The main motives of A. Fet's creativity The purpose of the lesson: to reveal the main themes and motives of Fet's lyrics

In the personality of Afanasy Fet, two absolutely different character: hardened, strongly grated, beaten by life, practical and inspired, tireless literally up to last breath(and he died at the age of 72) a singer of beauty and love. The son of a petty German official, Fet was recorded for a bribe as the son of the Oryol landowner Shenshin, who took the poet's mother away from his father. But the deception was revealed, and for many years Fet experienced for himself what it means to be illegitimate. The main thing is that he lost the status of a noble son. He tried to "serve out" the nobility, but 13 years of army and guards straps did not give anything. Then, yes, he married an old and rich woman, became a cruel and tight-fisted farmer-exploiter. Fet never sympathized with revolutionaries and even liberals, and in order to achieve the desired nobility, he demonstrated his loyal feelings for a long time and loudly. And only when Fet was already 53 years old, Alexander II imposed a favorable resolution on his petition. It got ridiculous: if the thirty-year-old Pushkin considered it an insult to grant him the rank of chamber junker (this is a court rank usually given to young people under 20 years old), then this Russian lyric poet specially procured himself a chamberlain at the age of 70.

And at the same time, Fet wrote divine verses. Here is a poem from 1888:

Dilapidated, half-resident graves,

O sacraments love why you us eat?

Why, where you rush not may strength,

How bold youth, one you us calling?

languishing and sing.

You listening and you are thrilled;

AT tunes senile your young spirit lives.

Gypsy old one more sings.

That is, literally two people lived in one bodily shell. But what strength of feeling, the power of poetry, what a passionate, youthful attitude towards beauty, towards love!

Fet's poetry did not have long success with his contemporaries in the 40s, and in the 70-80s of the XIX century it was a very chamber success, by no means massive. But Fet was familiar to the general public, although they did not always know that the popular romances that they sing (including gypsy ones) were to Fet's words. “Oh, for a long time I will be in the silence of a secret night”, “What happiness! And the night and we are alone”, “The night shone. The garden was full of moon”, “For a long time there is little joy in love”, “In the invisible haze” and, of course, “I won’t tell you anything” and “At dawn you won’t wake her up” - these are just a few of Fe’s poems -ta, set to music by different composers.

Fet's lyrics are thematically extremely poor: the beauty of nature and women's love - that's all. But what great power Fet achieves within these narrow limits. Here is a poem from 1883:

Only in world and there is, what shady

Dormant maples tent.

Only in world and there is, what radiant

Childish pensive gaze.

Only in world and there is, what fragrant

sweetheart heads dress.

Only in world and there is this clean

Left running parting.

It is difficult to call his lyrics philosophical. The world of the poet is very narrow, but what a beautiful, full of beauty. Dirt, prose and the evil of life never penetrated into his poetry. Is he right about this? Apparently, yes, if you see "pure art" in poetry. Beauty should be the main thing in it.

Fet's landscape lyrics are ingenious: “I came to you with greetings”, “Whisper. Timid breathing”, “What sadness! The end of the alley”, “This is morning, this joy”, “I am waiting, I am seized with anxiety” and many other lyrical miniatures. They are diverse, dissimilar, each is a unique masterpiece. But there is something in common: in all of them, Fet affirms the unity, the identity of the life of nature and the life of the human soul. And involuntarily you think: where is the source, where does this beauty come from? Is this the creation of the Heavenly Father? Or the source of all this is the poet himself, his ability to see, his light barking, open to beauty soul, every moment ready to glorify the surrounding beauty? In his lyrics, Fet acts as an anti-nihilist: if for Turgenev’s Bazarov “nature is not a temple, but a workshop, and a person is a worker in it”, then for Fet nature is the only temple, a temple primarily of love, and secondly , a temple for inspiration, tenderness and prayer to beauty.

If for Pushkin love was a manifestation of the highest fullness of life, then for Fet it is the only content of human existence, the only faith. With him, nature itself loves - not together, but instead of a person (“In the Invisible Haze”).

At the same time, Fet considers the human soul a particle of heavenly fire, God's spark (“Not by that, Lord, mighty, incomprehensible”), sent down to man for revelations, daring, inspiration (“Swallows”, “Learn from them - from oak, birch).

Fet's late poems, 80-90s, are amazing. A decrepit old man in life, in poetry, he turns into a hot young man, all whose thoughts are about one thing - about love, about the riot of life, about the thrill of youth ("No, I did not change", "He wanted my madness", "Love me As soon as your humble", "I still love, I still languish").

Let's take the poem “I won't tell you anything”, which expresses the idea that the life of the soul, the subtlety of feeling, cannot be conveyed by the language of words. Therefore, a love date, as always, surrounded by luxurious nature, opens with silence: "I won't tell you anything ...". The second line elaborates: "I will not disturb you in the least." Yes, as other poems testify, his love can also disturb, excite the virgin soul of his chosen one with his “languishing” and even “shudders”. There is another explanation, it is in the last line of the second stanza: his "heart blooms", like the night flowers, which are spoken of at the beginning of the stanza. “I am trembling” - whether from the chill of the night or from some kind of internal, spiritual experiences. And so the end of the poem mirrors the beginning: “I won’t disturb you at all, I won’t tell you anything.” The poem attracts with subtlety, richness of shades of feeling and naturalness, low-profile simplicity of their verbal expression.

Exam abstract work

Completed by Pupil of Grade 9 “B” Ratkovsky A.A.

Secondary School No. 646

Moscow, 2004

Creativity A. Fet

A. A. Fet occupies a very special position in Russian poetry of the second half of XIX century. The social situation in Russia in those years implied the active participation of literature in civil processes, that is, the splendor of poetry and prose, as well as their pronounced civic orientation. Nekrasov gave rise to this movement, declaring that every writer is obliged to "report" to society, to be first of all a citizen, and then a man of art. Fet did not adhere to this principle, remaining out of politics, and thus filled his niche in the poetry of that era, sharing it with Tyutchev.

But if we recall Tyutchev's lyrics, then she considers human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The landscape of the poet is distinguished by calmness, peace. But maybe it's the outside? Indeed, if you look closely, Fet's lyrics are filled with drama, philosophical depth, which have always distinguished "great" poets from one-day authors. One of the main Fetov themes is the tragedy of unrequited love. Poems on such a subject reveal the facts of Fet's biography, more precisely, that he survived the death of his beloved woman. Poems related to this topic have rightly received the name "monologues to the deceased."

You suffered, I still suffer

Doubt I'm destined to breathe

And I tremble, and my heart avoids

Look for what you can't understand.

Other poems of the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: “Death”, “Life flashed by without a clear trace”, “Simple in the haze of memories ...” As you can see, the idyll is not just “diluted” with the poet’s sadness , it is absent altogether. The illusion of well-being is created by the poet's desire to overcome suffering, to dissolve them in the joy of everyday life, obtained from pain, in the harmony of the surrounding world. The poet rejoices with all nature after the storm:

When under a cloud, transparent and pure,

The dawn will tell that the day of bad weather has passed,

You won’t find a blade of grass and you won’t find a bush,

So that he does not cry and does not shine with happiness ...

Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that energizes people and their poems. Fet wrote to Leo Tolstoy: "in a work of art, tension is a great thing." It is not surprising that Fet's lyrical plot unfolds during the greatest tension of a person's spiritual forces. The poem “At dawn, don’t wake her up” demonstrates just such a moment” reflecting the state of the heroine:

And the brighter the moon shone

And the louder the nightingale whistled,

She became more and more pale

My heart was beating harder and harder.

In consonance with this verse - the appearance of another heroine: "You sang until dawn, exhausted in tears." But the most striking masterpiece of Fet, which depicted an internal spiritual event in a person’s life, is the poem “Whisper, timid breathing ...” In this verse there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the feelings and states of a soul in love, coloring a night date - namely, it is described in a poem - in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by a change in the appearance of the beloved. The last stanza is metaphorically complex, since it is precisely on it that the emotional climax of the poem falls:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn! ...

Behind these unexpected images are the features of the beloved, her lips, the sparkle of her smile. With this and other fresh poems, Fet is trying to prove that poetry is audacity, which claims to change the usual course of existence. In this regard, the verse "With one push to drive away the living boat ..." is indicative. Its theme is the nature of the poet's inspiration. Creativity is seen as a high rise, a breakthrough, an attempt to achieve the unattainable. Fet directly names his poetic landmarks:

To interrupt a dreary dream with a single sound,

Get drunk suddenly unknown, dear,

Give life a breath, give sweetness to secret torment...

Another super-task of poetry is the consolidation of the world in eternity, a reflection of the random, the elusive (“to feel someone else’s in an instant as your own”). But in order for the images to reach the reader's consciousness, a special musicality is needed, unlike anything else. Fet uses many techniques of sound writing (alliteration, assonance), and Tchaikovsky even said: “Fet in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our field.”

So what did Fet's lyrics reveal to us? He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”). Fet is not afraid of life after shocks, he believes and keeps faith in the victory of art over time, in the immortality of a beautiful moment.

A. Fet's poems are pure poetry, in the sense that there is not a drop of prose. Usually he did not sing of hot feelings, despair, delight, lofty thoughts, no, he wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about minute impressions. His poetry is joyful and bright, it has a sense of light and peace. Even about his ruined love, he writes lightly and calmly, although his feeling is deep and fresh, as in the first minutes. Until the end of his life, Fetu did not change the joy that pervaded almost all of his poems.

The beauty, naturalness, sincerity of his poetry reach complete perfection, his verse is amazingly expressive, figurative, musical. Not without reason did Tchaikovsky, Rimsky-Korsakov, Balakirev, Rakhmaninov and other composers turn to his poetry.

"Fet's poetry is nature itself, looking like a mirror through the human soul..."

In traditional world and Russian lyrics, the theme of nature is one of the main, necessarily touched upon topics. And Fet also reflects this theme in many of his poems. The theme of nature in his works is closely intertwined with love lyrics, and with the Fet-specific theme of beauty, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly, the images of nature are general, not detailed:

wonderful picture,

How are you related to me?

white plain,

Full moon...

The poets of the 40s, when describing nature, relied mainly on the techniques characteristic of Heine, i.e. separate impressions were given instead of a coherent description. Many early Fet's poems were criticized as "Heine's". For example, "The Noisy Midnight Blizzard", where the poet expresses the mood without a psychological analysis of it and without clarifying the plot situation with which it is connected. The outside world is, as it were, colored by the moods of the lyrical "I", enlivened, animated by them. This is how Fet's characteristic humanization of nature appears; often there is an emotional expression excited by nature, there are no such bright and accurate details that are so characteristic later, allowing one to judge the picture as a whole. Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Probably, his rapprochement with Turgenev influenced his passion for landscape lyrics at that time. The phenomena of nature become more detailed, more specific than those of Fet's predecessors, which is also characteristic of the day of Turgenev's prose. Fet depicts not a birch in general, as a symbol of the Russian landscape, but a specific birch at the porch of his own house, not in general a road with its infinity and unpredictability, but that particular road that can be seen right now from the threshold of the house. Or, for example, in his poems there are not only traditional birds that have a clear symbolic meaning, but also such birds as harrier, owl, blackie, sandpiper, lapwing, swift and others, each of which is shown in its own originality:

Half hidden behind a cloud

The moon does not yet dare to shine during the day.

Here the beetle took off and buzzed angrily,

Here the harrier swam without moving its wing.

The landscapes of Turgenev and Fet are similar not only in the accuracy and subtlety of observations of natural phenomena, but also in sensations, images (for example, the image of the sleeping earth, "resting nature"). Fet, like Turgenev, seeks to fix, describe changes in nature. His observations can be easily grouped or, for example, in the image of the seasons, a period can be clearly defined. Is late autumn depicted:

The last flowers were about to die

And they waited with sadness for the breath of frost;

Maple leaves blushed along the edges,

The peas faded, and the rose fell off, -

or the end of winter:

More fragrant bliss of spring

We did not have time to descend,

More ravines are full of snow

Still at dawn the cart rumbles

On a frozen path...

This can be easily understood, because the description is accurate and clear. Fet likes to describe a precisely defined time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in "Spring Rain"). Similarly, it can be determined that Fet, for the most part, gives a description of the central regions of Russia.

It is nature middle lane The cycle of poems "Snega" and many poems from other cycles are dedicated to Russia. According to Fet, this nature is beautiful, but not everyone is able to catch this dim beauty. He is not afraid to repeatedly repeat declarations of love for this nature, for the play of light and sound in it "to that natural circle, which the poet many times calls a shelter: "I love your sad shelter and the evening of the village is deaf ...". Fet has always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are stitched together in the art world poet into a single and indivisible idea of beauty. From everyday life, he goes to “where thunderstorms fly by ...” For Fet, nature is an object of artistic delight, aesthetic pleasure. She is the best mentor and wise adviser of man. It is nature that helps to solve riddles, secrets human being. In addition, for example, in the poem "Whisper, timid breathing ..." the poet perfectly conveys instantaneous sensations, and, alternating them, he conveys the state of the heroes, in harmony with nature to the human soul, and the happiness of love:

Whisper, timid breath,

trill nightingale,

Silver and flutter

Sleepy stream....

Fet was able to convey the movements of the soul and nature without verbs, which was undoubtedly an innovation in Russian literature. But does he also have pictures in which verbs become the main pillars, as, for example, in the poem "Evening"?

Sounded over a clear river,

Rang in the faded meadow "

It swept over the mute grove,

Lit up on that shore...

Such a transfer of what is happening speaks of another feature. landscape lyrics Feta: the main tone is set by subtle impressions of sounds, smells, vague outlines, which are very difficult to convey in words. It is the combination of concrete observations with bold and unusual associations that makes it possible to clearly represent the described picture of nature. We can also talk about the impressionism of Fet's poetry; it is with the bias towards impressionism that innovation in the depiction of natural phenomena is associated. More precisely, objects and phenomena are depicted by the poet as they appeared to his perception, as they seemed to him at the time of writing. And the description does not focus on the image itself, but on the impression it makes. The apparent Fet describes as real:

Over the lake the swan pulled into the reed,

The forest overturned in the water,

He drowned in the dawn with the teeth of the peaks,

Between two curving skies.

In general, the motif of "reflection in the water" is found quite often in the poet. Probably, a shaky reflection provides more freedom to the artist's imagination than the reflected object itself. Fet depicts the outside world in the form that his mood gave him. With all the truthfulness and concreteness, the description of nature primarily serves as a means of expressing a lyrical feeling.

Usually A. Fet in his poems dwells on one figure, on one turn of feelings, and at the same time, his poetry cannot be called monotonous, on the contrary, it strikes with diversity and a multitude of topics. The special charm of his poems, in addition to the content, is precisely in the nature of the mood of poetry. Muse Fet is light, airy, as if there is nothing earthly in her, although she tells us exactly about the earth. There is almost no action in his poetry, each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your Ray, flying far ...”, “Still eyes, crazy eyes ...”, “The sun is a ray between lindens ...”, “I extend my hand to you in silence ... " and etc.

The poet sang beauty where he saw it, and he found it everywhere. He was an artist with an exceptionally developed sense of beauty, which is probably why the pictures of nature in his poems are so beautiful, which he took as she is, without allowing any decorations of reality. In his poems, the landscape of central Russia is visibly visible.

In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, moods. It is thanks to this that the poet created amazing works that have been striking us for so many years with psychological accuracy, filigree accuracy. Among them are such poetic masterpieces as “Whisper, timid breathing ...”, “I came to you with greetings ... ”,“ At dawn, don’t wake her up ...”, “Dawn says goodbye to the earth ...”.

Fet builds a picture of the world that he sees, feels, touches, hears. And in this world everything is important and significant: the clouds, and the moon, and the beetle, and the harrier, and the corncrake, and the stars, and Milky Way. Every bird, every flower, every tree, and every blade of grass is not just a overall picture- all of them have only their characteristic signs, even character. Let's pay attention to the poem "Butterfly":

You're right. One aerial outline

I'm so sweet

All my velvet with its live blinking -

Only two wings.

Don't ask: where did it come from?

Where am I in a hurry?

Here on a flower I sank lightly

And here I am breathing.

How long, without purpose, without effort,

Do you want to breathe?

Right now, sparkling, I will spread my wings

Fet's "feeling of nature" is universal. It is practically impossible to single out the purely landscape lyrics of Fet without breaking the ties with its vital organ - the human personality, subject to the general laws of natural life.

Defining the property of his attitude, Fet wrote: “Only a person, and only he alone in the whole universe, feels the need to ask: what is surrounding nature? Where does all this come from? What is he himself? Where? Where? What for? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him. “Nature created this poet in order to eavesdrop on herself, peep and understand herself. In order to find out what he thinks about her, nature, man, her offspring, how he perceives her. Nature created Fet in order to visit - how the sensitive soul of a person perceives it ”(L. Ozerov).

Fet's relationship with nature is a complete dissolution in her world, this is a state of anxious expectation of a miracle:

I'm waiting... Nightingale echo

Rushing from the shining river

Grass under the moon in diamonds,

Fireflies are burning on the cumin.

I'm waiting... Dark blue skies

Both in small and large stars,

I hear a heartbeat

And trembling in the hands and feet.

I'm waiting... Here's a breeze from the south;

It is warm for me to stand and go;

A star rolled to the west...

I'm sorry, golden, I'm sorry!

Let us turn to one of Fet's most famous poems, which at one time brought the author a lot of grief, causing the admiration of some, the confusion of others, numerous ridicule of adherents of traditional poetry - in general, a whole literary scandal. This little poem has become for democratic critics the embodiment of the thought of the emptiness and lack of ideas of poetry. Over thirty parodies have been written of this poem. Here it is:

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy creek

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! ...

Immediately there is a feeling of movement, dynamic changes that occur not only in nature, but also in the human soul. Meanwhile, there is not a single verb in the poem. And how much joyful intoxication with love and life in this poem! It is no coincidence that Fet's favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:

At night, somehow I can breathe more freely,

A little more spacious...

recognized by the poet. He can speak with the night, he addresses her as a living being, close and dear:

Hello! a thousand times my greetings to you, night!

Again and again I love you

Quiet, warm

Silver lined!

Timidly, extinguishing the candle, I go to the window...

You can’t see me, but I myself see everything ...

The poems of A. A. Fet are loved in our country. Time unconditionally confirmed the value of his poetry, showed that we, the people of the 20th century, need it, because it touches the most intimate strings of the soul, reveals the beauty of the surrounding world.

Aesthetic views of Fet

Aesthetics is the science of beauty. And the poet's views on what is beautiful in this life are formed under the influence of a variety of circumstances. Here everything plays its special role - the conditions in which the poet's childhood passed, which formed his ideas about life and beauty, and the influence of teachers, books, favorite authors and thinkers, and the level of education, and the conditions of all subsequent life. Therefore, we can say that Fet's aesthetics is a reflection of the tragedy of the duality of his life and poetic fate.

So Polonsky very correctly and accurately defined the confrontation between the two worlds - the world of life and the poetic world, which the poet not only felt, but also declared as a given. “My ideal world was destroyed a long time ago ...” - Fet admitted back in 1850. And on the site of this destroyed ideal world, he erected another world - a purely real, everyday, filled with prosaic deeds and worries aimed at achieving a far from high poetic goal. And this world unbearably burdened the soul of the poet, never letting go of his mind for a minute. It is in this duality of existence that Fet's aesthetics are formed, main principle which he formulated for himself once and for all and never departed from it: poetry and life are incompatible, and they will never merge. Fet was convinced; to live for life is to die for art, to rise for art is to die for life. That is why, plunging into economic affairs, Fet on long years left literature.

Life is hard work, oppressive melancholy and

suffering:

Suffer, suffer all the time, aimlessly, gratuitously,

Try to fill the void and look

As with each new attempt, the abyss is deeper,

Again go crazy, strive and suffer.

In understanding the relationship between life and art, Fet proceeded from the teachings of his beloved German philosopher Schopenhauer, whose book “The World as Will and Representation” he translated into Russian.

Schopenhauer argued that our world is the worst of all possible worlds, that suffering is inevitable in life. This world is nothing but an arena of tortured and frightened creatures, and the only possible way out of this world is death, which gives rise to an apology for suicide in Schopenhauer's ethics. Based on the teachings of Schopenhauer, and even before meeting him, Fet did not get tired of repeating that life in general is base, meaningless, boring, that its main content is suffering and there is only one mysterious, incomprehensible sphere of true, pure joy in this world of sorrow and boredom. - the sphere of beauty, a special world,

Where the storms fly by

Where the passionate thought is pure, -

And dedicated only visibly

Spring blooms and beauty

(“What sadness! The end of the alley…”)

The poetic state is a cleansing of everything too human, an exit to the open space from the gorges of life, awakening from sleep, but above all, poetry is the overcoming of suffering. Fet speaks about this in his poetic manifesto "Muse", the epigraph to which he takes Pushkin's words "We were born for inspiration, For sweet sounds and prayers."

About himself as a poet, Fet says:

Captivating dreams cherishing in reality,

By your divine power

I call to the high pleasure

And to human happiness.

The key images of this poem and Fet's entire aesthetic system are the words "Divine power" and "high pleasure." Possessing enormous power over the human soul, truly Divine, poetry is able to transform life, cleanse the human soul from everything earthly and superficial, only it is able to "give life a sigh, give sweetness to secret torments."

The eternal object of art, according to Fet, is beauty. “The world in all its parts,” Fet wrote, “is equally beautiful. Beauty is spilled throughout the universe. The whole poetic world of A. Fet is located in this area of beauty and fluctuates between three peaks - nature, love and creativity. All these three poetic objects not only come into contact with each other, but are also closely interconnected, penetrate each other, forming a single fused artistic world - Fetov's universe of beauty, the sun of which is spilled in everything, hidden for ordinary eye, but the harmonic essence of the world, sensitively perceived by the sixth sense of the poet, is music. According to L. Ozerov, “Russian lyrics found in Fet one of the most musically gifted masters. Written on paper in letters, his lyrics sound like notes, true for those who can read these notes.

Tchaikovsky and Taneyev, Rimsky-Korsakov and Grechaninov, Arensky and Spendiarov, Rebikov and Viardo-Garcia, Varlamov and Konyus, Balakirev and Rachmaninoff, Zolotarev and Goldenweiser, Napravnik and Kalinnikov and many, many others composed music to Fet's words. The number of musical opuses is measured in hundreds.

Motives of love in Fet's lyrics.

On the slope of life, Fet "lit the evening lights", lived in the dreams of youth. Thoughts about the past did not leave him, and visited at the most unexpected moments. It was enough for the slightest external occasion, say, to sound words similar to those spoken long ago, to flash on a dam or in an alley of a dress similar to what she had seen on her in those days.

It happened thirty years ago. In the outback of Kherson he met a girl. Her name was Maria, she was twenty-four years old, he was twenty-eight. Her father, Kozma Lazich, was a Serb by origin, a descendant of those two hundred of his compatriots who, in the middle of the 18th century, moved to the south of Russia together with Ivan Horvat, who founded the first military settlement here in Novorossia. Of the daughters of retired general Lazich, the eldest Nadezhda, graceful and frisky, a wonderful dancer, had a bright beauty and a cheerful disposition. But it was not she who captivated the heart of the young cuirassier Fet, but the less flashy Maria.

A tall, slender brunette, restrained, not to say strict, she, however, was inferior to her sister in everything, but she surpassed her in the luxury of blacks, thick hair. This must have made Fet pay attention to her, who valued the beauty of women, first of all, hair, as many lines of his poems convince.

Usually not participating in noisy fun in the house of her uncle Petkovich, where she often stayed and where young people gathered, Maria preferred to play for those who danced on the piano, because she was an excellent musician, which Franz Liszt himself noted when he once heard her play.

Having spoken with Maria, Fet was amazed at how extensive her knowledge of literature, especially poetry. In addition, she turned out to be a longtime admirer of his own work. It was unexpected and pleasant. But the main “field of rapprochement” was George Sand with her charming language, inspired descriptions of nature and completely new, unprecedented relationships between lovers. Nothing brings people together like art in general - poetry in the broadest sense of the word. Such unanimity is poetry in itself. People become more sensitive and feel and understand what no words are enough to fully explain.

“There was no doubt,” Afanasy Afanasyevich will recall in his later life, “that she had long understood the sincere awe with which I entered her pleasant atmosphere. I also understood that words and silence in this case are equivalent.

In a word, a deep feeling flared up between them, and Fet, filled with it, writes to his friend: “I met a girl - a wonderful home, education, I was not looking for her - she is me, but fate - and we learned that we would be very happy after various worldly storms, if they could live peacefully without any claims to anything. We said this to each other, but is it necessary somehow and somewhere? My funds are known to you - she also has nothing ... "

The material question has become the main stumbling block on the path to happiness. Fet believed that the most tormenting sorrow in the present does not give them the right to go to the inevitable grief of the rest of their lives - once there will be no prosperity.

However, their conversations continued. It happened that everyone would disperse, it was already past midnight, and they could not talk enough. They sit on the sofa in the living room alcove and talk, talk in the dim light of a colored lantern, but they never let out their mutual feelings.

Their conversations in a secluded corner did not go unnoticed. Fet felt responsible for the honor of the girl - after all, he is not a boy who is fond of a minute, and he was very afraid to put her in an unfavorable light.

And then one day, in order to burn the ships of their mutual hopes at once, he gathered his courage and bluntly expressed his thoughts to her about the fact that he considers marriage impossible for himself. To which she replied that she liked to talk with him, without any encroachment on his freedom. As for the rumors of the people, all the more, she does not intend to deprive herself of the happiness of communicating with him because of gossip.

“I will not marry Lazich,” he writes to a friend, “and she knows this, but meanwhile she begs not to interrupt our relationship, she is purer than snow in front of me - to interrupt indelicately and not to interrupt indelicately - she is a girl - you need Solomon.” A wise decision was needed.

And a strange thing: Fet, who himself considered indecision to be the main feature of his character, then unexpectedly showed firmness. However, was it really that unexpected? If we recall his own words that the school of life, which kept him all the time in a tight grip, developed reflection in him to the extreme and he never allowed himself to take a step thoughtlessly, then his decision will become clearer. Those who knew Fet well, for example, L. Tolstoy, noted this “attachment to worldly things”, his practicality and utilitarianism. It would be more accurate to say that the earthly and spiritual struggled in him, reason fought with the heart, often prevailing. It was not an easy struggle with one's own soul, deeply hidden from prying eyes, as he himself said, "the rape of idealism towards a vulgar life."

So, Fet decided to end the relationship with Maria, about which he wrote to her. In response came "the most friendly and reassuring letter." This, it seemed, ended the time of "the spring of his soul." After a while he received the terrible news. Maria Lazich died tragically. She died a terrible death, the secret of which has not yet been revealed. There is reason to think, as, for example, D. D. Blagoi believes, that the girl committed suicide. He saw her with some special power of love, almost with bodily and spiritual intimacy, and he became more and more clearly aware that the happiness that he experienced then was so much that it was terrible and sinful to wish and ask God for more.

In one of his most beloved poems, Fet wrote:

I dare to mentally caress

Awaken the dream with the power of the heart

And with bliss, timid and dull

Remember your love.

Natural and human in fusion give harmony, a sense of beauty. Fet's lyrics inspire love for life, for its origins, for the simple joys of being. Over the years, getting rid of the poetic stamps of the times, Fet asserts himself in his lyrical mission as a singer of love and nature. The morning of the day and the morning of the year remain symbols of Fet's lyrics.

The image of love-memories in the lyrics of Fet

A. Fet's love lyrics are a very unique phenomenon, since almost all of them are addressed to one woman - Fet's beloved Maria Lazich, who died untimely, and this gives her a special emotional flavor.

The death of Mary finally poisoned the already “bitter” life of the poet - his poems tell us about this. “The enthusiastic singer of love and beauty did not follow his feelings. But the feeling experienced by Fet passed through his whole life to a ripe old age. Love for Lazich vindictively broke into Fet's lyrics, giving her drama, confessional looseness and removing from her a hint of idyllicness and tenderness.

Maria Lazich died in 1850, and more than forty years that the poet lived without her were filled with bitter memories of his "burnt love." Moreover, this metaphor, traditional for designating a departed feeling, in the mind and lyrics of Fet was filled with quite real and therefore even more terrible content.

AT last time your image is cute

I dare to mentally caress

Awaken the dream with the power of the heart

And with bliss, timid and dull

Remember your love...

What fate could not connect was connected by poetry, and in his poems Fet again and again refers to his beloved as a living being, listening to him with love,

Like a genius you are, unexpected, slender,

From heaven flew me light,

Subdued my restless mind,

She drew her eyes to her face.

The poems of this group are distinguished by a special emotional flavor: they are filled with joy, ecstasy, delight. Here the image of love-experience dominates, often merged with the image of nature. Fet's lyrics become the embodiment of the memory of Mary, a monument, a "living statue" of the poet's love. Gives a tragic tinge love lyrics Feta motives of guilt and punishment, which are clearly heard in many verses.

For a long time I dreamed of the cries of your sobs, -

For a long, long time I dreamed of that joyful moment,

As I begged you - the unfortunate executioner ...

You gave me your hand, asked: “Are you coming?”

Just in the eyes I noticed two drops of tears;

Those sparks in your eyes and cold shivers

I endured forever in sleepless nights.

The steady and infinitely varied motif of love and burning in Fet's love lyrics draws attention to itself. Truly burnt Maria Lazich scorched the poetry of her lover. “Whatever he writes about, even in poems addressed to other women, her image is vengefully present, her short life, burned with love. No matter how banal this image or its verbal expression is sometimes, it is convincing in Fet. Moreover, it forms the basis of his love lyrics.

The lyrical hero calls himself an "executioner", thereby emphasizing the awareness of his guilt. But he is an “unfortunate” executioner, because, having killed his beloved, he also destroyed himself, his own life. And therefore, in the love lyrics, next to the image of love-memories, the motif of death persistently sounds as the only opportunity not only to atone for one's guilt, but also to reunite with the beloved. Only death can return what life has taken away:

There are no those eyes - and I am not afraid of coffins,

I envy your silence

And, judging neither stupidity nor malice,

Hurry, hurry into your oblivion!

Life lost its meaning for the hero, turning into a chain of suffering and loss, into a “bitter”, “poisoned” cup, which he had to drink to the bottom. In Fet's lyrics, a tragic in essence opposition of two images arises - a lyrical hero and a heroine. He is alive, but dead in soul, and she, long dead, lives in his memory and in poetry. And he will remain faithful to this memory until the end of his days.

Perhaps Fet's love lyrics are the only area of the poet's work in which his life impressions are reflected. Perhaps that is why love poems are so different from those devoted to nature. They do not have that joy, a feeling of happiness in life, which we will see in Fet's landscape lyrics. As L. Ozerov wrote, “Fet's love lyrics are the most inflamed zone of his experiences. Here he is not afraid of anything: neither self-condemnation, nor curses from outside, neither direct speech, nor indirect, neither forte, nor pianissimo. Here the lyricist judges himself. Goes to execution. It burns itself."

Features of impressionism in the lyrics of Fet

Impressionism is a special trend in the art of the 19th century, which developed in French painting in the 70s. Impressionism means an impression, that is, an image not of an object as such, but of the impression that this object produces, the fixation by the artist of his subjective observations and impressions of reality, changeable sensations and experiences. A special feature of this style was "the desire to convey the subject in fragmentary strokes that instantly capture every sensation."

Fet's desire to show the phenomenon in all its variety of changeable forms brings the poet closer to impressionism. Vigilantly peering into the outside world and showing it as it appears in this moment, Fet develops completely new techniques for poetry, an impressionistic style.

He is interested not so much in the object as in the impression made by the object. Fet depicts the outside world in the form that corresponds to the momentary mood of the poet. For all their truthfulness and concreteness, descriptions of nature primarily serve as a means of expressing lyrical feelings.

Fet's innovation was so bold that many of his contemporaries did not understand his poems. During the life of Fet, his poetry did not find a proper response from his contemporaries. Only the twentieth century truly opened Fet, his amazing poetry, which gives us the joy of recognizing the world, knowing its harmony and perfection.

“For everyone who touches Fet’s lyrics a century after its creation, what is important, first of all, is its spirituality, spiritual intentness, the unspentness of the young forces of life, the thrill of spring and the transparent wisdom of autumn,” wrote L. Ozerov. - You read Fet - and surrenders: your whole life is still ahead. How much good promises the coming day. Worth living! Such is Fet.

In a poem written in September 1892 - two months before his death - Fet admits:

The thought is fresh, the soul is free;

Every moment I want to say:

"It's me!" But I am silent.

Is the poet silent? No. His poetry speaks.

Bibliography

R. S. Belausov "Russian Love Lyrics" printed in the printing house Kurskaya Pravda - 1986.

G. Aslanova “In the captivity of legends and fantasies” 1997. Issue. 5.

M. L. Gasparov “Selected Works” Moscow. 1997. Vol.2

A. V. Druzhinin “Beautiful and Eternal” Moscow. 1989.

V. Solovyov “The Meaning of Love” Selected works. Moscow. 1991.

I. Sukhikh “The Myth of Fet: Moment and Eternity // Star” 1995. No. 11.

For the preparation of this work, materials from the site http://www.referat.ru/ were used.

Fet's lyrics are not very diverse in terms of subject matter. These are mainly themes of love, nature, personal experiences - themes that are inherent in almost all poets.

But everyone has something that distinguishes his poetry from the poetry of others. In Tyutchev, for example, the philosophical motive is predominant. Fet's main motive, which is found in almost all of his poems, is the motive of fire. The motive of water, the sea is opposed to him in the lyrics. You can meet the motives of flight, divination, dual world.

The motive of fire, as I already mentioned, is the main one. Fire was the element of Fet, just as Tyutchev's element was water. Probably, the wise men were right when they said that each person has his own element.

Fire in Fet's poetry has its own images. This is the dawn, sunset, fire, lamp, stars. As you can see, this is not only literally refers to fire, but also something that remotely resembles it. The fire in the life of Fet is also associated with personal experiences. His beloved girlfriend - Maria Lazich - died from the fire, dropping a burning match on her dress. In the poem “The Spring Sky Looks…” fire is presented in the form of its little brother - a spark. This light makes us feel sorry, but we know that it can be a part of something big and scary:

In the distance, a lonely light

Trembles under the dusk of sticky trees;

Filled with cruel secrets

The soul of dying violins.

This poem introduces the image of the violin, which evokes lingering, sad melodies in our minds, and this further convinces us of something sad and weeping.

Fire in Fet's lyrics is often associated with loneliness:

As on the line of the midnight distance

That spark

Under the haze of the secret of sadness

I'm lonely…

These lines remind us of the previous poem, it feels the same sadness and sadness. It is not for nothing that loneliness exists here “under the haze of secret sadness”. When we talk about the motive of fire, we mean the fire not only, say, of a fire, but also of a candle:

... Mirror to mirror, with a tremulous babble,

I lit by candlelight

Two rows of light - and a mysterious thrill

The mirrors are amazing.

In these lines, fire and a candle accompany the divination ritual. Therefore, the fire here is perceived as something mysterious. It can be assumed that two worlds are approaching - the earthly world and the heavenly world. Another poem where divination is connected with something personal:

... I remember, the old nanny

me on christmas night

I wondered about my fate

With the flickering of a candle.

Words: “candle”, “night”, “fate” ... I would like to add the word “mystery” to this row. Probably, divination itself is a mystery that few can comprehend. The secret of the poet's fate is revealed to us by an old nanny. But the poet interrupts his poem without telling us what the nanny guessed. This, it seems to me, has a philosophical meaning: why know your fate ahead of time.

What a night!

diamond dew

Living fire with the fires of the sky in a dispute,

Like an ocean, the skies opened up

And the earth sleeps - and warms like the sea.

Here, next to the fire, there is water. These two elements are fundamental in nature. In the poem, they are opposed to each other, due to which these lines breathe calmness and tranquility. This calmness strengthens the phrase “and warms like the sea”. Here the sea is not a formidable element, but something harmless and very beautiful.

In the work of Fet, the motif of flight is often found. Before him, Ostrovsky used it in the plays “Dowry” and “Thunderstorm”, the main characters of which also wanted to fly. But Fet's flight is not distracted. This is, for example, the flight of a bird:

But when the time has come,

From the nest you spread your wings

And, confidently trusting their wave,

Expanding, swam across the sky.

Fet's flight motif in different poems has different meaning. In some cases, it means the arrival of a new life, return, love. In such poems, images of a butterfly, a falcon are used. In other poems, flight is a transition to another world, to eternity. Such a flight is symbolized by rooks, autumn leaves flying from the trees. These include the poems “Again the autumn shine of the morning star ...”, “Butterfly”. These poems are bright, they breathe the sun, warmth.

In the poem “Falling off in an armchair, I look at the ceiling ...” the flight of rooks in a circle is shown. The circle is a symbol of eternity. Death is meant here, but death is not an end, a void, but an eternity. Fet's symbol of death is also a bee, with which the poet also associates the motif of flight.

The love theme in Fet's lyrics has a deeply personal character. Love is connected with the poet's girlfriend, Maria Lazich, who remained Fet's only beloved. This cycle includes the poems “You suffered, I still suffer ...”, “At home I dreamed of your cries of sobs ...” and others. You understood everything with the soul of an infant, What should I say secret power gave, And even though I am destined to drag out life without you, But we are together with you, we cannot be separated. These lines are from the poem “Alter ego”, which means “second self” in Latin. The beloved poet will forever remain with him.

The poem "Bacchae" can be attributed to love lyrics. Fet has always been drawn to the beautiful, harmonious, which was lacking in real life. Therefore, in his work, in search of harmony and beauty, he turns to ancient times. The poem "Bacchae" describes a passionate and beautiful girl: Throwing back her head, with a smile of intoxication, She was looking for a cool breath, As if her hair was already beginning to burn With hot gold roses of her lush shoulders. Fet's poetry is unique and multifaceted. You can read and re-read it, and each time you will definitely find something new and important in it, which you could not notice before. Therefore, she is forever young and beautiful.

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MAIN MOTIVES OF A. A. FET'S LYRICS

What is a motive? A motif is a semantic element of a literary text that is repeated within a series of works. In the work of any writers and poets, you can find a number of objects, concepts or phenomena that are found in their works. As a rule, the theme of motives is a synthesis of the work of the poet (writer) and his love. Such a pattern can be distinguished in the poems of A. A. Fet, to which big influence rendered by the inner experiences of the author himself, his worldview and attitude to the environment. We will consider the main motives: firstly, the motive of fire and, in contrast to it, the motive of water, the sea, and secondly, these are the motives of the seasons and divination, the motives of duality, flight, which are one of the main motives, these are anthological motives. Now let's look at each of the motives separately, referring to examples.
The first thing we will consider is the motif of fire in the work of A. A. Fet, which is one of the main motifs in the poems of the poet we are considering. By fire, we mean the moon, sunset, dawn, lamp, bonfire (that is, fire in the literal sense) and stars, as well as everything that we associate with the motif of fire. It is not by chance that this motive is so often found in the work of Afanasy Fet, as I already mentioned, the motives are made up of creativity and its love twists and turns. The fire in Fet's life left a dark imprint: his beloved Maria Lazich died from the fire - she inadvertently set fire to her White dress burning match. Perhaps this hurt the poet so much that he dedicated most his poems of such a terrifying element as fire.
... As on the line of the midnight distance
That spark
Under the haze of the secret of sadness
I'm lonely...
In this poem, A. A. Fet compares himself with fire, but not as an element, but with a “light” - a piece of all fire, that is, Fet is lonely small man among all mankind. The second and fourth lines of the poem differ from the first and third - they are shorter, which creates some kind of special rhythm of the poem, when you read, it feels like you are stumbling. This passage is dominated by sounds such as “o”, “l” and “i”, which means tenderness, sadness, longing, some soft things, and at the same time fear.
Lines already from another poem by A. A. Fet (“The spring sky looks ...”) paint a similar picture for us:
... In the distance, a lonely light
Trembles under the dusk of sticky trees;
Filled with cruel secrets
The soul of dying violins...
Here the “light” is represented by a small particle of something big and terrible, but this particle rather does not scare us, but, on the contrary, evokes a feeling of pity. The predominant sounds of the poem are “o”, “e”, “k”, which gives us the right to judge light, sad and lazy actions. This feeling is even more firmly established in our minds when we see the word “violin”, because when playing the violin, mournful and sad works are especially good, and maybe that’s why we have an idea about something sad and crying. And in these lines, the “violin” is presented to us with a very beautiful and sad epithet: “fading”. In this stanza, we are presented with a picture of loneliness (“a lonely light”). But when we talk about the motif of fire, we mean not only fire in the form of a fire, but also the fire of a candle, a lamp. The motive of the candle in A. A. Fet is associated with fortune-telling. And this is no coincidence. After all, the flickering of a candle is an image of a person’s life: while a candle is burning, a person is alive. Let us recall the words of Bazarov from Turgenev's novel "Fathers and Sons" before his death: "Blow on the dying lamp, let it go out." The meaning of these words can be understood as the fact that Bazarov, being a “dying lamp”, wanted to die so as not to suffer further. But back to Fet's poems:
... Mirror to mirror, with a quivering babble,
I lit by candlelight
Two rows of light - and a mysterious thrill
Mirrors shine...
In these lines, the fire is shrouded in a mysterious veil, because everything happens during divination, when two worlds approach and, perhaps, unite: the earthly world and the heavenly world. For Fet, the border of these two worlds is a circle, the motive of which was not alien to the poet. From the point of view of euphony, the sounds “e”, “z” and “a” predominate in this stanza, which conveys to us gentle, soft things, as well as the sudden fear caused by divination.
And another poem, where the motif of a candle is present, is connected with fortune-telling:
... I remember: the old nanny
me on christmas night
I wondered about my fate
When the candle flickers...
There is something strange and unknown in this quatrain. One gets the feeling of secrecy, some kind of ritual, because any fortune-telling is a ritual.
With the motif of fire, one can correlate the motif of “dawn and sunset”, which identify the fire of the sun.
... In the pastures of the dumb I love in the crackling frost
In the light of the sun, I snow prickly shine,
Forests under hats or in gray hoarfrost,
Yes, a sonorous river under dark blue ice ...
This poem, unlike others, is permeated with solar threads, and it no longer seems to us as sad as the examples described above. One senses in this passage some kind of youthful enthusiasm and gaiety. The sound "a" that we met in this poem tells us about the splendor of the great space. Perhaps the most mysterious motif of fire is the motif of the moon. The moon, although it fascinates many, is an unfavorable phenomenon in life. loving friend friend of hearts. If you meet under the moon, then parting will immediately follow. Therefore, the image of the moon is covered with a veil of mystery and ignorance:
... Quiet, starry night,
The moon shines tremblingly,
Sweet lips of beauty
On a quiet starry night...
This is a dull poem; the abundance of “y” in the last line tells us about grief, despondency. The moon itself is mysterious, and in this example it “shines tremulously”, which brings even more fear and insecurity towards it into our hearts.
Everyone knows that fireflies are associated with motifs such as fire, night, moon. They glow, which means they emit light, but their light is unusual, they "produce it" with their body ":
...I'm waiting... nightingale echo
Rushing from the shining river
Grass under the moon in diamonds,
Fireflies are burning on the cumin ...
And as a contrast, consider the motif of water. Water in the work of Fet does not occupy such a large place as fire. And here I would like to mention the work of the predecessor - F.I. Tyutchev, in whom the motives of water are most often found. The works of A. A. Fet and F. I. Tyutchev seem to absorb each other, as two elements absorb themselves - fire and water:
...No answer...
Small waves whisper something with the stern,
The paddle is immovable
And in the clear sky the lightning sparkles high...
The sea is an element. But in this passage, A. A. Fet wants to present the waves of the sea as something harmless (“small waves”). From the point of view of euphony, the sounds “l”, “n”, “e” prevail here - this gives us the right to think about things personal, tender and affectionate.
One of the interesting motives that we met when reading poems and which we have already talked about is the motive of divination and everything connected with it: the dual world, a candle, a mirror, night (moon). These concepts paint a picture in our imagination that hides many secrets:
... The good nanny wonders
Bowing his head sadly
The candle burns softly
My heart is beating...
On the last lines, our attention increases, and we are already ready to see the fate, what the nanny guessed, but then the poem ends, leaving us in complete ignorance. Perhaps all of humanity has remained in complete ignorance, never knowing its fate ... There is one motif that can be found in a number of works by many poets - this is the theme of the seasons:
... The willow is all fluffy
Spread around;
Spring is fragrant again
She blew her wings...
The seasons can be compared with inner world hero. In this example, Fet describes spring, which gives the right to judge that at the moment (that is, when the author wrote this poem), nothing disturbs the poet's soul. The predominance of the sounds “e” and “and” confirms this fact, the reader or listener has a feeling of affection and tenderness. But there are cases when autumn and spring alternate in one poem, which tells us about a sharp change in the mood of the poet. Fet, like F.I. Tyutchev, did not write his poems, but “recorded them down”. He wrote them anywhere and anytime. And what the author felt at the moment when he materialized his thoughts on paper is reflected in the verses.
The motive of the flight, which will be discussed now, is found not only in Fet's poems, but also in prose works. For example, in Ostrovsky's plays "Dowry" and "Thunderstorm", where the main characters wanted to fly. But their flight turned into a fall. The flight motif can be associated with the flight of birds, bees, fireflies and flowers, as well as the creative flight of the author himself.
Here are the lines that contain the motif of the flight of a bird:
... Do you hear how the angular herd is rustling above?
With a cry, cranes fly through the dock to the warm fields,
Yellow leaves rustle, strength whistles in the birch.
You say that again we will wait for a warm spring ...
This poem symbolizes hope for better times: This poem (in particular, the first four lines) is built on a question, and perhaps this question is addressed not to a single interlocutor, but to all people in the world. When we read it, we have a feeling of tenderness and affection, and at the same time anger, envy and even fear due to the predominance of such sounds as “and”, “o” and “y”.
The motif of the bird, bee and flight is an ancient soul motif, for example, the penguin symbolizes the souls of the dead. In Fet, a bee is death. Perhaps this is due to its unpleasant buzzing, which causes unpleasant feelings and thoughts in us. But honey is a symbol of knowledge of poetry. This is probably why grandparents advise us to eat honey all the time, because they know that it is very useful. But back to Fet's lyrics.
In his work, you can find a number of poems dedicated to the poet's beloved, Maria Lazich. These are such poems as “Alter ego”, “You have suffered, I am still suffering ...”, “At home I dreamed of your cries of sobs ...”, “No, I have not changed. To deep old age...”, “Old Letters”. From the lines alone, we already have a feeling of sadness, grief and sadness. Here are the lines from the poem “Alter ego:
... You understood everything with the soul of a child,
What did the secret power give me to say,
And even though I'm destined to drag out life without you,
But we are with you, we cannot be separated ...
“Alter ego” in Latin means “second self”, that is, Fet considers Maria Lazich to be his part, his second “I”. The passage is dominated by the sounds “o”, “a”, “l”, which gives us the right to say that this is a sad poem, in which one can see splendor and at the same time sudden fear, fear of living further in solitude.
And I would like to complete our journey through the lyrics of A. A. Fet with a poem created in the spirit of ancient lyrics - this is the poem “Diana” (we know that Diana is the goddess of hunting).
...Goddess of virgin rounded features,
In all the grandeur of brilliant nakedness,
I saw between the trees over the clear waters,
With oblong, colorless eyes
An open man has risen high...
In these lines we see unusual image"pure" goddess. This poem is full of tender and light things. A. A. Fet was able to convey in words all the charm of this goddess - thin, pure and untouched ...
It should be noted that the lyrics of Athanasius Fet represent a unique “event” of both the era in which the author himself lived, and the era in which we live, the readers of his works. For me, Fet's poems are small sketches from his life, into which you yourself instantly penetrate and experience together with the author. His poems are diverse, which is proved by the number and variety of motives that we have considered. The traditions of Fet will be continued by the symbolists in the future: Blok, Solovyov - this tells us that such poems will always touch the heart of the reader.

Fet's lyrics are not very diverse in terms of subject matter. These are mainly themes of love, nature, personal experiences - themes that are inherent in almost all poets. But everyone has something that distinguishes his poetry from the poetry of others. In Tyutchev, for example, the philosophical motive is predominant. Fet's main motive, which is found in almost all of his poems, is the motive of fire. The motive of water, the sea is opposed to him in the lyrics. You can meet the motives of flight, divination, dual world.
The motive of fire, as I already mentioned, is the main one. Fire was the element of Fet, just as Tyutchev's element was water. Probably, the wise men were right when they said that each person has his own element.
Fire in Fet's poetry has its own images. This is the dawn, sunset, fire, lamp, stars. As you can see, this is not only something that literally refers to fire, but also something that remotely resembles it. The fire in the life of Fet is also associated with personal experiences. His beloved girlfriend - Maria Lazich - died from the fire, dropping a burning match on her dress. In the poem “The spring sky looks ...” fire is presented in the form of its little brother - a spark. This light makes us feel sorry, but we know that it can be a part of something big and scary:
In the distance, a lonely light
Trembles under the dusk of sticky trees;
Filled with cruel secrets
The soul of dying violins.
This poem introduces the image of the violin, which evokes lingering, sad melodies in our minds, and this further convinces us of something sad and weeping.
Fire in Fet's lyrics is often associated with loneliness:
As on the line of the midnight distance
That spark
Under the haze of the secret of sadness
I'm lonely...
These lines remind us of the previous poem, it feels the same sadness and sadness. It is not for nothing that loneliness exists here "under the haze of secret sadness." When we talk about the motive of fire, we mean the fire not only, say, of a fire, but also of a candle:
... Mirror to mirror, with a quivering babble,
I lit by candlelight
Two rows of light - and a mysterious thrill
The mirrors are amazing.
In these lines, fire and a candle accompany the divination ritual. Therefore, the fire here is perceived as something mysterious. It can be assumed that two worlds are approaching - the earthly world and the heavenly world. Another poem where divination is connected with something personal:
... I remember, old nanny
me on christmas night
I wondered about my fate
With the flickering of a candle.
Words: "candle", "night", "fate" ... I would like to add the word "mystery" to this series. Probably, divination itself is a mystery that few can comprehend. The secret of the poet's fate is revealed to us by an old nanny. But the poet interrupts his poem without telling us what the nanny guessed. This, it seems to me, has a philosophical meaning: why know your fate ahead of time.
What a night! diamond dew
Living fire with the fires of the sky in a dispute,
Like an ocean, the skies opened up
And the earth sleeps - and warms like the sea.
Here, next to the fire, there is water. These two elements are the main ones in nature. In the poem, they are opposed to each other, due to which these lines breathe calmness and tranquility. This calmness is strengthened by the phrase "and warms like the sea." Here the sea is not a formidable element, but something harmless and very beautiful.
In the work of Fet, the motif of flight is often found. Before him, Ostrovsky used it in the plays "Dowry" and "Thunderstorm", the main characters of which also wanted to fly. But Fet's flight is not distracted. This is, for example, the flight of a bird:
But when the time has come,
From the nest you spread your wings
And, confidently trusting their wave,
Expanding, swam across the sky.
Fet's motif of flight has different meanings in different poems. In some cases, it means the arrival of a new life, return, love. In such poems, images of a butterfly, a falcon are used. In other poems, flight is a transition to another world, to eternity. Such a flight is symbolized by rooks, autumn leaves flying from trees. These include the poems “Again, the autumn shine of the morning star ...”, “Butterfly”. These poems are bright, they breathe the sun, warmth.
In the poem “Falling off in an armchair, I look at the ceiling ...” the flight of rooks in a circle is shown. The circle is a symbol of eternity. Death is meant here, but death is not an end, a void, but an eternity. Fet's symbol of death is also a bee, with which the poet also associates the motif of flight.
The love theme in Fet's lyrics has a deeply personal character. Love is connected with the poet's girlfriend, Maria Lazich, who remained Fet's only beloved. This cycle includes the poems “You suffered, I still suffer ...”, “At home I dreamed of your cries of sobs ...” and others.
You understood everything with the soul of a child,
What did the secret power give me to say,
And even though I'm destined to drag out life without you,
But we are with you, we cannot be separated.
These lines are from the poem "Alter ego", which means "second self" in Latin. The beloved poet will forever remain with him.
The poem "Bacchae" can be attributed to love lyrics. Fet has always been drawn to the beautiful, harmonious, which was lacking in real life. Therefore, in his work, in search of harmony and beauty, he turns to ancient times. The poem "Bacchae" describes a passionate and beautiful girl:
Throwing back his head, with a smile of intoxication,
She was looking for a cool breath,
As if the hair was already starting to burn
Hot gold roses to her lush shoulders.
Fet's poetry is unique and multifaceted. You can read and re-read it, and each time you will definitely find something new and important in it, which you could not notice before. Therefore, she is forever young and beautiful.