On the theory of "pure art". "Pure Art": F.I. Tyutchev Civic Lyrics and Poetry of Pure Art

Poets of "Pure Art"

Fet Afanasy Afanasyevich (1820 -1892)

“Almost all of Russia sings his (Fet’s) romances,” the composer Shchedrin wrote in 1863. Tchaikovsky called him not just a poet, but a poet-musician. And, indeed, the indisputable advantage of most of A. Fet's poems is their melodiousness and musicality.

Fet's father, the wealthy and well-born Oryol landowner Afanasy Shenshin, returning from Germany, secretly took Charlotte Fet, the wife of a Darmstadt official, from there to Russia. Soon Charlotte gave birth to a son - the future poet, who also received the name Athanasius. However, the official marriage of Shenshin with Charlotte, who converted to Orthodoxy under the name Elizabeth, took place after the birth of her son. Many years later, the church authorities revealed the “illegality” of the birth of Afanasy Afanasyevich, and, already being a 15-year-old youth, he began to be considered not the son of Shenshin, but the son of the Darmstadt official Fet living in Russia. The boy was shocked. Not to mention other things, he was deprived of all rights and privileges associated with the nobility and legitimate inheritance. The young man decided at all costs to achieve everything that fate had so cruelly taken from him. And in 1873, the request to recognize him as Shenshin's son was granted, but the price he paid to achieve his goal, to correct the "misfortune of his birth", was too great:

Long-term (from 1845 to 1858) military service in a remote province;

Rejection of the love of a beautiful but poor girl.

He got everything he wanted. But this did not soften the blows of fate, as a result of which the "ideal world", as Fet wrote, "was destroyed long ago."

The poet published his first poems in 1842 under the surname Fet (without dots over ё), which became his permanent literary pseudonym. In 1850, he became close to Nekrasov's Sovremennik, and in 1850 and 1856 the first collections, A. Fet's Poems, were published. In the 1860s - 1870s, Fet left poetry, devoting himself to economic affairs in the estate of Stepanovka, Oryol province, next to the Shenshins' possessions, and for eleven years served as a justice of the peace. In the 1880s, the poet returned to literary work and published the collections Evening Lights (1883, 1885, 1888, 1891).

Fet is the most significant representative of the galaxy of poets " pure art”, in whose work there is no place for citizenship.

Fet constantly emphasized that art should not be connected with life, that the poet should not interfere in the affairs of the "poor world."

Turning away from the tragic sides of reality, from those questions that painfully worried his contemporaries, Fet limited his poetry to three themes: love, nature, art.

Fet's poetry is the poetry of allusions, conjectures, omissions; for the most part, his poems do not have a plot, they are lyrical miniatures, the purpose of which is to convey not so much thoughts and feelings as the "flying" mood of the poet.

IN landscape lyrics Fet brought to perfection the penetration into the slightest changes in the state of nature. So, the poem "Whisper, timid breathing ..." consists exclusively of nominal sentences. Due to the fact that there is not a single verb in the sentence, the effect of a precisely grasped momentary impression is created.

Poem

The night shone. The garden was full of moonlight. lay

Rays at our feet in a living room with no lights

can be compared with Pushkin's "I remember a wonderful moment." Just like Pushkin, there are two main parts in Fetov's poem: it talks about the first meeting with the heroine and the second. The years that have passed since the first meeting were days of loneliness and longing:

And many years have passed tedious and boring ...

In the finale, the power of true love is expressed, which raises the poet above time and death:

And life has no end, and there is no other goal,

As soon as you believe in sobbing sounds,

Love you, hug and cry over you!

Poem " With one push to drive the rook alive- about poetry. For Fet, art is one of the forms of expression of beauty. It is the poet, according to A.A. Fet is able to express what “before which the language goes numb”.

Tyutchev Fedor Ivanovich (1803 - 1873)

Tyutchev - "one of the greatest lyricists who ever lived."

F.I. Tyutchev on December 5, 1803 in the city of Ovstug, Bryansk district, Oryol region. The future poet received an excellent literary education. At the age of 13, he became a free student at Moscow University. At the age of 18 he graduated from the verbal department of Moscow University. In 1822 he entered the service of the State Collegium of Foreign Affairs and went to Munich for diplomatic service. Only 20 years later he returned to Russia.

For the first time, Tyutchev's poems were published in Pushkin's Sovremennik in 1836, the poems were a tremendous success, but after Pushkin's death, Tyutchev did not publish his works, and his name was gradually forgotten. An unprecedented interest in the poet's work flared up again in 1854, when Nekrasov already published a whole selection of his poems in his Sovremennik.

Among the main themes of F.I. Tyutchev can be distinguished philosophical, landscape, love.

The poet thinks a lot about life, death, about the destiny of man, about the relationship between man and nature.

In poems about nature, the idea of ​​\u200b\u200banimating nature, faith in its mysterious life is traced:

Not what you think, nature:

Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has language.

Nature appears in Tyutchev's lyrics in the struggle of opposing forces, in the continuous change of day and night.

Winter is not without reason angry -

Her time has passed.

Spring is knocking on the window

And drives from the yard.

Tyutchev was especially attracted by the transitional, intermediate moments of the life of nature. The poem "Autumn Evening" shows a picture of autumn twilight; in the poem "I love a thunderstorm at the beginning of May" we enjoy together with the poet the first spring thunder.

Reflecting on the fate of his homeland, Tyutchev writes one of his most famous poems:

Russia cannot be understood with the mind,

Do not measure with a common yardstick:

She has a special become -

One can only believe in Russia.

The best creations of Tyutchev also include love lyrics, imbued with the deepest psychologism, genuine humanity, nobility.

In his declining years, Tyutchev experienced the greatest feeling in his life - love for Elena Aleksandrovna Denisyeva. The poems that he dedicated to her were included in the so-called "Denisiev cycle" ("Oh, how deadly we love", "More than once you heard a confession", "Last Love", etc.). On July 15, 1873 Tyutchev died.

A.A. Fet, F.I. Tyutchev, A.N. Maykov, Ya.P. Polonsky, A.K. Tolstoy

The definition of "pure art" developed in Russian criticism as a negative one in the 1940s and 1950s. It was also impossible to talk about Zhukovsky and Batyushkov like that. One could feel the great content of their poetry, the positive virtues of its form. Later, due to a misunderstanding and in connection with the importunate emphasis on Zhukovsky's ideological "conservatism", this pejorative definition spread to him as a poet as well.

In the 40-50s, the poetic work of A.A. Feta, F.I. Tyutchev as a kind of reaction to the democratic orientations that came from Nekrasov and Belinsky. Both poets - Fet and Tyutchev - were outside the strengthening trend in literature, laying its new pedigree. Their undertakings were picked up by A.N. Maikov, Ya.P. Polonsky, A.K. Tolstoy. This whole group of poets is called “pure art”. N.F. is usually referred to this category. Shcherbin and L.A. May. The poets of this group themselves did not see anything insulting to themselves in such an attestation and willingly agreed with it, sincerely believing that poetry is above transient interests, it should speak about the eternal freely, without coercion. In each of these poets we find declarations similar to the one we will quote from Apollon Maikov:

O thought of a poet! you are free

Like the song of a free halcyon!

Your own laws are in you,

You are thin on your own!

("The Thought of a Poet", 1839)

They did not recognize any theory about themselves, and the same Maikov openly proclaimed this in the poem "Octave", which received the widest recognition as an indisputable axiom:

Harmonies of verse divine mysteries

Do not think to unravel from the books of the sages.

Uniting on some general principles, the poets of "pure art", however, differed in many respects among themselves. Maikov was even at one time under the influence of Belinsky and with his modest poem Masha (1845) made a certain contribution to the formation of the "natural school". Untendentious Alexei Tolstoy was very angry and tendentious in his attacks against the democrats from Sovremennik, who offered recipes for social diseases (the ballad "Pantelei the Healer"). He wrote a caustic history of Russia in verse, a satire on officials ("Popov's Dream") and was a co-author of the literary hoax "Kozma Prutkov".

Afanasy Afanasyevich Fet

A.A. Fet turned out to be a difficult phenomenon of Russian poetry to explain both for modern criticism and for subsequent literary criticism. The democratic public condemned his departure from topical social issues, for the excessively chamber nature of his poetry. The subtleties of his observations and poetic and artistic skill were not captured.

It is also complex and contradictory in the following respect: there was an extremely large gap between Fet, a subtle lyricist, and Shenshin, a man.

Fet is friends with the Grand Duke Konstantin Konstantinovich Romanov (cryptonym: K. R.), who also wrote poetry and considered himself a student of Fet. He is satisfied with his fate, behaves extremely selfishly and loses the favor of even his closest friends: Ya.P. Polonsky, N.N. Strakhova and others. Many of the landlord manners of his I.S. Turgenev called "Fetov's outrageousness."

Fet allowed himself to flaunt with paradoxes: “ Piece of art that makes sense doesn't exist for me." "In our business, the true nonsense is the true truth." "My muse babbles nothing but absurdities." That's why D.I. Pisarev paid him the same and completely in his articles crossed out at least some significance of Fet the poet.

Fet portrayed his relationship with L.N. Tolstoy in 1891 in a letter to Konstantin Romanov: “A conversation with the mighty Tolstoy is always significant for me, but, diverging at the very root of our worldview, we understand very well that I, for example, am dressed in black and my hands are in ink, and he in white, and hands in chalk. Therefore, we manage to hug each other without touching fingers that stain a friend.

His poetic attacks remained a heavy burden, such as: “To a pseudo-poet” - against Nekrasov, who appreciated him, praised him in the press for worthy poems; attack against the People's Will - "March 1, 1881"; against a whole generation - "To the monument to Pushkin" and even entire peoples oppressed in tsarist Russia. An example is Fetov's inscription on Tyutchev's book of poems:

Here is our patent for nobility,

It is given to us by the poet;

Here the spirit of powerful domination,

Here the refined color of life.

You will not meet Helikon in the syrts,

Laurel will not bloom on ice floes,

The Chukchi do not have Anacreon,

Tyutchev will not come to the Zyryans.

But the muse, observing the truth,

Looks: and on the scales she has

This is a small book

Volumes are much heavier.

The first collection of Fetov's poems "Lyrical Pantheon" (1840) evoked a benevolent response from Belinsky: "And Mr. Fet promises a lot", "of all the poets living in Moscow, Mr. Fet is the most gifted," among his poems "there are truly poetic ones."

In the article "Russian Minor Poets" (1850) N.A. Nekrasov called some of the poems of Fet, already forgotten by this time, “excellent” - and right there, with impartial interest, as a master to the master, he indicated that there were also unsuccessful poems, “the disadvantage is quite common.” Fet's carelessness will be pointed out by his most sincere friends - Turgenev, Polonsky, Strakhov ...

In 1856, in connection with the release of another collection of poems by Fet, Nekrasov wrote: “Readers know our love for the talent of Mr. Fet and our high opinion of the poetic merit of his works. It can be boldly said that a person who understands poetry and willingly opens his soul to its sensations will not draw as much poetic pleasure from any Russian author, after Pushkin, as Mr. Fet gives him. It does not follow from this that we equate Mr. Fet with Pushkin; but we affirm positively that Mr. Fet in the field of poetry accessible to him is the same master as Pushkin in his own, more extensive and many-sided field. This review has everything: a personal "weakness" to the poet, and recognition of the rights to the circle of poetic interests outlined by him, and the scale is indicated: next to Pushkin, immediately after him!

Chernyshevsky noted Fet's "wonderful lyrical talent"; what a subtle understanding of the "poetry of the heart"! In one of his letters, Chernyshevsky even emphasized that he liked poetry without a "tendency" better. It was he who wrote to Nekrasov in 1856, and the response of his letter is felt in Nekrasov's quoted review of Fet.

The severe enemy of "moth poetry" M.E. Saltykov-Shchedrin wrote that most of Fet's poems "breathe with the most sincere freshness", she "wins the hearts of readers", romances based on Fet's poems "are sung by almost all of Russia." And again, with sober accuracy, it is said about the uneven quality of the poems, that the world of Fet is “small, monotonous and limited”, although few can compare with him in “fragrant freshness”.

Dobrolyubov, speaking of Fet as a master of "capturing fleeting impressions", in essence, already raised the problem of Fet's impressionism, which has not yet been satisfactorily clarified by any of the scientists.

Here is a torn composition, conventional signs of movements of love, impressionism:

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

The opinions about Fet of such connoisseurs as L.N. are not so simple and unambiguous. Tolstoy, Dostoevsky, Tyutchev, Tchaikovsky, Blok.

Fet devoted many poems to Tolstoy, his wife Sofya Andreevna and sister-in-law T.A. Kuzminskaya. Poems Fet Tolstoy appreciated very highly. And yet ... It should be remembered that there was a kind of gap between them. In Tolstoy's letters to friends and to Fet himself, disagreement with the poet, criticism of his narrow egocentric world, is continually found. The pessimistic philosophy of the poem “Never” (1879) was resolutely challenged by Tolstoy: attitude to the force that produced me, pulled me to itself and will destroy me or change me.

Fet's calculations with fate were shorter; he stubbornly defended his concept:

I feel joy

I do not want

Your battles...

This is not a departure from the economic and everyday concerns of a wealthy landowner, but from real battles, “your” battles ... “What kind of creature you are - I don’t understand ... - Polonsky wrote to Fet about the poem “What sadness! The end of the alley ... "(1862). - Where do you get such unctuously pure, such sublimely ideal, such youthful and reverent poems?.. What Schopenhauer, and indeed what philosophy, will explain to you the origin or mental process of such a lyrical mood? If you do not explain this to me, then I will suspect that another is sitting inside you, unknown to anyone, and to us, sinners, an invisible little man, surrounded by radiance, with eyes of azure and stars, and winged! You are old and he is young! You deny everything, but he believes! .. You despise life, and he, on his knees, is ready to sob before one of its incarnations ... ”Even Polonsky, a poet close to Fet in many ways, could not comprehend this duality! In Tolstoy's letter to Botkin we read: "And where does this good-natured fat officer get such incomprehensible lyrical audacity, the property of great poets."

There are three positions in Fet's explanation. First: we want to know only the “good” Fet, the greatest lyricist, and nothing else Fet and Shenshin, a poet and businessman, and although Shenshin often interfered with Fet, these interferences must be ignored as purely empirical circumstances, as misunderstandings of private life, everyday bustle not worthy of attention. And, finally, the third position: there are dialectical connections between Fet and Shenshin, between the fragrant lyricist and the militant conservative. We should be interested in the dialectic of connections between Fet’s life and beliefs, on the one hand, and his “pure” lyrics, on the other. Genuine dialectics should not be sought in ugly connections - the relationship between Fet and Shenshin, the greatest lyricist with a self-serving landowner - this path is false and unproductive . Connections can only exist between Fetov's poetic world and the boundless world of human life, the life of nature, society. The true truth of Fet was formulated by him in one of the articles of 1867: “Only man and only he alone in the whole universe feels the need to ask: what is the nature surrounding him? where does all this come from? what is he himself? where? Where? For what? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him.

Is it possible to take seriously the circle of "mandatory" themes outlined by Fet for his poetry, specifically with a polemical challenge to civil poetry:

Only in the world and there is that shady

Dormant maple tent.

Only in the world and there is that radiant

A childish thoughtful look.

Only in the world is there that fragrant

Cute headdress.

Only in the world is this pure,

Left running parting.

Fet preaches not narrowness, but observation. Of course, there is not only this in the world, but this is also there. Everything exists for man. Inner Man is the measure of all things. He has the right to choose. Let's quote another poem "Good and Evil":

Two worlds rule from the ages

Two equal beings:

One embraces a man,

The other is my soul and thought.

Pari, all-seeing and all-powerful,

And from immemorial heights

Good and evil, like grave dust,

In the crowds of people will disappear.

The well-known aristocracy of thinking and snobbery is evident. But Fet wants to defend the inherent greatness of the human "I", and this is an important problem.

Fet is above the earthly "good and evil": they fall "into the crowds of people", and his sphere is "soul and thought."

Here, by the way, are the origins and specifics of Fet's "cosmicity". The line from Fet leads to the Symbolists. This was well shown by V.Ya. Bryusov. He wrote: "The true meaning of Fet's poetry is a call to real life, to the great intoxication of the moment ..." It was Bryusov who argued with Fet's snobbery, who believed that inspiration and its fruits do not exist for everyone. “We, on the contrary, believe,” Bryusov wrote, “that the whole goal of the earthly development of mankind should be that everyone could constantly live “in such an exciting atmosphere that it becomes habitual air for mankind” (from the preface to the third issue “ Evening lights". - V.K.).

Fet is not asked by the "cosmic" problems of human existence. The world of Fet is absolutely this-worldly, it does not concern anything mystical, the fate of the universe. In earthly life, in a person, his own sphere of fleeting impressions and feelings is selected. With this “impressionism”, Fet could please modernists, symbolists in late XIX century.

All critics of various trends bowed to his poem "Diana", written in the 50s. The era of Zhukovsky and Batyushkov has long passed - the era of anthological poems, the last example of which, perhaps, was Pushkin's Nereid (1820). The point is not only in the wonderful plasticity of the verse, but also in the fact that Diana, as Gleb Uspensky later had the Louvre Venus de Milo, “straightened” modern man, reminded him that the world can appear before him as eternal beauty. The naked goddess, the "stone maiden", is seen "between the trees over clear waters." The whole effect of Fet's poem is that for a moment it seemed as if the goddess came to life and moved.

Not only for snobs and aesthetes there is the finest work of the poet. Indirectly, his poems turned out to be connected with the struggle for a person. Reading some of Fet’s poems, we feel their harmony and beauty, humanistic essence, inclusiveness and eternal modernity: “I came to you with greetings!”, “At dawn, don’t wake her up ...”

Fedor Ivanovich Tyutchev

Tyutchev, one might say, was also "discovered" by Nekrasov. An example is very instructive in terms of human disinterestedness, bypassing criticism, the very one in the bosom of which Nekrasov nurtured and owed everything to her. On a number of occasions, he entered into an argument with her, not embarrassed by the complete indifference of the defended poet, who had the amazing property of leaving literature for a long time. But it's hard to imagine her without him...

In 1850, Nekrasov published in his Sovremennik an article entitled Russian Minor Poets, apologizing for its title. A poet himself, he was opposed to the pedantic divisions of writers into geniuses, brilliant talents, just talents, and so on. Before us is a clear dispute with Belinsky, who in the article “On the poems of A.V. Koltsov" insisted that this poet is a "brilliant talent", but by no means a "genius". Nekrasov takes a new approach to the concept of "content" in poetry, not at all insisting that it must necessarily have an acutely social character. No, poetry has its own content: the sincerity of feelings. He disputes by that time the prevailing opinion of the public that "there are no poems", "there is nothing to read." Each new book of poems is looked at "unfriendly." Pushkin and Lermontov have exhausted all forms, rhythms and rhymes. Now it costs nothing to write smooth poetry. Magazines are reluctant to publish poetry. Mediocrity got onto their pages, but Nekrasov the poet is deeply convinced: "there is undoubtedly a need for poetry in the reader." You can name a dozen poets who are read with pleasure, "you just need to take from them what they can give you"; "Know how to find in each of them a special side."

“Meanwhile, the poems of Mr. F.T.,” wrote Nekrasov, “belong to a few brilliant phenomena in the field of Russian poetry. G.F.T. wrote very little; but everything written by him bears the stamp of a true and beautiful talent, often original, always graceful, full of thought and genuine feeling. We are sure that if Mr. F. T. had written more, his talent would have given him one of the most honorable places in Russian poetry.

The main advantage of Mr. F. T.'s poems lies in the lively, graceful, plastically correct depiction of nature. Nekrasov does not look back at his kindred democratic criticism, which was not able to be touched by verses from the field of "pure art". Nekrasov has his own, self-made judgments, he knows how deceptive the prejudice against "pure art". He includes in the area of ​​content what is outwardly devoid of any purpose and tendency: “The most difficult kind of poetic works,” Nekrasov insists, “are those works in which, apparently, there is no content, no thought; it is a landscape in verse, a picture marked with two or three lines. But before us is not understatement, a sign of weakness of talent. This is a special letter that counts on the activity of the reader, a kind of impressionism, although Nekrasov does not have this term. And here's what it is: "Catching exactly those features by which in the reader's imagination a given picture can arise and be drawn by itself is a matter of the greatest difficulty." Nekrasov gives examples from Tyutchev: “Morning in the mountains”, “Snowy mountains”, “Noon” and especially “Autumn evening” (“There are autumn evenings in the lordship ...”).

The largest Russian poet, who in our time enjoys worldwide recognition, Tyutchev had a strange literary fate. He was completely careless about his poetic fame. His talent was awakened at the time when his home teacher, poet-translator S.E., studied with him in Moscow. Raich. At the same time, Tyutchev's interest in ancient poetry arose. His first work, which appeared in print in 1819, was a translation of Horace's message "To the Maecenas". Such a speech at a time when secret societies of the Decembrists were being created, Pushkin's "Liberty" and "Village" were on the lists, was more than apolitical. And Tyutchev's other early publications went unnoticed, although the Society of Lovers of Russian Literature accepted him as a member when Tyutchev was 14 years old. But the "Society ..." was distinguished by the conservatism of its interests. Tyutchev's student years passed quietly and imperceptibly. He leaves Russia for seventeen years; is in the diplomatic service in Munich and Turin. As an equal with equals, he makes acquaintances with the philosopher Schelling, the poet Heinrich Heine, conducts philosophical and political conversations with them. In Paris, he listens to lectures by Guizot, Cousin, Wilmain.

In the almanac "Northern Lyre" for 1827, Tyutchev's translation of Heine's poem "Pine" was printed under the title "From the Other Side" and with a note of the place of writing: "Munich". It is possible that at this time not only Heine influenced Tyutchev, but also Tyutchev on Heine. This can be proved by the pages devoted to Russia in Heine's Travel Pictures, clearly inspired by conversations on this subject with a Russian diplomat about a distant northern country that was beginning to play a prominent role in European affairs.

Tyutchev comes to Russia on vacation, on the very eve of the preparation of the Decembrists' speech. In the spirit of accepted liberalism, he says in one of his letters: “In Russia there is an office and a barracks. Everything moves around the whip and the rank. But this liberalism meant little for Tyutchev. Tyutchev's attitude to the uprising is ambivalent; it was expressed in the poem "December 14th, 1825", written in Munich in 1826. He calls the Decembrists "victims of reckless thought", although in the muffled tones of the poem one can feel the disapproval of autocracy, which greatly "froze" Russia.

Tyutchev is still not known in Russia as a poet, although he is occasionally published in Urania, Russian Spectator, and Galatea.

The publication of poems in Pushkin's Sovremennik in 1836 took place thanks to I.S. Gagarin. He testified that Vyazemsky and Zhukovsky reacted very favorably to the poems. Gagarin assures in a letter to Tyutchev that Pushkin appreciated the poems and "speak ... about them very sympathetically." According to P.A. Pletnev, Pushkin reacted with "amazement and delight" to Tyutchev's poems. In the 1850s, I.S. Turgenev prepares and publishes, but again without any participation of the author, the first collection of Tyutchev's poems, where Tyutchev is finally named by name. And again - no particular success with the public.

The coming "sixties" did not at all favor Tyutchev's popularity. In magazines, he is occasionally mentioned as a poet of "pure art", along with A.A. Fetom, N.F. Shcherbina.

Interest in Tyutchev was revived in the era of symbolism through the efforts of V.Ya. Bryusov. He saw in Tyutchev his distant predecessor by the similarity of many motives. And there really was a similarity: in a sense of the catastrophic nature of life, humility before fate.

Tyutchev is a diplomat, Tyutchev is a censor, Tyutchev is the author of the articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question” (1844-1850), the author of the poems “Russian Geography”, “Sea and Cliff”, “ Prophecy” is Tyutchev the monarchist, who rejoiced that the waves of European revolutions would not be able to crush the “cliff” of Russian autocracy.

But Tyutchev is extremely controversial. A European by education and lifestyle, he was close to the Slavophiles; the loyal diplomat, however, clearly saw the stupidity and stupidity of the Nikolaev regime (epigram: "You did not serve God and not Russia"). The Crimean War shocked Tyutchev, he began to reconsider his views, rejoiced at the onset of the "thaw" (a record of his words in the diary of Vera Aksakova). In 1857, he filed an official memorandum "Letter on Censorship in Russia", which contained the words: "Unconditional and too prolonged constraint and oppression cannot be imposed on the minds without significant harm to the entire social organism."

But his main contradiction with the whole system of his political convictions, estate-noble predilections, we find in poetry, which spoke of much more, important for all mankind. Only today we learn to understand the poet correctly and interpret his poems.

In 1830, Tyutchev wrote the poem "Cicero". The poet is delighted with the gigantic accomplishments in human history, from his communion with its secrets:

Happy is he who visited this world

In his fatal moments -

He was called by all the good

As an interlocutor at a feast;

He is a spectator of their high spectacles,

He was admitted to their council,

And alive, like a celestial,

I drank immortality from their cup!

Here a kind of "historical romanticism" manifested itself: the absence of direct concreteness, an indication of the fact that gave rise to enthusiasm. Perhaps "Cicero" is associated with the French Revolution of 1830 - this is just a guess, but legitimate, Tyutchev was in Russia at that time. But, undoubtedly, the detonation was felt by the poet All over Europe from the explosion that happened in France.

In Russia, Tyutchev was later shocked by another major "fatal" event that grabbed his soul, and he had to react in a completely different way.

Pushkin died. Tyutchev responded with the poem "January 29, 1837". After Lermontov's "The Death of a Poet" it ranks second in sincerity and depth. But Tyutchev has a motive that Lermontov does not have: Pushkin's "nationality". The end of the poem is highly solemn:

You as first love

The heart will not forget Russia!..

Some researchers had a tendency to present Tyutchev as a restless cosmopolitan, a European in his habits, whose sense of homeland had faded. Twice married to foreigners, he allegedly cooled off in a foreign land even to church rituals. She was supported abroad by her uncle Evseich Khlopov, assigned to the poet from childhood, who kept a corner with an Orthodox icon case in the apartment. (The Slavophil I.S. Aksakov, who was married to the poet’s daughter, complained about this forgetfulness of his). Tyutchev himself has a statement about some alienation from his native places. So he visited the Ovstug estate in the Bryansk district, where he was born and spent his childhood: “So, I saw you again, / The places are not nice, although they are dear.”

He also feels like a stranger on the banks of the Neva, contemplating "in the frosty fog" "the golden dome of Isaac the Giant." But he is carried away by thought to a warm country, where "the sun is blazing in the sun / Luxurious Gulf of Genoa ...".

These sentiments are not unambiguous. Tyutchev had his own "strange" love for Russia, in which, over the years, the spirit of the "official nationality" completely disappeared. Two motifs were combined in the poem "These poor villages", under which the date is set: August 13, 1855. The fall of the heroic Sevastopol taught Tyutchev a lot. He saw the mediocrity of the command, the crisis of the top. His heart bled at the thought of the suffering of the people. The poem was written during a trip to Ovstug and touches on the impressions of poverty in Russian villages:

These poor villages

This meager nature

The land of the native long-suffering.

The land of the Russian people!

They don't understand and they don't notice

The proud gaze of a foreigner,

What shines through and secretly shines

In your humble nakedness,

Dejected by the burden of the godmother,

All of you, dear land,

In the form of a slave, the king of heaven

Went out blessing.

The fate of his native land worried Tyutchev. He believed that Russia should not be approached rationalistically. There are many examples in the history of Russia when the state of affairs seemed completely hopeless, and the country was reborn. Not only Tyutchev, but also Lermontov, and Nekrasov, and even poets of revolutionary ferment - from Radishchev to P.F. Yakubovich - had to hold on to the last anchor of salvation: the belief that Russia would not perish, that its people would still have their say in history.

Russia cannot be understood with the mind,

Do not measure with a common yardstick:

She has a special become -

One can only believe in Russia!

These poems by Tyutchev became especially famous. They were recalled more than once during the years of trials in Russia and during revolutionary upheavals, and in exile, and when the Soviet people crushed the fascist invasion. Completely in the spirit of noble free-thinking, in Pushkin's way, a poem, sketched in 1857 in Ovstug, sounds:

Above this dark crowd

Unawakened people

Will you rise when, freedom,

Will your golden beam shine?

Tyutchev was a Russian poet, he loved his native nature, his whole turn of mind was purely Russian. Of course, only Russia could be discussed in the poem “There is in the original autumn ...”, when the “peppy sickle” is mentioned, under which the ear falls.

Only cobwebs of thin hair

Shines on an idle furrow.

In poems written in a foreign land, the Russian element plays with him: "Spring Waters" with the refrain "Spring is coming, spring is coming!", Anticipating Nekrasov's "Green Noise". And in the poem "Autumn Evening" (1830) - Russian motives; these colors will not suit any other earth: “A misty and sad azure / Over a sad orphan land.” And the “mild smile of withering” of nature itself is also Russian. And in other poems by Tyutchev - “It smells of Russia”, “Look how the grove is turning green”, “Autumn, sometimes late”, “On the way back” - everything is also Russian.

And in general, any nature for him was his own, because he saw it spiritualized. And this is the most important thing in looking at the world around us.

Tyutchev is an opponent of dry rationalism and utilitarianism:

Not what you think, nature ...

Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has a language...

Tyutchev's lyrics were not chamber: she raised and solved questions of universal significance. Even in a poem written in the Pushkin era - "Dream on the Sea" - Tyutchev stated: "Two infinities were in me":

And into the quiet realm of visions and dreams

The foam of roaring shafts burst in.

He also emphasizes his duality in the poem “My soul is the Elysium of shadows” (1831-1836), and in another poem it is said about duality even more clearly:

O my prophetic soul!

O heart full of anxiety,

Oh how you beat on the threshold

What a double existence!

Some researchers directly deduced Tyutchev's dual world from his dual position as a well-born nobleman, a monarchist, who, however, welcomes "fatal minutes" in history, but he is "neither a Westerner", "nor a Slavophile."

Such an explanation is too narrow, vulgar sociological. Tyutchev wrote in the poem “How the Ocean Encompasses the Globe of the Earth” that people are surrounded by an incomprehensible element, their mysterious stream of dark waves carries them, the stars that we look at are mysterious and eternal, but meanwhile we do not understand their language:

And we are sailing, a flaming abyss

Surrounded on all sides.

Such sentiments cannot be ascribed to either the flawed aristocrat or the idealist philosopher. Why can't these moods be seen as deeper reflections on the relativity of human existence in comparison with the life of the universe? After all, all this turns out to be problems of our time, and therefore, perhaps, Tyutchev's poetry in the era of Pushkin turned out to be premature. He, like Zhukovsky in The Unspeakable (1819), speaks of the torments of knowledge and the relativity of human inferences, they are always phenomena...

Nature does not know about the past,

Our ghostly years are alien to her -

And in front of her we are vaguely aware,

themselves only a dream of nature.

All of your children in turn.

Those who accomplish their feat are useless.

She welcomes her

An all-consuming and peaceful abyss.

Tyutchev knows perfectly well where and how he crosses the line of Pushkin's harmonious perception of life. But he considers himself entitled to cross:

And the abyss is naked to us

With your fears and darkness

And there are no barriers between her and us -

That's why we are afraid of the night!

Tyutchev persistently proves the human right to a bold desire to ask "untimely" questions that are beyond direct experience: "There is melodiousness in the waves of the sea - / Harmony in spontaneous disputes" (1865).

In the same way, Tyutchev's personal lyrical themes are built on sharp cuts, on shaky forebodings, changes in the illusory and the real.

In Tyutchev's personal lyrics, love is the same battlefield.

Perhaps, only two poems are called purely lyrical: “I remember the golden time” and “I met you - and all the past ...”. The first was written in the 30s, and the second in the 70s. Both are dedicated to the beautiful Countess Amalia Lerchenfeld (later Krüdener, and in her second marriage Adderberg).

"Denisevsky cycle" - the main one in love lyrics Tyutchev. It has an acutely tragic character. In the 47th year of his life, Tyutchev, married with a second marriage and having four daughters and two sons, fell in love with Elena Aleksandrovna Denisieva, who was brought up in the same place where his daughters studied. She was much younger than him. The novel lasted fourteen years. They had three children whom Tyutchev adopted. In the passion, confusion of her feelings, Denis'eva resembles the heroines of Dostoevsky's novels that appeared later. She suffered from the fact that Tyutchev did not break with his legitimate family, that her position in society was false: she was not recognized by the people of that aristocratic circle in which Tyutchev revolved. Denisyeva died of consumption, the "fatal", "violent blindness of passions" ruined her.

The "Denis'ev cycle" captures mainly the pangs of love. For the first time in Russian poetry, the main attention is paid to a woman, the strength of her spirit.

But these eyes are sincere -

It is stronger than all demons.

Tyutchev felt like an executioner in this love:

Oh, how deadly we love

As in the violent blindness of passions

We are the most likely to destroy

What is dear to our heart!

Tyutchev curses himself that he was not a firm support for his beloved in life. It was a "struggle of unequal two hearts", there was also a struggle of a woman with the light.

Fate's terrible sentence

Your love was for her

And an undeserved disgrace

She lay down on her life.

The masterpieces of the "Denisiev cycle" are the poems: "She was sitting on the floor ...", "She lay in oblivion all day ...", "There is also in my suffering stagnation", "Today, friend, fifteen years have passed."

Tyutchev is a great master of verse. Back in the era of the complete dominance of precise syllabic-tonic metrics, he proposed bold violations of rhythm, smoothness, in order to more accurately convey the difficulties of a developed thought, the pace of feeling.

He appears as a true philosopher-poet. So in the poem “Spring Thunderstorm” (“I love a thunderstorm in early May”), thunder is described: “As if frolicking and playing, / Rumbles in the blue sky.” And then there is the exposure of the technique, deliberately pompous, full of irony, a possible explanation for this everyday miracle of nature.

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

Sometimes in his poems, current ideas about the forces of nature collide with the pagan beliefs of antiquity. Modern poetry in the person of Tyutchev, "laughing", parted with its past, developing new ideas about things and about the methods of artistic expression.

There was no Tyutchev school in Russian poetry. But Tyutchev has always been the standard of poetic perfection. It was largely repeated in the poetry of Innokenty Annensky, Valery Bryusov, Alexander Blok, Boris Pasternak, Nikolai Zabolotsky...

Apollon Nikolaevich Maykov

Maykov is the longest living among the poets of "pure art". There were no interruptions or catastrophes in his work. The talent is less bright and impulsive than that of Fet and Tyutchev. The verse is more even, traditional. In terms of genres and cycles, perhaps the most diverse of all Russian poets, including the greatest: lyrics, poems, dramas; lyrics, in turn, anthological, love, philosophical, about the seasons, about the life of nature, travel pictures, countless translations from Petrarch, Goethe, Schiller, Chenier, Heine, imitations of Horace, Ovid, Martial, translations-alterations from Czech, modern Greek songs, from the Scandinavian sagas, folklore. Finally, a poetic translation of "The Tale of Igor's Campaign" into modern language with detailed comments.

Apollon Maikov is a multi-talented person. His father is an academician of painting, and Maykov himself originally intended to become a painter. Mother is a writer. The younger brother - Valerian Maikov, who died early, - literary critic, a philosopher who replaced Belinsky in Fatherland Notes, the first insightful connoisseur of Dostoevsky. Another brother - Vladimir Maikov - publisher of the children's magazine "Snowdrop". The last brother - Leonid Maykov - academician-philologist, famous Pushkinist. A circle of writers gathered in the Maykovs' house: Goncharov, I. Panaev, Benediktov, Grigorovich, Turgenev, Dostoevsky. The poet Apollon Maikov received a comprehensive home and university education. He made two trips abroad (1842-1844): visited Italy, France, Germany, Bohemia. During a sea expedition in 1858 he visited Greece and again Italy. His poetry was imbued with the spirit of Russian and Western European culture. He highly honored the reforms of Peter the Great and only temporarily succumbed to Slavophile influences. Only once, as a poet, did he enter the sphere of pure politics, during the Crimean War of 1854, emphatically expressing his patriotism as a Russian person. He prefers "pure art". "He was worried about historical and philosophical problems, the fate of peoples and entire civilizations."

Ap. Maikov is a master of anthological, that is, light, on antique plots, poems, sometimes not only in the spirit of antiquity, but also on modern topics, with the pathos of the ancient harmonious fusion of man with nature, which carries the secret of being. When in 1840 two poems by Maykov, signed with the letter M, appeared for the first time in the Odessa Almanac, “Dream” and “Picture of the Evening,” Belinsky, not knowing the name of the author, enthusiastically welcomed the “soft, gentle brush” capable of creating “ plastic, fragrant, graceful images. “One such poem is quite enough to recognize in the author a remarkable talent that goes beyond the ordinary.” Maykov generously began to print the most famous Russian magazines. In 1842, his anthological plays were published as a separate book. The second collection - "Essays on Rome" - was published in 1847: it reflected the vivid impressions of visiting Italy, which greatly enriched the poet's imagination. Belinsky responded with praise in special articles, especially singling out the plays: Octave, Art, Hesiod, Bacchus, Angel and Demon, Meditation, My child, there are no more blessed days, Muse ”,“ The Goddess of Olympus ”,“ She handed me sonorous flutes ”, etc.

Nevertheless, Belinsky has already pointed out that anthological poems are too narrow a genre for a great talent and too not in a modern spirit. The critic advised the author to turn to the essential philosophical problems of being, to get closer to reality. But the enrichment of Maikov's poetry nevertheless went in a vicious circle.

If Batyushkov's "Bacchante" is full of passion, all in motion and paves the way for the image of a living person and poetry, then Maykov's "Bacchante" (1841) is only a picture for the contemplation of an outside observer trying not to frighten off her dream; "tympanum", "sounds of flutes", "bacchanal splashes" - everything passes by, lyrical heroes are indifferent to the festival. In the era of Batyushkov and the young Pushkin, there was always a desire for historical accuracy in reproducing the ancient world. The goal was, in essence, romantic - the comprehension of the national spirit. Maikov is a quiet, cold neoclassicist, his book ideas about antiquity win:

I am content, like a straight Slav,

The idea is common in Winckelmann's science.

What do I care about the accuracy of years,

To the fidelity of names!

In the ruins of Rome and its environs, Maikov spotted a lot of beauty, in the outfits and gestures of the Italians - a lot of taste and grace, but still Maikov is only a contemplator. In the bright plastic whirling of the tarantella - the rapture of youth, and no philosophy:

carefree smiles,

Carefree dreams.

("Tarantella", 1858-1859)

Indeed, there is no time for names here:

Ah, love me without thinking

Without melancholy, without fatal thoughts,

Without reproaches, without empty doubts!

What is there to think? I am yours, you are mine!

Of course, the colors of reality burst into these pictures. There are many beggars in Rome. One of them persisted with outstretched hand: “I'm hungry. I am hungry!" You involuntarily sigh: “Here it is - Holy Italy!” (1844).

Italy, groaning under Austrian oppression, Garibaldian Italy, excited, reborn to a new great life, worthy of ancient Rome, did not attract Maikov's attention.

Maikov's pictures of Russian life turned out to be just as smooth, purely contemplative, despite the poet's captivating powers of observation and the plasticity of his verse. The feeling that all people sooner or later experienced on themselves is amazingly noticed. It is an integral part of eternal, unforgettable impressions, no matter how small it may seem.

Spring! the first frame is exposed -

And burst into our room

And the blessing of the nearby temple,

And the talk of the people, and the sound of the wheel.

Maikov's poem "Haymaking" (1856) was widely popular. He was known to everyone who graduated from the village school, parish, zemstvo; there is a lot of true poetry of Russian village life in it:

Smells like hay over the meadows...

Cheerful soul in song

Women with rakes in rows

They walk, stirring the hay.

The smoothness of acute themes is especially felt in the poems, in which, it would seem, the image of the Russian peasant with his worries should have appeared, as in Nekrasov's "Uncompressed Strip". Maikov outweighs the idyll, the intoxication with the beauty of nature; if living people appear, then as peisans (“My God! Bad weather yesterday”, “Summer rain”, “Autumn”). Everywhere for Maykov - God's grace:

And reapers, and reapers, diving, as if into the sea,

Already knitting merrily heavy sheaves.

("Niva". 1856)

Many times Maykov responded to the "reviews of history": these are reflections in Gorodets on the Volga, the place of death of Alexander Nevsky, and at the grave of Ivan the Terrible, and about the archers of Princess Sophia, and legends about Peter the Great, about Lomonosov, about 1812 - everywhere the idea of ​​the state unity of Russia and the greatness of its monarchical system, its Orthodoxy, passes through him. The feeling of the motherland should be an invincible instinct (Yemshan, 1874), a bright consciousness of its traditions. Maykov honored with poems the anniversaries of Krylov, Karamzin, Zhukovsky, Pushkin as the greatest values ​​of Russian culture.

Maikov was attracted by many strong-willed persons in the history of mankind and the heroes glorified in the epic: "Baldur" - according to the Scandinavian Edda, Prince Igor from "The Tale of the Campaign ...", "Bringilda" (a motive from the Elder Edda), "The Legend of Cathedral of Constance”, about the Czech educator Johann Hus burned by the Inquisition.

Most of all, Maykov's imagination was occupied by the grandiose pass in the history of mankind, the collapse of the mighty pagan Roman Empire and the victory over it of the new Christian world. The lyrical drama Three Deaths, or originally The Choice of Death (1852), is devoted to this topic. It was supposed to be continued in the form of a second part called The Death of Lucius (1863). All the motives in the tragedy in verse "Two Worlds" (1881) are summarized. For the last Maykov in 1882 was awarded the full Pushkin Prize of the Academy of Sciences.

The history of Rome and the Christianization of Europe was controversial and bloody. Too zealous champions of Christ were not always pleasing to the authorities. The Pope of Rome, the earthly vicar of God, intervened in the vicissitudes of events and punished those who too purely wanted to follow the teachings of Christ. Such was Savonarola. The Vatican, in order to stay in power, had to compromise with paganism, could not cancel Saturnalia and carnivals. The tough monk boldly argued with the pope, accusing him of unbelief:

His spirit was nourished by Christ,

And for him he went to execution;

Christ's name is read

Monk's death protocol.

Maykov is an erudite poet, an intellectual poet. He revived in verse the pages of the spiritual history of mankind, great events, great hymns. He looks amazingly into our today's anxious thoughts about the meaning of life, about the ultimate fate of humanity, the planet, the universe...

And often the reason for reflection is the most everyday trifle, for example, a visit to a museum and a certain exhibit in it.

I watched with a shudder

On this bone of another age...

And the same fate awaits us:

The human race will also pass...

The noise of our glory will be silent;

People and legends will die,

All that is powerful and proud of our mind -

Creation will not enter into others.

............................................

So the mind in the mysteries of being

Reads to us ... but the heart beats,

It was difficult for Polonsky at the beginning of his work not to fall under the influence of Nekrasov, the idol of the era. Although there is, as Turgenev noted, in Polonsky's poem "Blessed is the Embittered Poet" (1872), there is some "awkward hesitation between irony and seriousness." In general, Polonsky bowed before Nekrasov's "power of denial", seeing in his love the germs of fruitful ideas that suggest a "way out of suffering." But Nekrasov himself is full of "obvious contradictions": "He drinks with us from a common cup, / Like us, poisoned and great." Polonsky was able to soberly comment on poetic parabolas in a letter to M.M. Stasyulevich, who refused to publish one of his poems in Vestnik Evropy: “There was a time when I deeply sympathized with Nekrasov and could not help but sympathize with him. Slavery or serfdom- game above, ignorance and darkness below - these were the objects of his denial.

Polonsky strongly opposes the persecution of Nekrasov, which began after his death. He recalls how he visited the dying great poet, how he taught “citizenship” on his bed, he was steadfast in suffering - a “fighter”, not a “slave”. “And I believed him then, / As a prophetic singer of suffering and labor” (“About N.A. Nekrasov”).

But in the very poetic work of Polonsky, this fashionable "citizenship" was little manifested. It often turned into rhetoric (“To the album of K. Sh ...”). In the midst of chaos modern life Polonsky prefers "eternal truths", does not worship "metal", that is, the "iron age", as Boratynsky would say: "Chance does not create, does not think and does not love" ("Among Chaos"). He does not know who will change his life: "Inspired fanatic prophet / Or practical sage" ("Unknown"). He does not know where deliverance will come from: "from the church, from the Kremlin, from the city on the Neva or from the West", he does not care about this, there would be only deliverance ("From where ?!").

The first collection of poems by Polonsky "Gamma" was published in 1844, and Belinsky gave a review of it in the annual literature review. The critic noted the "pure element of poetry", but the absence of the author's view of life. And the next collection - "Poems of 1845" - was completely cut down by the critic. Later, he spoke harshly about Polonsky and Shchedrin (1869). The poet is called a "secondary", literary "eclectic" who does not have his own physiognomy. He is ruined by "unclear contemplation." Unformed suffering is characteristic of Polonsky: this is how he sympathetically depicts V.I. Zasulich in the poem "The Prisoner" ("What is she to me! - Not a wife, not a lover"). But more he confessed his sympathies and memories of Fet and Tyutchev. One of them is a participant in the games of the gods of the universe, and sparks of divine fire sparkled in the other. The soul of Polonsky was especially thrilled by his meetings with Turgenev. In Lutovinovo he spent two summers with his family before the death of the writer. The pranks of youth were also remembered, when in 1855 here, in Lutovinovo, a satire on Chernyshevsky was composed under the name "School of Hospitality". Grigorovich, Botkin, Druzhinin and Turgenev himself took part in this farce, although at the same time some character traits of the owner of the estate were ridiculed in the farce.

A purely internal issue of Polonsky's growth, almost without any social significance, was his prose: sketches of old Tiflis, the story "The Marriage of Atuev" (about the fate of a nihilist, brought up on the ideas of the novel "What is to be done?" Chernyshevsky). The novel The Confessions of Sergei Chelygin, touted by Turgenev as Polonsky's "masterpiece", had some merit in depicting a bureaucratic system that destroys a pure soul. But Polonsky's prose was not included in great literature. The same can be said about the poems, with the exception of the charming "Grasshopper Musician" (1859) - a grotesque phantasmagoria in the spirit of the animal epic. What is the most valuable thing in Polonsky? - Lyrics, romances, reflections on the frailty of life, languid expectations of happiness without passionate breakdowns and pangs of love. Many verses were set to music by A. Rubinstein: “Night” (“Why do I love you, bright night?”), “Gypsy song” (“My fire is shining in the fog”), which became a folk song, music by P. Tchaikovsky. This poem, apparently, in some version existed back in the 40s, since Fet quotes it in his memoirs, speaking of his first meetings with Polonsky. Polonsky's poems were also set to music by A. Dargomyzhsky, P. Bulakhov, A. Grechaninov, S. Taneev. Polonsky's most outstanding are two or three dozen poems, some of which have already been listed. Let's point out a few more: “The Sun and the Moon” (“At Night in the Cradle of a Baby”), “Winter Way” (“A Cold Night Looks Dullly”), “Muse” (“Into the Fog and Cold Listening to the Knock”), “To the Demon” (“And I am a son of time”), “Bell” (“The blizzard subsided ... the path is illuminated”), “Last breath” (“Kiss me ...”), “Come to me, old woman”, “Outside the window in shadows flicker", etc.

Polonsky's lyrical hero is entirely this-worldly man with his earthly sufferings, but a flawed man, a loser. He is deprived of love, friendship, not a single feeling flares up. Some smallest reason hinders, frightens him away. Likewise, sympathetic participation in someone else's grief is devoid of self-sacrifice, it only softens the pain. Selflessness instills indecision in the hero's soul, but also leaves him the freedom of choice, devoid of any selfishness. Polonsky's favorite motif is the night, the moon. Russian, Italian, Scottish landscapes emerge in the most general terms, remaining romantically indefinite and mysterious.

There is no complete sweetness in Polonsky's poems: there is too much rationality in them, they lack variability in the development of a given motive and tone. The exception, perhaps, is the "Song of the Gypsy". A cruel romance is hidden by the conventions of gypsy life. Feelings here are reminiscent of the very “sparks” that “extinguish on the fly”, a meeting “on the bridge” without witnesses, in the fog the meeting can easily be replaced by separation, and the “shawl with a border” tied on the chest - a symbol of the union tomorrow can be untied by someone then another. Such is the fickle love of a gypsy.

Polonsky understood that childhood memories dear to his heart, naive ideas about nature, estate life, about gardens and parks with their shady alleys, smells of flowers and herbs - all this is doomed in the modern world. The ways of moving people change dramatically, railways cross spaces, and woods, and birches, and bell towers, native roofs, people - everything appears in a different light and dimension, spinning in a frantic run (“On railway":" Rushing, rushing iron horse!"). This new vision of the world prepares the motives of the poetry of Apukhtin, Fofanov, Sluchevsky.

Polonsky was aware that time also changes the internal logic of things. If you follow it exactly, then it is easy to pass for a madman among people of ordinary consciousness. A lot of absurd and unreasonable things are going on in the surrounding history ("Crazy"), And this poem, even by its very name, prepares for the even more disharmonic "Crazy" Apukhtin, who did not leave the stage for a long time.

Polonsky does not have Fet's impressionistic details: he is very narrative in lyrics, his epithets have direct meanings, but he loves the rustle of reeds, the play of nightingale singing, bizarre clouds, the merging of a beam of dawn with the azure of waves in the morning dawn. Communication with nature healed his heart:

Smile at nature!

Believe the omen!

There is no end to the desire -

There is an end to suffering!

Alexey Konstantinovich Tolstoy

In "pure art" A.K. Tolstoy, like Polonsky, enters with his lyrics. But, unlike Polonsky, Tolstoy's large genre forms - the novel "Prince Silver", a dramatic trilogy, which includes the historical drama "Tsar Fyodor Ioannovich", are first-class works of Russian literature. And by temperament, Tolstoy is an extremely active writer who preached his own definite doctrine: the autocracy is doomed if it ceases to rely on the well-born boyars, it (the autocracy) has done a lot of evil in the past, let out a lot of blood, enslaved the people - power, the most absolute, is obliged to reckon with moral principles, otherwise it turns into tyranny.

Tolstoy was very critical of censorship arbitrariness, the policy of Muravyov-Veshatel, the reform of 1861, the civil execution of Chernyshevsky, sarcastic about high government bureaucrats and created a general satire on the state bureaucracy - "Popov's Dream" (1882). He sarcastically draws the change of pompadours on the Russian throne in the satire "The History of the Russian State from Gostomysl to Timashev" (1883), (Timashev was the Minister of the Interior under Alexander II). The refrain after each reign is the chronicle words with variations: "Our land is rich, / There is only no order in it." But brave and independent in relation to the authorities, Tolstoy did not share the beliefs of the "nihilists" (the satire "Sometimes a merry May"), with their atheism, the preaching of anarchy, "equality" - this "stupid invention of the 93rd year." Democratic journalism noted: “The main idea of ​​Count. Tolstoy was to kick the hated modern progress ... ". He ridicules the projector's recipes for healing society (the satire "Pantelei the Healer", 1866). He taunted the Sovremennik party as best he could: “And their methods are dull, / And their teaching is dirty”:

And on these people

Emperor Panteley,

Don't be sorry sticks

Sukovaty.

Zealously calls on Tolstoy to resist the surging propaganda flow of the destroyers of everything cherished, everything beautiful (“Against the Current”, 1867).

Tolstoy saw the welfare of the people, the unity of class interests only in the past, in Kievan and Novgorod Rus. He wrote a lot of historical ballads “with a tendency”, glorifying the heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich, pious princes - Vladimir the Baptist, crushers of all evil spirits, enterprising ushkuinists. Tolstoy revived the Ryley genre of thought, but with some correction: for him, the heroes are not direct tyrant-fighters, people's defenders, but righteous people who fight tyrants with their moral strength: Prince Mikhail Repnin, Vasily Shibanov. He took the plots for the most part from Karamzin’s “History ...”: Ivan the Terrible pierced Shibanov’s foot with a rod just because he, a servant of the traitor Andrei Kurbsky, who fled to Lithuania, brought a caustic message from his master to the formidable king.

Tolstoy saw the struggle of polar opposites in modern turmoil. Radicals and retrogrades, "Westernizers" and "Slavophiles" sharpened their demands. Tolstoy did not take the side of any of these parties. He needed freedom to express his personality, his beliefs and moods. He himself well expressed the ingenuity of his position: "Two camps are not a fighter, but only an occasional guest" (1867).

That freedom, which he so guarded for himself, prompted him to lyrical outpourings:

my bells,

steppe flowers,

What are you looking at me

Dark blue?

Tolstoy considered Bells to be one of his most successful works. On the same take-off, another masterpiece was written: “The song of a lark is louder” (1858).

Contemporaries reproached Tolstoy for the salonism of his songs. But salonism cannot be reproached if a certain culture of feeling is associated with it, the elegance of poetic expression, for example, “In the midst of a noisy ball” (1856). Commentators have long established that “In the midst of a noisy ball” is connected by its main motive with Lermontov’s poem “From under a mysterious, cold half-mask”, and the verse “In the anxiety of worldly vanity” was inspired by Pushkin’s message to A.P. Kern - “I remember a wonderful moment” (“In the anxieties of noisy fuss”). “In the midst of a noisy ball” is not “butterfly” poetry, not from the realm of quirks and parquet-salon hobbies. Here is the music of love, its secrets, random and non-random in it. The finale: “Do I love you, I don’t know, / But it seems to me that I love you” - akin to the controversy that ends Pushkin’s message to Alina Osinova (“Confession”, 1826):

Oh, it's not hard to deceive me

I'm glad to be deceived!

Tolstoy found pure poetry in everyday life, in what his eyes saw. This "material limit" underlies the only mentioned masterpiece "Among the Noisy Ball". The poem arose as a result of the feelings that Tolstoy experienced at one of the St. Petersburg masquerades, where he met his future wife, Sofia Andreevna Miller. Such predestination, or Bunin's "grammar of love", was in the customs of the noble circle: Tatyana writes the cherished monogram O. yes E., and Kitty and Levin declare their love with the help of letters, and this feature in Anna Karenina is autobiographical: also , guessing the words by the initial letters, Leo Nikolayevich Tolstoy declared his love with his Sofya Andreevna. The lyrical hero "Among the noisy ball" is also trying to unravel his "secret". And at the same time, the poem touches on an eternal theme, non-classical: love is a common human property, everyone goes through its test, the first torment of choice, and the lyrical ecstasy of feeling, and the “wonderful voice”, and the “thin figure”, ringing and sad laughter, the whole shift impressions:

I see sad eyes

I hear a cheerful speech.

No wonder L.N. liked this poem. Tolstoy.

Direct observation outweighs Tolstoy even when his poetic thought is in captivity of someone else's model. In the enthusiastic description of Ukraine: “You know the land where everything breathes in abundance”, entirely built on personal impressions, for the estate of Tolstoy Krasny Rog was located in the Chernihiv region, where the poet spent his childhood, and then lived for a long time, and died there, one can hear intonations "Minions" by Goethe.

Plastic picturesqueness, compositional harmony, which gave full sonority to each verse, imparted a special musicality to Tolstoy's lyrics. It is no coincidence that famous romances by Tchaikovsky, Rimsky-Korsakov, Balakirev, Rubinstein, Mussorgsky, Cui, Taneyev, Rachmaninov were written on his texts. Here they found an inexhaustible source of inspiration. It is not for nothing that there is an opinion in criticism that the lyricist Tolstoy is better known for his sensitive singing than for his poems. But I don't think one interferes with the other.

Picture of Russian literary life in the 30-50s. would be incomplete if we did not take into account the existence of poetry, so-called. "pure art". Under this conditional name, the work of those poets who defended the ideology of the conservative part of the landlord class can be combined. This group was headed by Tyutchev and the young Fet, A. Maikov actively participated in it (the first edition of his poems - 1842), N. Shcherbina, ("Greek Poems", Odessa, 1850; "Poems", 2 vols., 1857), etc. The undoubted predecessor of this line in Russian poetry was Zhukovsky, in some motives Pushkin (the period of withdrawal into the theory of art in itself - 1827-1830) and Baratynsky. However, neither in Pushkin nor in Baratynsky did the motives of "pure art" develop as comprehensively as in the subsequent period of Russian poetry, which was undoubtedly explained by the aggravated corruption of the class that nourished them.

It is not difficult to establish the noble origin of this poetry: sympathy for the estate, admiring its nature, the serene life of its owner is a leitmotif that runs through all the work of any of these poets. At the same time, for all these poets, complete indifference to the revolutionary and liberal tendencies that dominated the then social life was typical. It is deeply natural that in their works we will not find any of the popular in the 40-50s. topics - the denunciation of the feudal-police regime in its various aspects, the fight against serfdom, the defense of the emancipation of women, the problem of superfluous people, etc., do not interest these poets, who are busy with the so-called. "eternal" themes - admiring nature, depicting 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 express themselves in an invariably conservative and reactionary spirit on the important problems of current life that threatened the life of their class (cf. Tyutchev’s condemning message to the Decembrists and the incense burnt to Nicholas I by A. Maikov in his poem “Carriage”): in the aesthetic views of these representatives of the landlord right, it was not by chance that the subjective idealistic concepts of Kant and Schelling, long overcome by the rest of literature, were resurrected : here again preached eg. the doctrine of the absolute gap between the artist and the crowd, cold and indifferent to his activities. 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 passeism. To no lesser extent, the poets of "pure art" were close to ancient literature, the work 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. However, their dominant and most popular genre was a lyric poem, in which the poet's experiences were revealed against the fragrant background of manor landscapes (urban civilization almost did not attract their attention to itself).

It is impossible to deny the significance of the artistic level of this poetry, which manifested itself both in the sophistication of its images, and in the finished composition, and in the melodic structure of the verse. But all these indisputable virtues are developed in the lyrics of "pure art" at the expense of 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 occupied. This explained their rather weak influence on further Russian poetry, since its main currents (Nekrasov, Kurochkyan) are unconditionally 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 with their artistic penetration into the world of nature, the second with the sharpness with which they expressed the feeling of the collapse of his class that overwhelmed him, subjectively experienced by him as a universal crisis of consciousness.

"Pure art" (or "art for art's sake", or "aesthetic criticism"), a trend in Russian literature and criticism of the 50s-60s of the nineteenth century, which is characterized by in-depth attention to the spiritual and aesthetic features of literature as an art form, which 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. Of 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 proper, but also categories of a 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, strong art in terms of ways of self-expression. The position of the supporters of "pure art" was not to tear art away from life, but to to protect his truly creative principles, poetic originality and the purity of his ideals. They did not strive for isolation from public life (it is impossible for anyone to achieve this), but for creative freedom in the name of asserting the principles of the perfect ideal of art, "pure", that is, independent of petty needs and political predilections. For example, Botkin spoke of art as art, investing in this expression the whole complex of concepts related to creativity free from social order and perfect in its level of creativity. The aesthetic is only a component, albeit an extremely important one, in the system of ideas about genuine art. Annenkov more often than Botkin spoke with critical articles. 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 genuine artistry. And the expression "pure" here does not mean the isolation of art from the vital 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 points that are 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 generally significant, revealing it, however, through the "inner" world of an individual and even "particular" through beauty, beautiful (if there is an ideal) images; 3) While stimulating a person's aspirations for the ideal, art and literature cannot, however, subordinate themselves to social pragmatism to such an extent that they 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 being.

2. The main themes of the poetry of "pure art"

Russian literature of the 1950s and 1960s includes several well-known poets today who constitute a galaxy of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet.

Poetry is an end in itself for the poet, it is necessary to calm contemplation, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads. Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity.

Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. Therefore, their themes are mostly secular and aristocratically chosen. Poetry of the Chosen Circle of the Reader. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, the poetry of the moment, the direct impression of visible world, mystical love for nature and the mystery of the universe.

At the same time, for all these poets, a complete indifference to the revolutionary and liberal tendencies that dominated the then social life was typical. It is deeply natural that in their works we will not find any of the popular in the 40-50s. topics - the denunciation of the feudal-police regime in its various aspects, the fight against serfdom, the defense of the emancipation of women, the problem of superfluous people, etc., do not interest these poets, who are busy with the so-called. "eternal" themes - admiring nature, the image of love, imitation of the ancients, etc.

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 passeism. To no lesser extent, the poets of "pure art" were close to ancient literature, the work of Anacreon, Horace, Tibullus, Ovid.

Analysis of the poem by F.I. Tyutchev "Oh, how deadly we love ..."

“Oh, how deadly we love ...” (1851) - 3rd verse of the “Denisiev” cycle, that is, a cycle of love lyrics, consisting of fifteen poems dedicated to Elena Alexandrovna Denisiev. This poem (it consists of ten stanzas) most fully expresses Tyutchev's idea of ​​\u200b\u200blove as a "fatal meeting", as a "terrible sentence of fate." “In the violent blindness of passions,” a loved one destroys the joy and charm of love: “We most certainly destroy everything, / What is dear to our heart!”

F. I. Tyutchev poses here the complex problem of the guilt of a person who has violated the laws of light in the name of love - the laws of falsehood and lies. The psychological analysis of F. I. Tyutchev in late lyrics is inseparable from ethics, from the writer's requirements for himself and others. In the "Denisiev" cycle, he surrenders to his own feeling, and at the same time checks, analyzes it - what is the truth, what is the lie, what is the error and even the crime. This often manifests itself in the lyrical statement itself: in a certain lack of confidence in oneself and one's rightness. The guilt of “his” is already defined in the first line: “how murderously we love,” although in the most general and abstract sense. Something is clarified by the "violent blindness of passions" and their destructiveness.

“She” is a victim, but not only and not so much of the selfish and blind passion of her beloved, as of the ethical “lawlessness” of her love from the point of view of secular morality; F. I. Tyutchev’s defender of this legalized morality is the crowd: “The crowd, surging, trampled into the mud / That which bloomed in her soul. / And what about a long torment, / Like ashes, did she manage to save? / Pain, the evil pain of bitterness, / Pain without consolation and without tears! These ten quatrains are consonant with the story of Anna Karenina, which Leo Tolstoy unfolds into an extensive novel narrative.

Thus, in the “struggle of unequal two hearts”, the woman’s heart turns out to be more tender, and therefore it is precisely it that must inevitably “wither” and wither, die in the “fateful duel”. Public morality also penetrates into personal relationships. According to the laws of society, he is strong, she is weak, and he is unable to give up his advantages. He is fighting with himself, but also with her. This is the "fatal" meaning of their relationship, their selfless love. “In the Denisiev cycle,” writes N. Berkovsky, “love is unhappy in its very happiness, the heroes love and in love itself remain enemies.”

At the end, Tyutchev repeats the first quatrain. She repeats it with redoubled bitterness, once again blaming herself for the fact that his love has become for her a life of renunciation and suffering. He repeats with a pause, as if taking a break from the feelings that have come up so quickly. Tyutchev recalls for the last time the roses of her cheeks, the smile of her lips and the sparkle of her eyes, her magical look and speech, her childishly lively laughter; for the last time draws a line to what happened. At the same time, by repeating the first quatrain, Tyutchev shows that everything repeats itself: each of his new loves goes through similar difficulties, and this is a vicious circle in his life and in no way can he break this circle.

Tyutchev writes in pentameter trochaic and cross-rhyme, which affects the smoothness of the poem, and hence the smoothness of the author's thoughts. Tyutchev also does not forget about the odic tradition of the 18th century: he uses archaisms (cheeks, eyes, joy, renunciation, gaze), in the very first line there is an interjection “O”, which has always been an integral part of odes, a certain prophetic pathos is felt: Tyutchev seems to says that all this awaits any "inaccurate" person who falls in love.

Be that as it may, the "last love" of F. I. Tyutchev, like all his work, enriched Russian poetry with verses of extraordinary lyrical power and spiritual revelation.

Analysis of the poem by F.I. Tyutchev "Silentium!"

Hardly any other work by Fyodor Ivanovich Tyutchev (1803-1873) has been subjected to so many conflicting interpretations as his brilliant poem "Silentium!" (“Silence!”) (no later than 1830). The poem "Silentium!" was written in 1830 in iambic tetrameter. The poem consists of 18 lines, divided into three six-verse lines, each of which is relatively independent both in semantic and intonation-syntactic terms. The connection of these three parts is only in the development of the lyrical theme. From the formal means, as a beginning to fasten these three parts, one can note homogeneous end rhymes - precise, strong, masculine, shock - and the last lines rhymed by them in each of the three six-line lines. The main thing that connects all three parts into an artistic whole is intonation, oratorical, didactic, persuasive, invocative and commanding. “Be quiet, hide and hide,” the indisputable command of the first line is repeated three more times, in all three six-verses. The first stanza is an energetic persuasion, an order, a strong-willed pressure.

In the second stanza, the energy of pressure, of dictate, weakens, it gives way to the intonation of conviction, the meaning of which is to clarify the decisive instructions of the first stanza: why should feelings and dreams be hidden in the depths of the soul? There is a chain of evidence: “How can the heart express itself? / How can another understand you? / Will he understand what you live for? / Thought uttered is a lie. We are talking about communication skills, about the ability of one person to convey to another not his thoughts - it's easier - but the life of his soul, his consciousness and subconscious, his spirit - something that does not come down to reason, but much wider and thinner. Feeling, formed into a thought by a word, will obviously be incomplete, and therefore false. Insufficient, false will be the understanding of you by others. Trying to tell the life of your soul, your feelings, you will only spoil everything, not reaching the goal; you will only alarm yourself, violate the integrity and peace of your inner life: “Blowing up, you disturb the keys, - / Eat them - and be silent.”

The first line of the third stanza contains a warning about the danger that the very possibility of contact between two incompatible spheres - inner and outer life - carries in itself: "Only know how to live in yourself ...". This is possible: “There is a whole world in your soul / Mysterious magical thoughts; / They will be deafened by external noise, / The daylight will disperse the rays. “Mysterious magical thoughts” return the thought to the first stanza, since they are similar to “feelings and dreams”, which, like living beings, “both get up and go in” - that is, these are not thoughts, these are dreams, sensations, shades of spiritual states, in the aggregate of their components living life hearts and souls. They can be "deafened" by "external noise", dispersed by "daytime" "rays" - all the turmoil of the "daytime" worldly fuss. Therefore, it is necessary to protect them in the depths of the soul; only there they retain their harmony, order, consonant "singing": "Pay attention to their singing - and be silent!"

21. Romantic image and realistic detail in Fet's poetry.

certain tradition of romantic poetry"poetry of allusions".The inexpressible is only a theme of Fet's poetry, but by no means a property of her style. Fet's artistic world, art, love, nature, philosophy, God - all these are different manifestations of the same creative power- beauty.

A. Fet was fond of German philosophy; the views of idealist philosophers, especially Schopenhauer, strong influence on the worldview of the novice poet, which was reflected in the romantic idea of ​​two worlds, which found its expression in the lyrics of Fet.

Fet's work is characterized by the desire to escape from everyday reality into the "bright realm of dreams." The main content of his poetry is love and nature. His poems are distinguished by the subtlety of the poetic mood and great artistic skill. A feature of Fet's poetics is that the conversation about the most important is limited to a transparent hint. The most striking example is the poem "Whisper, timid breathing ..."

Fet is a representative of the so-called pure poetry. In this regard, throughout his life he argued with N. A. Nekrasov, a representative of social poetry.

With landscape lyrics by A.A. Feta is inextricably linked with the theme of love. Fet's love lyrics are distinguished by emotional richness, joy and tragic notes coexist in it, a feeling of inspiration and a feeling of hopelessness. The center of the world for the lyrical hero is the beloved. (“Whisper, timid breathing”, “Don’t wake her up at dawn”, “I still love, I’m still languishing ...”, etc.). The prototype of the lyrical heroine Fet was the daughter of a Serbian landowner Maria Lazich. The memory of the tragically departed beloved Fet kept all his life. She is present in his love lyrics as a beautiful romantic memory image, a bright "angel of meekness and sadness." The lyrical heroine saves the poet from the hustle and bustle of life (“Like a genius, you, unexpected, slender, / Light flew down from heaven to me, / Humbled my restless mind ...”).

The emotional state of the lyrical "I" of Fet's poems also has neither a clear external (social, cultural) nor internal biography and can hardly be designated by the usual term lyrical hero.

Whatever Fet writes about, the dominant state of his lyrical "I" will always be delight and admiration for the inexhaustibility of the world and man, the ability to feel and experience what he sees as if for the first time, with a fresh, just born feeling. (poem "I'm waiting", 1842) You might think that the hero is waiting for his beloved, but the emotional state of the lyrical "I" in Fet is always wider than the reason that caused him. And now, before the eyes of the reader, the tremulous expectation of a close meeting develops into a quivering enjoyment of the beautiful moments of being. As a result, the impression of deliberate fragmentation, abruptness of the plot of the poem is created.

A. A. Fet acutely feels the beauty and harmony of nature in its transience and variability. In his landscape lyrics there are a lot of the smallest details of the real life of nature, which correspond to the most diverse manifestations of the emotional experiences of the lyrical hero. For example, in the poem “Another May Night,” the charm of a spring night gives rise to a state of excitement, expectation, languor, and involuntary expression of feelings in the hero:

What a night! All the stars to one

Warmly and meekly look into the soul again,

And in the air behind the song of the nightingale

Anxiety and love spread.

In each stanza of this poem, two opposite concepts are dialectically combined, which are in a state of eternal struggle, each time causing a new mood. So, at the beginning of the poem, the cold north, the "realm of ice" is not only opposed warm spring, but also generates it. And then two poles reappear: on one, warmth and meekness, and on the other, “anxiety and love,” that is, a state of anxiety, expectation, vague forebodings.

An even more complex associative contrast between natural phenomena and human perception of it is reflected in the poem “A bonfire blazes in the forest with a bright sun”. A real, visible picture is drawn here, in which bright colors are extremely contrasting: red blazing fire and black coal. But, in addition to this striking contrast, there is another, more complex one in the poem. On a dark night, the landscape is bright and colorful:

A bonfire blazes with the bright sun in the forest,

And, shrinking, the juniper cracks,

Like drunken giants, a crowded choir,

Flushed, the spruce tree staggers.

Perhaps the most Fetov's poem, reflecting his creative individuality, is "Whisper, timid breathing ..." It struck the poet's contemporaries and still continues to delight and fascinate new generations of readers with its psychological saturation with the maximum conciseness of expressive means. It completely lacks eventfulness, reinforced by a verbless enumeration of overly personal impressions. However, every expression here has become a picture; in the absence of action, there is an internal movement. And it lies in the semantic compositional development of the lyrical theme. First, these are the first discreet details of the night world:

Whispering, timid breathing, Nightingale's trills, / Silver and swaying / Sleepy stream ...

Then more distant large details, more generalized and indefinite, foggy and vague, fall into the poet's field of vision:

Night light, night shadows, / Shadows without end, / A series of magical changes / A sweet face.

In the final lines, both concrete and generalized images of nature merge, forming a huge whole - the sky, embraced by the dawn. And the internal state of a person is also included in this three-dimensional picture of the world as an organic part of it:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

That is, here there is an evolution of human and natural plans, although the analytical element is completely absent, only the fixation of the poet's feelings. There is no specific portrait of the heroine, only vague, elusive signs of her appearance in the subjective perception of the author. Thus, the movement, the dynamics of an elusive, whimsical feeling conveys the complex world of the individual, causing a feeling of an organic fusion of natural and human life.

The poetry of the eighties is characterized by a combination of two principles: the outbreak of "neo-romanticism", the revival of high poetic vocabulary, the enormous growth of Pushkin's influence, the final recognition of Fet, on the one hand, and on the other, the clear influence of realistic Russian prose, primarily Tolstoy and Dostoevsky (especially of course, the skill of psychological analysis). The influence of prose intensifies special property this poetry, its rationalistic, exploratory nature, a direct legacy of the enlightenment of the sixties.

Along with a general attraction to the fact, to an in-depth psychological analysis, these poets have a markedly emphasized attraction to realistically accurate detail introduced into the verse. With the sharp mutual attraction of the two poles - realistic, even naturalistic, and ideal, romantic - the realistic detail itself appears in a conditionally poetic atmosphere, surrounded by familiar romantic clichés. This detail, with its naturalism and fantasticness, is correlated not so much with the achievements of the previous realistic era of poetry, but with the aesthetic concepts of the coming era of decadence and modernism. A random detail that violates the proportions of the whole and parts is a characteristic stylistic sign of this transitional era: the desire to find and capture beauty not in eternal beauty, consecrated by time and art, but in random and instantaneous.

Features of the poetry of "pure art" Signs 1 Poetry of hints, conjectures, omissions. 2 Poems do not have a plot: lyrical miniatures do not convey thoughts and feelings, but the "flying" mood of the poet. 3 Art should not be connected with life. 4 A poet must not interfere in the affairs of the world. 5 This is poetry for the elect.

The main themes of the poetry of "pure art" Love Nature Art Lyrics are rich in shades; tenderness and warmth. Imagery, non-traditional comparisons, epithets; humanization of nature, finding an echo to their moods and feelings. melodiousness and musicality

Amalia Maximilianovna Lerchenfeld I met you and all the past In an obsolete heart came to life; I remembered the golden time - And my heart felt so warm... As sometimes in late autumn There are days, there is an hour, When it suddenly blows in the spring And something stirs in us - So, all blown in by the breath of Those years of spiritual fullness, With a long-forgotten ecstasy I look at your sweet features... As after centuries of separation, I look at you, as if in a dream, - And now the sounds that have not ceased in me have become more audible... There are more than one memory, Then life spoke again, - And the same in we are charmed, And the same love in my soul! G

Vocabulary Poetics Poetics is the totality of the author's stylistic devices. Archaic syllable - Archaic syllable - ancient, ancient, dating back to the traditions of the 18th century. Pantheism - Pantheism is a religious and philosophical doctrine that identifies God and the world whole (nature). Naturphilosophy - Naturphilosophy - the philosophy of nature, a speculative interpretation of nature, considered in its entirety.

Features of the poetry of F.I. Tyutchev Art world Tyutchev is not a holistic, but a bifurcated picture of the perception of the world, which leads to disharmony between the rebellious spirit of man and reality. The "double existence" of the split human soul is most clearly expressed in the poet's love lyrics. The feeling of Infinity and Eternity as a reality, and not some abstract, abstract categories.

Features of the poetry of F.I. Tyutcheva Tyutchev is a discoverer of new figurative worlds in poetry. Poetic images have a cosmic scale: it is space and chaos, life and death. The scale of poetic associations is amazing. The poet draws parallels between the states of the soul of the lyrical hero and natural phenomena. Tyutchev's lyrics are inherent in the ideas of pantheism. In the poems of the late period of creativity, the poet's interest in psychological concreteness intensifies.

Poetics F.I. Tyutcheva 1. Vocabulary Archaisms (wind, trees). Compound words (sad orphaned land). Words consisting of 3 or more syllables (mysterious, presentiment) 2. Syntax The poem begins with a question, affirmation or denial. Poems are like replicas of an interrupted conversation. 3. Genre Fragment “His poetic creations appeared in the light of day before they had cooled off, still trembling with the inner life of the poet’s soul.”

The main themes of F.I. Tyutcheva 1. The theme of the poet and poetry "Do not believe, do not believe the poet, maiden ..." "Do not believe, do not believe the poet, maiden ..." "Poetry" "Poetry" "We are not given to predict ..." "We are not given to predict ..." Motive loneliness, the tragic insights of which are incomprehensible, and the prophets are not even heard by others.

The main themes of F.I. Tyutcheva 3. The theme of Russia. “I looked, standing over the Neva…” “I looked, standing over the Neva…” “Over this dark crowd…” “Above this dark crowd…” “Russia cannot be understood with the mind…” “Russia cannot be understood with the mind…” “Two unities” "Two unities" Russia is the soul of mankind. Russia is the soul of mankind. The feeling of Russia can be realized through faith. The feeling of Russia can be realized through faith. The salvation of Russia is in the Orthodox tradition. The salvation of Russia is in the Orthodox tradition.

The main themes of F.I. Tyutcheva 4. The theme of nature. “Glimmer” “Glimmer” “Like the ocean embraces the globe of the earth…” “Like the ocean embraces the globe of the earth…” “Autumn evening” “Autumn evening” “Not what you think, nature…” “Not what you think, nature ... "" What are you howling about, night wind?" "What are you howling about, night wind?" “There is in the original autumn ...” “There is in the original autumn ...” Natural phenomena are perceived as phenomena of a living soul. Natural phenomena are perceived as phenomena of a living soul. The natural-philosophical nature of F.I. Tyutchev. The natural-philosophical nature of F.I. Tyutchev.

The main themes of F.I. Tyutcheva 5. The theme of love. “With what bliss, with what longing, the lover…” “With what bliss, with what longing, the lover…” “Predestination” “Predestination” “Oh, how murderously we love…” “Oh, how murderously we love…” “She was sitting on floor…” “She was sitting on the floor…” Love is always a struggle. Love is always a struggle. This "fatal duel" can cause the death of one of the lovers. This "fatal duel" can cause the death of one of the lovers. Psychological concreteness is combined with a philosophical understanding of the state of the soul. Psychological concreteness is combined with a philosophical understanding of the state of the soul.