her passionately, this feeling was mutual. Maria first fell in love with Fet's poems, and then with the poet himself. Oddly enough, Fet did not offer her his hand and heart. He explained this by the fact that Mary was poor, and he could not offer her anything materially. It should be said that Fet was especially concerned with material wealth. He considered the goal of his life to be the return of the title of nobility and the wealth that would give him independence. Apparently, this prudence, the desire for independence prevailed over his feelings, Fet did not dare to marry and broke off the relationship with Maria, whom he still loved. And after some time, a tragedy occurred - Maria Lazic burned down. The official version was that it was a fire from an inadvertently thrown match (Maria was wearing a light nylon dress that instantly flared up), but those who knew how she survived the break with Fet believed that it was suicide. (reading by the teacher by heart)

I don’t want to believe! When in the steppe, like a miracle,

In the midnight darkness, timeless grief

In the distance in front of you it is transparent and beautiful

Dawn rose suddenly.

And into this beauty involuntarily the gaze was drawn,

Into that stately shine beyond the entire dark

Surely nothing whispered to you at that time:

A man was burned there!

This is a fragment from the poem "When you read the painful lines" 1887. You have written down the name of Maria Lazic and some verses dedicated to her on the chalkboard, please rewrite them.

Fet was very upset by the death of Maria Lazic, he felt guilty for her death. The image of Mary in a halo of touching pure feeling and martyrdom chained Fet's poetic talent to last days, was a source of inspiration, but also of remorse, sadness. Therefore, the Feta theme of love often has a tragic connotation. This can be seen in the verses written on the chalkboard:

"In vain, wonderful, mingled with the crowd" 1850.

“What a night! The transparent air is bound ... "1854.

"In vain!" 1852.

"For a long time I dreamed of the cries of your sobs" 1886.

"When You Read the Painful Lines" 1887.

"Old Letters" 1859.

"You have suffered, I still suffer" 1878.

Later, Fet married an ugly, but wealthy woman - Maria Botkina, bought an estate, developed his talent as a practitioner, a businesslike, calculating person. To some extent, his dream came true: Fet became a rich and independent man. It should be noted that in his views, Fet was an extremely conservative person. On the eve of the abolition of serfdom, Fet wrote publicistic notes in which he defended the rights of landowners. Many of Fet's contemporaries noted that as a person he was not likable. Listen to what Saltykov-Shchedrin said about him at that time: “Fet hid in the village. There, at his leisure, he partly writes romances, partly hates mankind: first he will write a romance, then he hates man, then he will write a romance again and again hates man. " Thus, there was an abyss between Shenshin, a man and Fet, a poet. This duality amazed everyone. But, probably, this psychological riddle can be solved to some extent if we turn to Fet's views on the purpose of poetry.

Fet belonged to the direction that we call "pure art" or "art for art", "art for art's sake." This means that in his work, Fet moved away from the spite of the day, from acute social problems, which especially worried Russia at that time. Fet believed that there should be no utilitarianism in poetry, poetry cannot be a means of expressing ideas, it is self-sufficient and valuable in itself! (reading by the teacher by heart)

Not into the gloomy hall of the talkative naiad

She came to captivate my proud hearing

The story of shields, heroes and horses

About helmets forged and broken swords.

A different muse showed me a different youth:

………………………………………

The staccato speech was full of sadness

And a woman's whim, and silvery dreams,

Unspoken anguish and incomprehensible tears.

Some kind of mute agonizing worry

I listened as the words met with a kiss.

And for a long time without her the soul was sick

And full of unspeakable desire.

Guys, this was a fragment from Fet's poem "Muse" in 1854. Some of Fet's poems are written on the board, which reveal the theme of the poet and poetry, rewrite them yourself.

"Drive a live boat with one push" 1857

"Muse" 1857

"Muse" (came and sat down ...) 1882.

"Muse" (you want to curse ...) 1887.

Guys, in the first lesson we talk about Fet's poetry only in general terms, we name the main topics and the most revealing, vivid poems - this is a mandatory minimum that you must own, so be sure to read the poems that I indicate to you at home. After reading these verses, you will understand that the main thing in poetry, according to Fet, is the recreation of the world of beauty. Actually, because of this, Fet broke with the magazines in which he was published. Fet's poems were evaluated from the point of view of social significance, and they had to be evaluated according to the laws of art. Be sure to write down that Fet was a supporter of "pure art".

As a poet of pure art, Fet believed that only themes of love and nature could be eternal themes of poetry. Therefore, the cycles of Fet's poems have natural names: "Snow", "Spring", "Sea", "Summer". The peculiarity of Fet's natural lyrics is that it does not contain an integral complete image of nature. Fet loves to capture the transitional states of nature, some shades of its manifestation. If Tyutchev's natural lyrics can be conditionally divided into "daytime" and "nighttime", then, using this terminology, we can say that Fet's natural lyrics are predominantly "daytime". Fet is dominated by light, cheerful colors and colors.

Let's see the poem “I came to you with greetings” from 1843.

(The teacher reads the poem by heart).

How does this poem make you feel?

It is difficult to express, like Feta, the feeling created as a solid monologue, I want to call, list those emotions that fill us when reading a poem. This is energy, joy, light, happiness, love, ringing.

How does the external world compare to the feelings of the lyric hero?

Everything is internally connected and a whole picture is created. The reader does not distinguish between external natural and inner world lyrical hero. This connection is in one rush, in one breath.

Guys, you noticed that the poem is very dynamic.

By what means are dynamics created?

The use of verbs, repetitions. The poem is built on repetitions: firstly, each stanza begins the same way (monotony), and secondly, repetitions are used within stanzas

Tell that the forest is awake

All woke up, each branch.

Each bird has roused

And the spring is full of thirst

Even when reading, repetitions create the feeling that lines and words are "jumping" before your eyes. This creates the dynamics of the poem.

Indeed, Fet's admiration for beauty is often expressed in one exclamation. It seems that the poet is unable to say anything other than a simple naming and listing .... (the teacher reads the poem "This morning, this joy").

Where do you see the unusual form of this poem?

The entire poem is one sentence that lists many details. The poem has no verbs at all, but it is very dynamic.

Why do you think there are no verbs in the poem?

The verb denotes an action, a process, and Fet needs to stop a moment, hence a lot of details. We can say that Fet does not paint a picture for us, but captures the moments that create this picture. That is why they talk about the impressionistic style of Fet.

Guys, in the 11th grade you will study silver Age, and they will tell you in detail about the directions in poetry, among which there will be impressionism. Now we will try to describe this phenomenon in general terms.

Guys, I want to show you reproductions of paintings by Claude Monet. Claude Monet - French painter who is the founder of Impressionism. Look at the reproductions, in these three paintings you can trace the painting technique of the Impressionists ("Water lilies", "Street decorated with flags", "Field of poppies"). If you get too close to the picture, it will be difficult for you to discern what is painted on it. The technique of such writing is based on strokes, individual strokes, dots, spots. Therefore, it will seem to you that these are some kind of strokes and spots that do not add up to a complete picture, but if you step back a little, you will see that these strokes and dots create a monolithic canvas on which objects, details, etc. are clearly distinguished. The technique of impressionist writing in poetry is based on the same technique. Impressionism in poetry is the image of objects not in their integrity, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in scraps, and does not seem to add up to a whole picture. Look again at the poem "This morning, this joy", the poet names the objects of the surrounding world, details, without giving any characteristics, but only fixing his view on these details. But these externally unrelated phenomena of the surrounding world create an integral picture. Do you understand this? Let's write a little output.

Recording. Impressionism in poetry is the image of objects not in their entirety, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in scraps, and does not seem to add up to a whole picture.

If they say about Tyutchev that he is the last romantic, then about Fet they say that he was on the way from romantics to symbolists. Therefore, it was the Symbolists who rehabilitated Fet, since Fet's art was understandable and close to them, while Fet's contemporaries did not understand his poems, ridiculed them, and composed parodies. It turned out that in his work Fet left his contemporaries for a generation ahead.

Another bright poem by Fet, which made a lot of noise, caused a literary scandal and served as a target for many ridicule - "Whisper, timid breathing" (reading by the teacher by heart).

Can you see the impressionistic style of Fet in this poem?

Yes, you can, because again a chaotic set of visual and auditory impressions creates a complete picture. There is not a single verb in the poem, that is, the process is conveyed through fixation, naming certain phenomena, emotions.

How does the external world of nature compare with the internal world of man?

They are again closely merged, welded together.

Guys, it is on this solidarity and unity that Fet's metaphors are based. If he writes that "the heart blooms," then the heart of a person or a plant blooms vaguely. Fet's similarities are very closely interrelated.

Look at the ending of the poem, as you understand it?

Dawn is not only a natural phenomenon, but in the context of the entire poem it is a metaphor, that is, dawn as the highest expression of feeling, delight, an emotional peak.

Guys, let's write down that metaphorsFeta based on close relationship, cohesion of similar phenomena and objects.

Guys, another characteristic feature of Fet's lyrics is its associativity. Objects do not exist by themselves, but as signs of feelings and states. By naming this or that thing, the poet evokes not a direct idea of \u200b\u200bit, but those associations that may be associated with it. It turns out that the main semantic field of the poem is beyond the words. Let's write this down.

Since words evoke their subjective associations in us, it turns out that Fet's poems express a state, mood, impression.

Sounded over the clear river,

It rang in the faded meadow,

Rolled over the mute grove,

It lit up on the other side.

What sounded, what rang, what rolled, what lit up? We do not know this, and it does not matter to us, the main thing is that there is a feeling of movement, ringing.

Therefore, Fet's poems should be enjoyed as music. And this property of his poetry was noted by many, as the composer Tchaikovsky said about Fet: "This is not just a poet, rather a poet-musician." Write these words of Tchaikovsky. Indeed, into poetryFeta sung a lot of romances, you probably heard the romances "At dawn, you don't wake her up", "The night was shining, the garden was full of the moon" - these are the most famous romances. You and I said that the poems “I came to you with greetings” and “This morning, this joy” are built on repetitions, what function do you think these repetitions perform?

Repetitions rhythmically organize these poems. Based on the example of these poems, one can conclude that the rhythmic pattern in Fet's poetry is obvious.

Let's look at the sound organization of the poem "Whisper, Timid Breathing", what can you say?

Fet actively uses sound writing. This and the use of the vowels o, a, e, and active use consonant sonorous sounds l, r, n. These sounds add fluidity, melodiousness to the text.

Let's write down the conclusion: In Fet's poetry, the rhythmic organization of the texts and their musicality are important.

So, in your notebooks the following features of Fet's lyrics should be noted:

Using the techniques of impressionism

Metaphorical

Associativity

Musicality, melody.

So interesting was this poet, who divided his life into two halves. Fet is the author of beautiful poetry, an admirer of beauty in all its manifestations, and Shenshin is a campaigner officer, a calculating landowner who hates progress, who has been striving for the title of nobleman and his father's surname all his life. By the way, the title of nobleman was granted to Fet at the end of his life.

Fet's death was also strange. The poet was very ill, suffered from asthma ..., at some point Fet decided to commit suicide, but at the last moment he was saved by a secretary, and at the same moment Fet suffered a heart failure. Fet died at the time that he chose for himself and, thank God, did not take on one of the most terrible sins - suicide. We remember this poet for his amazing poems, which we will still refer to during two lessons.

The originality of the reader's perception of the poetry of A.A. Fet

Belkina Natalia Dmitrievna

Solntsevsk branch of OBPOU "OAT"

annotation

The article is devoted to the genius of the poet Afanasy Afanasyevich Fet, who created for the first time in Russian lyrics works that were much ahead of the spirit of his time.

Afanasy Afanasyevich Fet is close to different literary movements: anthological poetry, romanticism, impressionism, realism, "art for art" and others... But none of these areas represents Fet's creativity in its entirety, for he created and developed his unique creative method. His poetry has stood the test of time and today he is one of the most widely read poets. Note that all Russian poets more or less skillfully mastered one melody of the verse, but no one except Fet was able to reveal its pure harmony in this way. The music of Fet's verse sounds full and clear. She possesses the finest variety of inner spiritual tunes. The clear and simple verse captivates with the abundance of its inner tones. The writer B. Sadovsky wrote in an article about A.A. Fete: "... The soul of the poet, like the wind touching the strings, emits harmonious tunes almost involuntarily ...".

A. Fet's genius lies in the fact that he, as a poet, for the first time in Russian lyrics, created works that were much ahead of the spirit of his time. In his poetry and music, the main theme was the expression of personal feelings. Art was a kind of confession. In the poetry of Fet, the harmony of colors and sounds is unusually expressive, the role of spatial relations is great - everything that contributes to the stereoperception of the figurative world. Nothing is frozen, everything is in constant motion. Thanks to this movement, Fet's space is never uniform, even within the framework of one landscape. The German philosopher M. Heidegger wrote: “… Space is the release of places. In the vastness the event is both reflected and hidden. This feature of space is overlooked too often. "

In the lyrics of A. Fet, not only visual, perspective space, but also the space of color and sound coexist, and in them "an event" is hidden either that is past or implied in the future. This diverse world of poetry evokes in the reader a responsive range of feelings, which is at the same time at the junction of sound, meaning, movement, painting, and at the same time has little in common with the personal confession of the author himself. Each reader experiences these feelings in his own way, but does not empathize with the feelings of the poet himself. The filling of the verse with the harmony of feelings is found in Fet throughout the entire period of creativity. In the poem "When I dreamily am devoted to silence ..." in the imagination of the reader there are pictures of the night garden, the starry sky, he hears at the same time in this imaginary world the rustle of leaves, and distant steps, and the creak of a gate. This fusion of visions and sensations occurs during the reading of poetic lines, when the imagination paints other pictures, the waves of the previous feeling still vibrate and force them to live indirectly or return to them. The gamut of our feelings, unlike the musical gamut, is never repeated.

The unity of the human soul with the surrounding world is especially vividly expressed in the Fetov nocturnes. In the night landscape paints, Fet does not have rough outlines. There is a cross between darkness and light, something ambivalent, like a light shadow or dark light. Bright contrasting colors cannot carry music in themselves - they are loud. And there is no sense of inner life in them - they overshadow it with their brightness. It is in the night lyrics of A.A. Fet that the convexity of the landscape is especially felt, it is filled with air, the living life of objects. Here comes "... the consonance of his inspiration with the life of nature, - his perfect reproduction of physical phenomena as states and actions of a living soul." The poet animates every part of the universe:and water, and stone, and trees - because all of this was created in an inseparable connection with each other, one cannot exist without the other. Nature is alive not only because all objects in it are equal, but also because for each specific moment of life it is only the one that exists in a given moment, and if something is removed, removed from it, then the moment in life will be different, and the mood of the soul, and the general image - everything will change. Therefore, true poetry cannot be other than contemplative. Each moment has only its own, unique music, its own movement, its colors and a certain state of the human soul. One of the masterpieces of Fet's lyrics can be called indicative in this respect:

Tired all around: tired and the color of heaven,

And the wind, and the river, and the month that was born,

And the night, and in the green dull sleeping forest,

And the yellow leaf that finally fell off.

Only a fountain in the middle of the distant darkness babbles

Talking about life invisible, but familiar ...

O autumn night, how almighty you are

Refusal to fight and death languor!

The general mood of the poem is nothing more than the consonance of the human soul with the state of nature. It is clear that in a moment of inspiration, vital energy, both the color of the heavens and the sound of the fountain would appear in a completely different tone. Here fatigue in all nature is seen through the prism of human fatigue.

In this work, Fet's impressionism acquires the greatest expressiveness, that is, the desire to capture the real world in its mobility and changeability.Beneath existing in the seized contemplativefor a moment, the past, the departed, are seen and heard with colors and sounds, but their sensory waves are still guessed, their echoes and reflections are still moving in the present. Nature and man are inseparable in these moments of contemplation. The colors in this poem are dim. The whole psychological attitude poems, its tonality, vocabulary move from contemplation to generalizing thoughts, but not to exclamation. The influence of the landscape on feelings, thoughts, mood of a person is quite often found in fiction, but never man is so merged with nature as the poetry of A.A. Fet. He does not look at nature as an outside observer, he himself is a part of it, and without him nature does not matter.

Night and me, we both breathe

The air is drunk with linden blossom,

And, silent, we hear

What, we wave our stream,

The fountain hums to us.

Here, too, nature is personified: drunken air, a singing fountain. Here is the movement of the water stream, and the feeling of space, and the aroma poured in the air - everything that creates sound, colors, expression, the mood of Fet's verse, impressionism.

The energy of Fet's verse is clearly expressed in A. Varlamov's romance with the help of various dynamic shades.The opening phrases of the romance are calm, and each of them has intonational completeness; sound is not loud. The pace is moderate.

At dawn, don't wake her up

At dawn she sleeps so sweetly;

Morning breathes on her chest.

It glows brightly in the pits.

The last phrases of the romance again become calm, the sound gradually attenuates to a quiet one.

The poetic and musical genius of A.A. Fet, the reading and compositional talent of A. Varlamov created a very harmonious, beautiful work, which A. Grigoriev called "a song that has become almost a folk song."

Internal and external musicality, dynamics, harmony of Fet's verse is combined simultaneously with the play of colors, and with personified expression, emotions of nature, all this is merged in every sound, smell with human moods and experiences, evokes a variety of associations. This is subject only to the genius poet A.A. Fet.

Bibliography

1. Sadovsky B.A. Swan clicks. M., Soviet writer, 1990. from. 379.

2. Heidegger M. Art and space. Self-awareness of the European culture of the XX century. P.97.

3. Soloviev V. Literary criticism. M., Sovremennik, 1990, p. 106.

4. General history arts. M., Art, 1964, vol. V, p. 84.

5. Collection of sheet music "Lyric Pieces of Russian Composers". L., Music, 1977, p. 4.

6. "Otechestvennye zapiski" .1850, No. 1. dep. 5, p. 71.

7. All poems by AA Fet are taken from the book: AA Fet, Poems and Poems. L., Soviet writer. 1986 year

In the 50-60s years XIX century in Russian literature, along with the movement of supporters of civic poetry, there was a school of poets of "pure art". The largest representatives of this school were Fyodor Ivanovich Tyutchev (1803-1873) and Afanasy Afanasyevich Fet (1820-1892).

The flowering of creativity Tyutchev and Fet falls on the 40-60s of the XIX century, when "pure art" was loudly rejected in the name of practical use, when the citizenship of poetry was declared, a stake was made on the transformation of the entire social system of Russia, the result of which was to be equality, freedom and social justice.

Tyutchev's lyrics can be defined as philosophical. Philosophical thought permeates poems about the poet and poetry, especially dedicated to Heine, Zhukovsky, Schiller, Byron, whose work was close to Tyutchev's romantic pathos and the desire to learn the secrets of the Universe.

Tyutchev, in his poems, discusses the transience of life and death, the happiness of man. Saturation of philosophical thought, perfection of artistic form are the main features of Tyutchev's poetry.

The main features of A. A. Fet's poetry are his appeal exclusively to the world of feelings and "volatile" moods, the plotlessness of the verse and his passion for the genre of lyric miniature. Fet constantly stressed that poetry should not interfere in the affairs of the "poor world". In his poems, there is almost no place for political, social, and civil problems. Fet outlined the circle of his poetry with three themes: love, nature, art.

Tyutchev (1803-1873)	Fet (1820-1892)
The philosophical nature of poetry, in which thought always merges with the image. In poetry Tyutchev seeks to comprehend the life of the Universe, to comprehend the secrets of space and human existence	The tragic nature of the lyrics, the dominant feeling is tension, at the same time light and optimism inherent in Fet's poetry. Dialectics of tragedy and joy, overcoming dramatic situations with a sense of harmony in the world
Life, according to Tyutchev, is a confrontation between hostile forces. Dramatic perception of reality combined with an inexhaustible love of life	The beauty in his poems is suffering overcome, joy extracted from pain. Life in Fet's poems is a moment fixed in eternity.
The human "I" in relation to nature is not a drop in the ocean, but two equal infinities. The inner, invisible movements of the human soul are in tune with the visible dialectics of natural phenomena.	The impressionistic character of the depiction of feelings, their fragmentation and ultimate imagery. The strict artistic structure of the poems, their inner balance and a sense of sketchiness, deliberate rupture.
The figurative system of Tyutchev's lyrics combines the objective realities of the external world and the subjective impressions of this world produced on the poet. Mastery in depicting the harmony of the objective realities of the external world and the depth of the internal world	Increased metaphoricality of poetry, dynamism and musicality artistic images... The predominance of mood over thought, thought is “dissolved” in music.
The poet's skill in creating phonetic and pictorial images, combining sound writing with an unexpected palette of colors, color images	Mastery in the use of parallelisms, repetitions, periods, rhythmic pauses, richness and depth of poetic intonations, sound instrumentation

Tyutchev and Fet, who determined the development of Russian poetry of the second half of XIX centuries, 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.
Distinctive feature the lyrics of these two poets was that it was characterized by the depth of analysis of the emotional experiences of a person. So, the complex inner world of the lyrical heroes Tyutchev and Fet is in many ways similar.

Tyutchev : philosophical romanticism. Man against the world soul, overcoming opposition is a condition for the realization of creative possibilities, since isolation of the personality is an absolute evil. I did not particularly participate in the ideological literary struggle.

"The gray shadows blended", 1836:opposition of night and day. Daytime - everyday, everyday, earthly, vanity, noise, nighttime - the world of mystical insights, comprehensions of the Cosmos, time for self-comprehension. In this poem - the moment of transition from day to night, the boundaries between man and nature are blurred, the soul longs for merging with the world.

Feelings - a gloom of self-forgetfulness

Overflow! ..

Let me taste destruction

Mix with the dormant world!

Silentium, 1830: there are no clear boundaries between the internal and outside world, man and nature: both that and that world are completely unknowable, man can only approach the mystery. The human soul, even one's own, is a mystery. Loneliness is metaphysical: the incomprehensible mystery of being, hence the confusion of man. Complete understanding in Tyutchev's world is impossible: genuine knowledge is only in the depths of the "I", it cannot be translated into everyday language.

Fet : Fet is a practitioner, businesslike, lyrical hero - a singer of Russian nature, a subtle lyricist. He clearly distinguished between poetry and science, life and the beauty of life, poetry and life. "Pure art". The narrowness of the tasks of poetry: themes of love, nature, beauty.

"With one push to drive the boat alive ...", 1887: glorifies poetry, with the help of it you can seem to go into “another life”, “give life a sigh”, “instantly feel someone else as your own” Glorifies the poet too.

"Whispers, timid breathing", 1850: verbosity. Poetisms are traditional (nightingale, rose, stars), but he writes in an unusual way. One sentence, not a single verb, but a process, an action is conveyed. The life of nature, its rhythm. A kind of understatement, impressionism (!).

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A feta tradition of the German school of poets. Feth translator of German poetry: a poetic aspect

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