Answer from Mark Stepanov[guru]
Aesthetic concept that asserts the inherent value of art from politics and public life.
Simply put, the theory that art is self-sufficient and independent.
In Russia, the slogan "art for art's sake" in mid-nineteenth in. polemically opposed to the natural school, or "Gogol's direction", i.e., realistic art, and was criticized by Russian revolutionary democrats (V. Belinsky, N. Chernyshevsky, N. Dobrolyubov), who saw the source of beauty in reality, affirmed the ideas of civic consciousness of art .
Answer from Irina Gubanova[guru]
The aesthetic theory of "pure art" united the work of many poets who did not set any political or didactic goals and objectives for art. They argued that art is "pure" - it is "cleansed" of topics related to the struggle of the revolutionary-democratic camp, the ideas of the peasant revolution. The only object of art for the poet is beauty, which brings pure joy and destroys suffering, and the source of beauty in the world is nature, creativity, love. From the problems of reality, from its social vices and contradictions, the poets of the school of "pure art" went into the sublime world of a pure poetic soul, into the world of their imagination. A poet is a God-inspired creator, and his goal is to embody the divine beauty of the world in poetry.
Not for worldly excitement,
Not for self-interest, not for battles,
We are born to inspire
For sweet sounds and prayers.
Fet was a true supporter of "pure art". His thoughts: “If a song hits the listener's heart string, then it is true and right. Otherwise, it is an unnecessary dress uniform and poetry should do without instructions, moralizing” - could not be accepted by revolutionary democratic critics. Therefore, his poetry was destroyed, and in her face all “pure art”. This assessment of Fet's work was later picked up by criticism of socialist realism.
Answer from Misha marochink[newbie]
"Pure art" ("art for art's sake")? - the name of a number of aesthetic concepts that defended independence artistic creativity from political, ideological, social factors and claimed "eternal values"? - love, beauty, nature, creativity, etc.
Answer from Angelina Korolchenko[newbie]
"art for art's sake"
a complex of worldview attitudes, creative principles, aesthetic ideas and taste preferences, based on the ideas of the inherent value of art, its freedom from social demands, social needs, disciplinary edifications of a moral, ideological, political nature and other normative factors. It emerged as a holistic aesthetic concept in France in the 19th century. Prior to that, it existed in the form of episodic mindsets and private creative passions of individual artists. Various aspects of this artistic and aesthetic position were considered in the works of G. E. Lessing (“Laocoon”), I. Kant (“Criticism of Judgment”), F. Schiller (“Letters on Aesthetic Education”), theoretical justification and the public presentation of the concept of "pure art" was played by the French writer Theophile Gauthier. In the preface to his novel Mademoiselle de Maupin (1836), he formulated its basic principles, the essence of which was that the purpose for which art exists is art itself. A prominent place in the complex of ideas and concepts serving the concept of "art for art's sake" was occupied by the meaning of the "ivory tower", denoting the position of the artist's complete isolation from the everyday, mundane worldly bustle.
The school of "pure art" took shape in the 1950s and 1960s. 19th century The poets of this direction concentrated their attention on the category of beauty and philosophy in life and tried do not affect in their works "painful" topics politics, social conflicts, etc. The largest representatives of "pure art" were F.I. Tyutchev and A.A. Fet.
The aesthetic views of Tyutchev were formed under the influence of Pushkin, whose memory the poet was very reverent: “ Well, as first love, Russia's heart will not forget you». Distinctive feature poetry Tyutchev - in her philosophy. The subject of Tyutchev's poems is varied, but the dominant motif is philosophical reflection of the author– be it intimate lyrics or lyrics about nature, etc.
Nature appears to the poet as a perfect, ideal category, hence the anger towards indifferent people who are unable to see the naturalness of nature, to know its language: “ 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". Subtle observation, warmth, lyricism and even confessionalism are manifested in the poems “There is in the initial autumn”, “Quietly flows in the lake”, etc.
Nature is closely - by invisible connections - connected with man, the "thinking reed". Man is considered by the poet as a part of nature, while nature itself is seen by him as a harmonious infinity of the Universe. The human soul is seen as a secret that must be preserved: Only know how to live in yourself, / There is a whole world in your soul” (“Silentium!”).
Tyutchev's love is a "fatal duel", but at the same time - the greatest happiness. Drama, fatal passion, a storm of feelings are presented in Tyutchev's love lyrics: “ Oh, how deadly we love, / As in the violent blindness of passions / We most certainly destroy everything, / What is sweeter to our heart!».
Deep love for E. Denisyeva - a passionate woman, similar to Dostoevsky's women, her early death was the impetus for the creation of the "Denisyev" cycle of poems, the main features of which are confession, sympathy for a woman, the desire to understand her soul. 
Tyutchev's love for the Motherland is akin to Lormontov's love - a strange, contradictory feeling. For the poet, Russia is deep and unknowable, and its soul is original and irrational: “ You can’t understand Russia with the mind, // You can’t measure it with a common yardstick: // She has become special - // One can only believe in Russia».
The theme of the poet and poetry is revealed by Tyutchev in a specific way: the poet, according to the author, should always be at the center of events, and only this “participation” in the great can perpetuate himself: “ Happy is he who visited this world // In his fatal moments! // He was called by the all-good // As an interlocutor to a feast"("Cicero").
The idea of the transience of time, reasoning about life and death, about human happiness are the dominant motifs of Tyutchev's poems, emphasizing the depth and versatility of his poetry: It is not given to us to predict, // How our word will respond, - // And sympathy is given to us, // How grace is given to us».
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"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 affirming 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, 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 the aesthetic views of Annenkov there was a question about 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 most important points from the point of view of his aesthetic system: 1) Art - highest degree manifestations 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 familiarizing a person with 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 calmly contemplate, 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, 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, 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 is repeated: each of his new love goes through similar difficulties, and this is a vicious circle in his life and he cannot break this circle in any way.
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 "inaccurately" falling in love with a person.
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 fastening 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, persuading, inviting 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, 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 disturb yourself, violate the integrity and peace of your inner life: "Blowing up, 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 that together make up the living life of the heart and soul. 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. In the artistic world of Fet, art, love, nature, philosophy, God - all these are different manifestations of the same creative force - beauty.A. Fet was fond of German philosophy; the views of idealist philosophers, especially Schopenhauer, had a strong influence on the worldview of the novice poet, which was reflected in the romantic idea of \u200b\u200bdouble world, which found expression in Fet's lyrics.
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.
FROM landscape lyrics A.A. Feta is inextricably linked with the theme of love. love lyrics Feta is 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, however emotional condition Fet's lyrical "I" is always wider than the reason that caused it. 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. There are a lot of the smallest details in his landscape lyrics. real life 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 to warm spring, but also gives rise to 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 laconism 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 the elusive, whimsical feeling conveys complex world personality, causing a feeling of 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 is enhanced by the special property of this poetry, its rationalistic, exploratory character, 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 conventionally 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.
"PURE ART" (otherwise - "art for art's sake") - an aesthetic theory that argued that art and literature should not fulfill social tasks, are not obliged to bring “benefit”, but should serve only for the aesthetic enjoyment of the beautiful. The ideas of “pure art” appeared in the late works of Pushkin (the poems “The Poet”, “To the Poet”, “The Poet and the Crowd”), then in such poets as Tyutchev, Fet, I. Annensky and others, and at the turn of the XIX- XX centuries - in the theories and creative practice of decadence. The theory of “pure art” was developed by such critics as A.V. Druzhinin, V.P. Botkin, P.V. Annenkov and others. The opposite theory, according to which art and literature should serve society, expose and correct social vices and thereby bring “benefit”, was reflected in the critical and artistic works of Belinsky, Chernyshevsky, Nekrasov and others.
Glossary:
- pure art
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Lesson 1
Russian poetry of the second half of the 19th century.
F.I. Tyutchev and A.A. Fet - school of pure art
Russian classical literature has always actively participated in the social life of the country, ardently responding to the burning social problems of the time. This is especially characteristic of the 60s of the XIX century, when there was a demarcation of the noble, aristocratic and revolutionary-democratic literary groups. But there were authors who saw their place in literature in a completely different way - regardless of social issues, and in this historical situation, the refusal of "pure" lyricists to touch upon topical issues in their work could not but cause a negative reaction from critics.
Probably, one had to have considerable courage in order to stubbornly and consistently defend one's creative credo in such an environment, to conduct a kind of "argument with the century." Today we will talk about two authors who in their work abandoned topicality and entered literature as poets of “pure art” - these are F.I. Tyutchev and A.A. Fet.
What is "pure art"?
In the 19th century, a theory appeared in Europe proclaiming the idea of "art for art's sake", that is, the idea of the independence of art, its independence from politics, social requirements, and education. In Russia in the middle of the 19th century, the strengthening of trends in the development of "pure art" is explained by the fact that its defenders oppose the popularity of the revolutionary democratic movement and "utilitarian" approaches to art. The poets of this trend - A. Grigoriev, A. Maikov, Ya. Polonsky, A. Fet, F. Tyutchev and many others leaned towards the artistic form of works, and avoided politics. They contrasted their works with works of a revolutionary democratic orientation, the authors of which were: N. Dobrolyubov, D. Pisarev, N. Nekrasov, M. Saltykov-Shchedrin.
It should immediately be noted that F.I. Tyutchev and A.A. Feta was not at all dictated by their spiritual callousness or indifference to the suffering of the people. Each poetic line of these authors testifies to their humanism, generosity, interest in life, openness to the world. It was simply the nature of their poetic gifts. She beckoned them to the unknown, made them peer into the complex and bizarre world of the human soul, sharply and subtly perceive the beauty and harmony of nature in its eternal captivating variability. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.
In the past couples, we discussed the work of N.A. Nekrasov, tell me, what distinguishes him from a number of other poets? Topicality - has become the key to Nekrasov's success. Let's remember how Nekrasov saw his Muse. According to the poet, she is the “sister” of a young peasant woman from the verse “Yesterday ...” - suffering, patient, all in earthly worries and longing:
Yesterday at six o'clock
I went to Sennaya;
They beat a woman with a whip,
A young peasant woman.
Not a sound from her chest
Only the whip whistled, playing ...
And I said to the Muse: “Look!
Your own sister!"
She, the muse of Nekrasov, is indifferent to the universe, and there is no place in her life for passion and subtle feeling. Unlike Nekrasov, Fet and Tyutchev claim a different, heavenly origin of poetry.
F.I. Tyutchev. Poetry
Among thunders, among fires,
Among the seething passions,
In spontaneous, fiery discord,
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in your eyes -
And on the stormy sea
Pours conciliatory oil.
Fet, who dedicated several verses to his Muse, sees her in heavenly clothes:
A.A. Fet. Muse
She came and sat down. Happy and anxious
I repeat your affectionate verse;
And if my gift is worthless before you,
That jealousy is not lower than others.
Carefully guarding your freedom
I did not call the uninitiated to you,
And I please their slave riot
I didn't desecrate your words.
All the same you, cherished shrine,
On a cloud, invisible to the earth,
In a crown of stars, an imperishable goddess,
With a thoughtful smile on his forehead.
According to Tyutchev and Fet, poetry, creativity is some kind of mystery, inexplicably subject to the human will, the mind. The poet, like a diligent student, listens to his inner voice.
We will try to identify the features of the poetry of F.I. Tyutchev and A.A. Feta.
Distinctive feature The lyrics of these two poets lies in the depth of the analysis of the emotional experiences of a person. So, the complex inner world of the lyrical heroes of Tyutchev and Fet is in many ways similar.
- The theme of nature à landscape lyrics,
- Philosophical theme à philosophical lyrics,
- The theme of love is love lyrics.
Landscape poetry. Both poets come from the Oryol province, both from childhood were imbued with a love for the beauty of Russian nature. The lines of their poems, dedicated to native nature, you know almost everything from elementary school.
F.I. Tyutchev. Winter is getting angry
Winter is getting angry
Her time has passed
Spring is knocking on the window
And drives from the yard.
And everything got busy
Everything forces Winter out -
And larks in the sky
The alarm has already been raised.
Winter is still busy
And grumbles at Spring.
She laughs in her eyes
And it only makes more noise...
Wicked witch pissed off
And, capturing the snow,
Let go, run away
To a beautiful child...
Spring and grief is not enough:
Washed up in the snow
And only became blush
Against the enemy.
And now let's read a poem by A.A. Fet.
A.A. Fet. Came - and melts everything around
She came - and melts everything around,
Everything wants to give life
And the heart, a prisoner of winter blizzards,
Suddenly I forgot how to shrink.
Spoke, bloomed
All that yesterday languished dumbly,
And the sighs of heaven brought
From the dissolved gates of Eden.
How cheerful small clouds hike!
And in an inexplicable triumph
Through the trees round dance
Greenish smoke.
The sparkling stream sings
And from the sky a song, as it used to be;
As if it says:
Everything that forged, - passed.
Petty care is not allowed
Although for a moment do not be ashamed,
It is impossible before eternal beauty
Do not sing, do not praise, do not pray.
What are both poems about? Theme of nature, the arrival of spring
On what basis are they built? personification
PERSONALIZATION, or prosopopoeia (Greek prosopopolia, from prosopon - face and poieo - I do) - such an image of inanimate or abstract objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel. O. was associated in antiquity with the animic worldview and all kinds of beliefs (for example, O. in ancient mythology). O. as an allegory, a stylistic term is one of the most common artistic tropes
Dictionary of literary terms.
Ed. From 48 comp.: L. I. Timofeev and S. V. Turaev. M., "Enlightenment", 1974. 509 p.
PERSONALIZATION- an artistic technique (tropes), in which an inanimate object, phenomenon or concept is given human properties (do not confuse, it is human!). Personification can be used narrowly, in one line, in a small fragment, but it can be a technique on which the whole work is built (“You are my abandoned land” by S. Yesenin, “Mom and the evening killed by the Germans”, “Violin and a little nervously” by V. Mayakovsky and others). Personification is considered one of the types of metaphor (see below).
The task of personification is to correlate the depicted object with a person, to make it closer to the reader, to figuratively comprehend the inner essence of the object, hidden from everyday life. Personification is one of the oldest figurative means of art.
http://shkola.lv/index.php?mode=lsntheme&themeid=22
In the poetry of Fet and Tyutchev, descriptions of nature, on the one hand, are valuable in themselves, and on the other hand, they are called upon to reflect the experiences of the lyrical hero. Nature sympathizes with the lyrical hero: the description of the external world of nature smoothly turns into a description of the inner world of the lyrical hero.
In this regard, Tyutchev and Fet continue the Russian tradition of identifying pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, Lermontov.
It is no coincidence that Tyutchev is called a singer native nature, in his work, he affirms the idea of the sovereignty of nature and is directed against vulgar materialists who preach the reckless and arbitrary intrusion of man into the natural world, subordination to her will of man (recall Bazarov).
F.I. Tyutchev. Not what you think, nature
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...
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You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces? ..
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They don't see or hear
They live in this world, as in the dark,
For them, the suns, to know, do not breathe,
And there is no life in the sea waves.
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak,
And there was no night in the stars!
And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!
Not their fault: understand, if you can,
The body is the life of a deaf-mute!
In the poetic world of Tyutchev there is no clear line between the worlds of nature and the world of man.
F.I. Tyutchev. Wave and thought
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and rebound,
The same ghost is disturbingly empty.
Philosophical lyrics. Poems about nature often contain reflections on the fate of man. Landscape lyrics acquire a philosophical content. For him, nature is a mysterious interlocutor and constant companion in life, who understands the lyrical hero best of all.
F.I. Tyutchev. What are you howling about, night vert?
What are you howling about, night wind?
What are you complaining about so madly? ..
Either deafly plaintive, or noisy?
In a language understandable to the heart
You talk about incomprehensible flour -
And dig and explode in it
Sometimes violent sounds! ..
O! don't sing scary songs
About ancient chaos, about dear!
How greedily the world of the night soul
Heeds the story of his beloved!
From the mortal it is torn in the chest,
He longs to merge with the infinite!..
O! do not wake up the sleeping storms
Chaos stirs beneath them!..
Here, the description of the element conveys the experiences of the hero. And Fet's description of nature conveys the state of man.
A.A. Fet. What sadness! End of the alley
There is not a shred of azure in the sky,
In the steppe everything is smooth, everything is white,
One raven against the storm
Wings flap heavily.
And the soul does not dawn
It is the same cold that is around,
Lazily the thought falls asleep
Over dying labor.
The theme of human loneliness gets a particularly tragic sound in Tyutchev's lyrics; it is most deeply revealed in the poem Silentium.
F.I. Tyutchev. SILENTIUM!
Be silent, hide and hide
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Admire them - and be silent.
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.
Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..
1829, early 1830s
Any poet tends to sum up his work. Fet glorifies death at the end of life, hoping for peace after it. This is due to the contradictions of his life. (Fet put a lot of strength to prove that he was a nobleman Shenshin).
A.A. Fet. Death"
“I want to live!” he cries, bold.
Let the deception! Oh, give me deceit!"
And there is no thought that this is instant ice,
And there, under it - a bottomless ocean.
Run? Where? Where is the truth, where is the error?
Where is the support to stretch out your hands to it?
Whatever flourishing alive, whatever smile, -
Already under them death triumphs.
The blind seek in vain where the road is,
Trusting feelings to blind guides;
But if life is a noisy bazaar of God,
Only death is his immortal temple.
Tyutchev has a different perception of life and death:
F. I. Tyutchev. "When decrepit forces..."
When decrepit forces
We are starting to change
And we must, as old-timers,
Give newcomers a place, -
Save us then, good genius,
From cowardly reproaches,
From slander, from anger
On a life-changing;
From a feeling of hidden anger
To a world that is renewing
Where new guests sit down
For the feast prepared for them;
From the bile of bitter consciousness,
That the stream no longer carries us
And that others have vocations,
Others are called ahead;
From everything that is more fervent,
The deeper winged for a long time,
And senile love is more disgraceful
Grumpy old age.
Early September 1866
Tyutchev does not regret what he has lived, although his life was full of suffering. He perceives death not as salvation from life, but as a natural, natural phenomenon.
love lyrics. Love is the highest gift of fate, bringing the greatest joy and the greatest suffering. Such is the interpretation of this eternal theme in the lyrics of two outstanding poets. The love lyrics of Fet and Tyutchev are filled with a powerful tragic sound. It is born from real, real pain, unbearable suffering, an acute sense of loss, guilt and remorse.
Both poets experienced tragedy. Tyutchev's first wife, Eleanor Peterson, died early; late love for Elena Alexandrovna Denisyeva, condemned by society, led to the fact that the poor woman also died.
The suicide of Maria Lazich, a girl who loved Fet and was abandoned by him because of her poverty, left an indelible mark on the poet's soul. The feeling is tragic in their lyrics.
In the famous "Denisiev cycle" by F.I. Tyutchev there are verses that are amazing in depth and power:
F.I. Tyutchev. Oh this South, oh this Nice
Oh, this South, oh, this Nice! ..
Oh, how their brilliance disturbs me!
Life is like a shot bird
Wants to get up but can't...
There is no flight, no scope -
Broken wings hang
And all of her, clinging to the dust,
Trembling with pain and impotence ...
The unexpected and vivid image of a bird with broken wings conveys with cruel accuracy the feelings of a man stricken with grief, unable to overcome a severe spiritual crisis, to find the strength to live.
Poems by A.A. Feta, dedicated to Maria Lazich, are also riddled with pain and a heavy sense of guilt. In the "Old Letters" the poet relives the past drama again and again:
A.A. Fet. old letters
Long forgotten, under a light layer of dust,
Cherished features, you are again in front of me
And in the hour of mental anguish instantly resurrected
All that has long since been lost by the soul.
Burning with the fire of shame, again meet the eyes
One trust, hope and love,
And sincere words faded patterns
From my heart to the cheeks they drive blood.
I am condemned by you, dumb witnesses
Spring of my soul and gloomy winter.
You are the same bright, holy, young,
As in that terrible hour when we said goodbye.
And I trusted the treacherous sound, -
As if there is anything in the world outside of love! -
I boldly pushed away the hand that wrote you,
I condemned myself to eternal separation
And with a cold in his chest, he set off on a long journey.
Why, with the same smile of tenderness
Whisper to me about love, look into my eyes?
A burning tear will not wash away these lines.
In order to somehow dispel the sad impression of the tragic perception of love by these authors, let's turn to another landmark poem dedicated to this topic.
A.A. Fet. Whisper, timid breath
Whisper, timid breath,
trill nightingale,
Silver and flutter
Sleepy stream.
Night light, night shadows,
Shadows without end.
A series of magical changes
Sweet face.
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!
The poem is built on the same nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic concreteness. This poem creates a dotted image, which, when viewed closely, gives chaos, “a series of magical changes”, and in the distance - an accurate picture. Fet bases the description of love experiences and memories on the direct fixation of his subjective observations and impressions. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them special poetry, mystery and warmth.
Date and nature are described not just as two parallel worlds - worlds human feelings and natural life. The innovation in the poem was that both nature and the date are shown as a series of fragmentary fragments, which the reader himself must link into a single picture. At the end of the poem, the description of feelings and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.
And so we tried to understand the features of the creative talent of F.I. Tyutchev and A.A. Feta. Their names in the history of literature always stand side by side. And not only because they are contemporaries, poets of the same era, Nekrasov is also a creator close to them in time, but his element is a completely different poetry.
