Russian poetry XIX century has experienced in its development at least three genuine upsurges. The first, relatively speaking, falls at the beginning of the century and is overshadowed by the name of Pushkin. Another long-recognised poetic take-off falls at the turn of the two centuries - the nineteenth and twentieth - and is associated primarily with the work of Alexander Blok. Finally, the third, in the words of a modern researcher, "poetic era" is the middle of the 19th century, the 60s, although it is in poetry that the so-called "sixties" chronologically shift more noticeably to the beginning of the 50s.

Russian poetry after Pushkin carried opposing principles, expressed the increased complexity and inconsistency of life. Clearly designated and polarized, two directions are developing: democratic and the so-called "pure art". When we speak of two poetic camps, one must keep in mind the great diversity and complexity of relations both within each of the camps and in relations between them, especially if one takes into account the evolution of social and literary life. "Pure" poets wrote civil poems: from liberal accusatory (Ya. Polonsky) to reactionary protective (A.P. Maikov). The poets-democrats experienced a certain (and also positive) influence from the poets of "pure art": Nikitin, for example, in his lyrics of nature. The heyday of satirical poetry is associated mainly with democratic movement. Nevertheless, "pure art" put forward a number of major satirical talents: P. Shcherbina and especially A.K. Tolstoy, who wrote many satirical works - both independent and within the framework of collective authorship, who created the famous Kozma Prutkov. And yet, in general, there is a fairly clear divide between poetic movements. The intensified social struggle often manifested itself in the confrontation and confrontation between these two trends. The poles could, perhaps, be designated by two names: Nekrasov and Fet. “Both poets began to write almost at the same time,” critics stated, “both experienced the same phases of social life, both made a name for themselves in Russian literature ... both, finally, differ by far from a dozen talent, and for all that, in poetic there is almost no common point in the activities of each of them.

More often under school of Nekrasov- and here we are talking about just such a school - they mean poets of the 50s - 70s, ideologically and artistically closest to him, who experienced the direct influence of one great poet, even organizationally, in essence, united already by virtue of the fact that the majority of them were grouped around a few democratic publications: Nekrasov's Sovremennik, Russkoe Slovo, Iskra.

An absolutely exceptional place in the depiction of folk life was occupied by the largest and most talented representative of the Nekrasov school - Ivan Savvich Nikitin (1824 - 1861). His best works represent independent and original creativity in the spirit of the Nekrasov school.

In Russian poetry of the second half of the 19th century, the assimilation of folk, primarily peasant life, took place almost exclusively within the framework of the Nekrasov direction.

In the lyrics of the Nekrasov poets, we find a new hero - a man of public service, civic duty.

The poetry of the 50s, especially in their second half, is also interesting as a kind of preparation for the epic. Even in the lyrics of this time, much of what is actually realized in the epic in the 60s matured. And not only in the poetic, but also in the prose epic. We are talking about the interaction and echoes of lyrics and prose. In general, these interactions themselves become more complicated. The poetry of the 1940s was closely associated with the small prose genres of the story and especially the essay, for example, in the verses of Nekrasov and Turgenev. This phenomenon also took place in the 1950s, both in the work of poets of the Nekrasov school (Nikitin) and Polonsky Mei. At the same time, processes are observed in the lyrics that approach the complexity of psychologism, the organization of lyrical plots to the novel. This is especially clear in the love poem cycles.

Revolutionary Populists create their own poetry, organically included in the literature movement of this decade. In the poetry of the 70s years on the whole, two directions still coexist: Nekrasov's, civil and Fet's, the direction of "pure art", the struggle between them has intensified significantly. The poetic declarations of each of the directions are deliberately emphasized and pointed. At the same time, each of them revealed its own inconsistency. "Pure Art" mobilizes its poetic inner possibilities to the maximum and at the same time exhausts them (A.A. Dret, A.N. Maikov, A.K. Tolstoy). Nekrasov's poetry, which affirms the high ideal of serving the people, at the same time experiences its own difficulties in combining civic pathos and psychologism. Among the poets grouped around the Iskra magazine, the humorous tonality prevailing in the 1960s was replaced by a satirical beginning.

Possessing a certain specificity, populist poetry touches, in addition, those aspects of the populist movement and consciousness that were hardly touched by the prose of the populists. It is characteristic that lyric poetry arises primarily among the Narodnaya Volya. "Going to the people", as already noted, gave rise to propaganda literature; poetry in it was represented primarily by songs.

The activity of the revolutionary Narodniks is inseparable from poetry. Their poetry is, first of all, poetic journalism. They almost consciously oppose themselves to professional poets.

The inner content and the main task of the democratic poetry of the 70s is "the liberation and education of the people in the spirit of humanism and social justice." This theme is the leading one in the works of A.P. Barykova, I.V. Fedorov Omulevsky, A.F. Ivanov-Klassik, A.A. Olkhin, A.L. Borovikovsky, A. K. Scheller-Mikhailovsky and others. Democrat poets are characterized by a special attitude to the word. “In their work, the word became a civic act, a direct continuation of social activity. Word and concept, word and feeling are merged in the poetry of democrats, there is no confrontation between them, the result of which would be the birth of additional semantic and emotional shades. There is a tendency to expose the fundamental, vital important words."

The lyrics of the revolutionary populists also have their own lyrical hero. In him, in a peculiar way, the consciousness of his tragic fate and the conviction that his sufferings would be atoned for were combined. This theme will be reinforced by the poetry of the 80s, primarily in the poems of the prisoners of the Shlisselburg fortress: V.N. Figner, N. A. Morozova, G. A. Lopatina and others.

The poetry of the 80s and 90s occupies a very modest place in the literary process, although it is marked by some signs of a new upsurge.

Reflections of the bright poetic phenomena of previous decades still lie on the era. So, poetry, which served "pure beauty", reminds of itself in the work of A. Fet, who, after a short break, appears in print and publishes four issues of "Evening Lights" (1883 - 1891).

His lyrics are rich in free and strong: a feeling that appears in infinitely varied shades - in this direction, Fet deepens the "eternal" themes of art, almost without expanding their range. In his poetry, new content is obtained not so much due to the new objectivity of the image, but due to the boldly renewed form of the verse. It is Fet's form, acquiring truly musical mobility and flexibility, that captures such combinations of moods, overflows of thoughts and feelings that were not known to pre-Fet poetry.

Fet's work is associated with a tendency that leads directly to the formation of symbolist poetry. The objective-psychological motivations of the poetic image are increasingly being supplanted by subjective-psychological and purely aesthetic motivations; experiments with poetic form acquire an independent artistic value. All this will soon be reflected in the poetic practice of K. D. Balmont, B.C. Solovyov, F. Sologub, in the declarations of N. M. Minsky, D. S. Merezhkovsky - the direct founders of Russian symbolism.

But here a qualitatively different stage in the development of poetry begins, which will take shape completely by the 900s. And in the 90s, Fetov's lyrics, which continued the traditions of classical Russian poetry and brought them to their logical conclusion, with its sensual strength and richest poetics, remained an isolated phenomenon.

For many poets of these years, the themes and images of democratic poetry of the 60s and 70s, primarily Nekrasov's poetry, retain their attraction. However, their interpretation turns out to be poorer, the artistic means of developing these themes are more scarce, the author's voice is quieter and more monotonous.

Often in the verses of the 80s and 90s one can find echoes of Lermontov's motives and moods - interest in his romantic lyrics, as well as in Pushkin's work and in general in poets of the first half of the century, increased noticeably at that time. But none of the poets managed to approach the heights of Lermontov's poetry, which combines merciless denial with a powerful love of life, energy and picturesqueness of verse with accuracy and depth of thought.

Feelings of disappointment, hopelessness, "civil sorrow", spiritual brokenness do not know the outcome and create in poetry a general atmosphere of tragedy, gloomy and "sick" time.

The first dramatic experiences: vaudeville, the drama "Ivanov".

"The Seagull" (1896). History of the first production. Chekhov's artistic innovation: a new type of dramatic hero, novelty of plot and compositional solutions, richness of intonational and semantic nuances, subtextual meanings, polyphonic nature of the dialogue, ambiguity of characters and conflicts, richness of symbolism. The drama of mutual misunderstanding, personal failure and creative dissatisfaction in the play "The Seagull".

The triumphal production of "The Seagull" - 1898 at the Moscow Art Theater. Method K.S. Stanislavsky as a generalization of the director's experience of working on Chekhov's The Seagull. Chekhov's collaboration with the Moscow Art Theater.

"Uncle Vanya" (1897), "Three Sisters" (1901). Plays about lost opportunities and inexhaustible hopes of the provincial intelligentsia. Problems, figurative structure, psychological drawing. Genre originality of works.

"The Cherry Orchard" (1904). Three generations, three social groups represented in the play. External (decision of the fate of the estate) and internal (determining the historical and personal fate of the heroes) conflicts. Dramatic and comic in the play. Images-symbols, through motifs. The role of minor characters. Genre.

Modern stage interpretations of Chekhov's works.

The influence of Chekhov's dramaturgy on world dramaturgy.

4. Russian poetry of the second half of the 19th century

Traditions and innovations in poetry of the second halfXIXcentury. Lyrical, lyrical-epic and epic genres. Language and rhythms.

ON THE. Nekrasov(1821 - 1877). The personality of the poet. The content and pathos of his work.

Artistic innovation of Nekrasov. Expansion of the thematic volume, figurative world of poetry, democratization of content and language, organic inclusion of elements of folklore poetics into one's own poetic world, polyphony, rhythmic richness, genre diversity. Socio-biographical and moral-psychological features lyrical hero poetry of Nekrasov. Emotional richness and civil pathos of Nekrasov's poetry. The main themes of Nekrasov's lyrics.

Poems by Nekrasov.

Lyric-epic poem "Frost, Red Nose" (1863).

Historical poems "Grandfather" (1870) and "Russian Women" (1871 - 1872). The poetic embodiment of the theme of the moral feat of the Decembrists and their wives.

Folk epic "To whom it is good to live in Russia" (from 1863 to the end of his life). The idea of ​​the poem and the history of its implementation. Plot-compositional originality. Rhythmic-stylistic richness. Saturation with folklore motifs, images and rhythms. The content-functional mission of the seven wanderers-truth-seekers. Poetics and problems of the "Prologue" as a starting point and ideological and artistic grain of the narrative. The many-sidedness and polyphony of the poem. Picturesque mass scenes. The depth of Nekrasov's comprehension of the content and nature of folk life, the foundations of national life and the utopianism of his socio-historical hopes (the mission entrusted to Grisha Dobrosklonov; the legend "About two great sinners").

Editorial activity of Nekrasov at the head of Sovremennik and Otechestvennye Zapiski.

Contradictory assessments of the personality and creativity of Nekrasov by contemporaries. The enduring significance of his work.

F.I. Tyutchev(1803 - 1873). The originality of the poetic world of Tyutchev's poetry: philosophical character; the key role of global oppositions (Space - Chaos, Day - Night, Life - Death, Love - Struggle,

Death is the Court of Man), symbolic saturation, romanticism with a fundamental revision of the role and meaning of the individual, the logical alignment of the poetic statement and its sensual trepidation, lexical and rhythmic-syntactic richness and diversity of verse, addiction to archaic forms of poetic expressiveness, parallelism as one of the fundamental compositional principles. Tyutchev and Pushkin.

Conditionally allocated thematic blocks: landscape, natural-philosophical, love, actually philosophical lyrics, philosophical miniatures, poems of political and "Slavophile" content. (See accordingly structured list of works.)

Denisiev cycle: life base, ideological and artistic community, plot and compositional unity of works, the image of a lyrical hero, the image of a beloved. Tragic theme of love.

Interaction of Tyutchev's poetry with Western European philosophy and poetry. The influence of Tyutchev's work on poetry silver age(Merezhkovsky about Tyutchev: "our decadent grandfather").

A.A. Fet(1820 - 1892). A striking difference between the personality and fate of the poet from the content and emotional tone of his work. The fundamental detachment from social problems and the "lyrical audacity" (L. Tolstoy) of Fet's poetry. Main themes: nature, love, beauty, life and death, the purpose of art. Philosophical depth, romanticism and impressionism of Fet's poetry. Rhythmic and melodic richness, musicality, plastic expressiveness, emotional and psychological saturation of the lyrics. Dynamism, energy and speechlessness of Fet's verse.

Contemporaries about the work of Fet (L. Tolstoy, I. Turgenev, P.I. Tchaikovsky and N. Chernyshevsky, D. Pisarev). Fet's influence on Russian poetry of the 20th century.

An overview of the poetry of the 50s - 60s. Line Fet - representatives of "pure" art: Ap. Maikov, N. Shcherbina, Ya. Polonsky, A.K. Tolstoy. Folklore saturation, genre diversity of A. Tolstoy's lyrics. Poets of the Nekrasov school: N.P. Ogarev, D. Minaev, M. Mikhailov, S. Drozhzhin, I. Goltz-Miller, I. Nikitin. The satirical branch of the Nekrasov school: N. Dobrolyubov, V. Kurochkin, D. Minaev, L. Trefolev. Satirical writings by Kozma Prutkov (A.K. Tolstoy and the Zhemchuzhnikov brothers).

N.S. Leskov(1831 - 1895). The uniqueness of talent and creativity. Special place in the literature of his time.

Ideological novel-chronicle: "The Cathedral" (1872). Genre originality of the chronicle.

Anti-nihilistic (ideological) novels Nowhere (1865), On Knives (1871).

Essay on female characters and social mores in the works "The Life of a Woman" (1863), "Lady Macbeth of the Mtsensk District" (1865), "The Warrior" (1866).

The story "Lady Macbeth of the Mtsensk district": fairy tale manner of narration, language, functions of the narrator; principles of creating the image of the main character; the character and fate of Katerina Izmailova; Russian national character, the problem of naturalness, spontaneity of human nature in the coverage of Leskov. The meaning of the name. Polemic roll call between Leskov and Ostrovsky (Katerina Izmailova in comparison with Katerina Kabanova).

The story "The Enchanted Wanderer" (1873). The plot-compositional organization of the narration (“a story within a story”, fragmentation), a tale manner. Valiant mischief, epic strength, spontaneity of nature and unaccountability of the behavior of the protagonist - Ivan Severyanych Flyagin. His complicity in the fate of the people he met on the path of life. The moral evolution of the hero. The polysemy of the word "enchanted" in the story, the meaning of the title.

By the news "Lefty (The Tale of the Tula Oblique Left-hander and the Steel Flea)" (1882). The tale-epic nature of the story. Linguistic and plot incarnation of the opposition of the Russian and "foreign" national worlds. The tragic fate of the nugget master is the formula for the life of the Russian people. Problems of national and personal human dignity, education, statesmanship and foresight.

The theme of the tragic fate of a talented person from the people in the story "Dumb Artist" (1883).

The uniqueness of the artistic world of Leskov's works, the depth of comprehension of the Russian national character in them.

Democratic fiction of the 60s-80s.

Traditions of the "natural school". The development of a realistic method: attention to the socio-economic aspects of the life of the people, the psychological, everyday and ethnographic thoroughness of the image. N.G. Pomyalovsky(1835 - 1863): the story "Petty-bourgeois Happiness", the novel "Molotov", artistic understanding of the confrontation between diversity and nobility, psychologism, lyricism of the novel's narrative, a tough formulation of the problem of education in "Essays of the Bursa". V.A. Sleptsov(1836 - 1878): the novel "Hard Time" - the image of the socio-ideological conflict as the basis of the plot; poisonous irony and merciless satire in the depiction of the deformities of Russian reality in Sleptsov's stories and essays. F.M. Reshetnikov(1841 - 1871): the novel "Podlipovtsy" - realistic authenticity and ethnographic expressiveness of the narrative. N.V. Uspensky(1937 - 1889): "Essays on folk life" - rigidity in the depiction of folk life, "anecdotism" in the development of plots and characters. G.I. Uspensky(1843 - 1902). A spokesman for revolutionary socialist sentiments, "the great sad man of the Russian land", a merciless exposer of the social and moral deformities of national life. "The Morals of Rasteryaeva Street" (1866) is a bleak picture of the life and customs of the Russian philistinism, the embodiment of the horrors of the zoological existence of the Rasteryaevites. Cross-cutting problems of the cycle, expressiveness of human types. "The Power of the Earth" (1882) is the last of three essay cycles by G. Uspensky about the Russian village. Artistic and journalistic study of the organic connection of the peasant with the land. Idealization of the communal peasant world.

M.E. Saltykov-Shchedrin(1826 – 1889).

Personality and outlook. The main stages of biography and creativity. The beginning of the creative path - "Provincial Essays" (1956 - 1857): a satirical denunciation of the provincial officials and, in his person, the entire bureaucratic Russia.

Features of the artistic method of Saltykov-Shchedrin: satire, fantasy.

Ideological novel-parody: "The history of one city" (1869 - 1870) - political satire, fantasy-parody history of the Russian State. The content and principles of creating images of mayors. Their historical background and visionary, prognostic character. The image of the people in the "History ...". Social insights and social delusions of Saltykov-Shchedrin. Artistic features of the work (conventionality, symbolism, irony, grotesque, fantasy, folklore elements). The meaning of the figure of the chronicler-narrator. The composition of the book. The meaning of the final

Socio-psychological novel: "Gentlemen Golovlevs" (1875 - 1880) - , the history of the moral degradation of the landlord family, the destruction and disintegration of the noble nest. Socially accusatory pathos of the family chronicle of Saltykov-Shchedrin. The polemical orientation of the work. The image of Arina Petrovna Golovleva. The fault of Arina Petrovna in the collapse and death of the family and her misfortune in the end. Judas as a complete and final embodiment of moral self-destruction, spiritual necrosis of the noble "last son". Techniques for creating images of heroes (portrait, speech, facial expressions, gesture, author's commentary, generalizing assessments-characteristics). Incriminating sharpness of the story.

Ideological novel-pamphlet "Modern Idyll" (1877 - 1878, 1882 - 1883) - a satire on the reactionary era, on liberal opportunism (life "in relation to meanness", "foam skimming").

Ideological tale:"Tales" (1883 - 1886 ). History of creation. Genre originality of Shchedrin's fairy tales, echoes with folklore fairy tales and fundamental difference from them. The satirical nature of Shchedrin's fairy tales, their problem-thematic content. Generalized conditional nature of images of people and animals. Fable-moralistic traditions in Shchedrin's fairy tales.

The influence of M.E. Saltykov-Shchedrin on the literature of the twentieth century. Contemporary assessments of his work. The relevance of the images created by Shchedrin.

Literature of the 80-90s of the XIX century.

Overview characteristic .

V.M. Garshin (1855 - 1888 ): Anti-war pathos of military stories (“Four Days”, “Coward”, “From the Memoirs of Private Ivanov”); understanding the social mission of art (“Artists”); the theme of loneliness, a desperate impulse for happiness, madness as a form of social protest ("Attalea princeps", "Red Flower"). The fairy tales “The Traveling Frog”, “What Wasn't There” are sad humor and skepticism of the author's position. D.N. Mamin-Sibiryak(1852 - 1912): Ural nature, Ural life, capitalization of social and economic relations in the image of Mamin-Sibiryak.

V.G. Korolenko(1853 - 1921). Realism of "Siberian stories" ("The Dream of Makar"). Humanistic pathos, realistic and romantic images in the stories "In Bad Society" (1885), "The Blind Musician" (1886). Folk types in the story "The Forest Noises" (1895), anti-capitalist pathos of the story "Without a Language" (1895).

"Philistine Fiction" P. Boborykina, I. Potapenko.

A.P. Chekhov(1860 – 1904) .

The pattern of Chekhov's phenomenon at the end of the 19th century. The personality and fate of the writer. Self-education. Moral influence on loved ones. Social and medical activities. Trip to Sakhalin (1890). Stages of creative activity. Chekhov's innovation as a prose writer.

Chekhov is a comedian. Stories of the first half of the 80s: "Letter to a learned neighbor", "Joy", "Death of an official", "Albion's daughter", "Thick and thin", "Complaint book", "Exam for rank", "Surgery", "Chameleon", "Horse Surname", "Intruder", "Unter Prishbeev". Features of plot and compositional solutions: anecdotal plots, laconicism, openness of finals, etc. The originality of Chekhov's heroes and ways of depicting them. Hidden drama of comic collisions.

Deepening the themes and images of Chekhov's creativity by the end of the 80s. "Longing", "Vanka", "Enemies", "Happiness", "Kashtanka", "I want to sleep", "Steppe", "Lights", "Beauties", "Name Day". Strengthening the parable sound of stories, an organic combination of humorous, lyrical and dramatic principles, frugality and capacity of artistic means, thematic richness, multi-heroism, democracy, psychological persuasiveness of Chekhov's prose.

Stories from the 90s - 900s. Complication of the personality of Chekhov's hero, dramatization of inner life, discrepancies with oneself ("Rothschild's Violin", "Fear", "Black Monk", "Bishop"). Pictures of folk life ("Women", "Men", "In the ravine"). The image of the spiritual world and the moral quest of the intelligentsia ("A Boring Story", "Ward No. 6", "Duel", "Teacher of Literature", "A House with a Mezzanine", My Life", "Case from Practice", "Man in a Case", "Gooseberry", "About Love", "Ionych"). Female images and the theme of love in the work of the "late" Chekhov ("Jumper", "Darling", "Anna on the Neck", "Lady with a Dog"). The parable-philosophical content of Chekhov's stories ("Student"), the encouraging sound of open endings ("The Bride"). (The thematic layout given here is very conditional, because any work is the focus of different themes and ideas.)

The poetics of the Chekhov story: the manner of narration, plot and compositional features, ways of depicting characters, the role of details, etc.

The influence of Chekhov's prose on the literature of the 20th century.

Lecture 3. Life and poetry of Fet

PEDAGOGICAL UNIVERSITY

The study of Russian poetry of the second half of the XIX century
in class in 10th grade

Lecturer L.I. SOBOLEV

The proposed program can be used both in the 10th grade with an in-depth study of literature, and for work in regular classes.

Lecture plan for the course

newspaper number	Title of the lecture
34	Lecture 1. Tyutchev's poetic world.
36	Lecture 2. Poetics of Tyutchev.
38	Lecture 3. Fet's life and poetry. Control work No. 1 (due date - until November 15, 2004)
40	Lecture 4. The main motives of Nekrasov's lyrics.
42	Lecture 5. Nekrasov's poetic innovation. Control work No. 2 (due date - until December 15, 2004)
44	Lecture 6. Poetry of A.K. Tolstoy.
46	Lecture 7. The path of Ya.P. Polonsky.
48	Lecture 8. K. Sluchevsky - the forerunner of the poetry of the XX century.
	Final work

Lecture 3. Life and poetry of Fet

The mystery of Fet's biography. Man and poet. History of collections. Nature in the world Feta. Fet metaphor. The musicality of his poetry. Poetic dimensions. Impressionism Fet.

Biography of Fet. Man and poet

At the beginning of 1835, a letter arrived from the Oryol landowner A.N. Shenshin. The letter is addressed to his son Afanasy Shenshin, but it is inscribed “Afanasy Fet” - this is how the boy should now be called. It was a disaster. “The transformation from a Russian pillar nobleman into a German commoner deprived Fet not only of social self-awareness, noble privileges, the right to be a landowner, the opportunity to inherit the Shenshin family estate. He was deprived of the right to call himself Russian; under the documents he had to sign: "Foreigner Afanasy Fet had a hand in this." But the most important thing was that he was deprived of the opportunity to explain his origin without shame: why is he the son of Shenshin; why is he a foreigner Fet, if he is the son of Shenshin; why is he Afanasyevich, born in Novoselki and baptized into Orthodoxy, if he is the son of Johann Peter Föth ”( Bukhshtab. S. 9).

Fet was born in 1820 in the Novoselki estate, which belonged to the retired captain Afanasy Neofitovich Shenshin. The poet's mother, Charlotte Elizaveta Becker, after Feth's first husband, was taken away by Shenshin from Darmstadt (in Germany, Charlotte left her husband, daughter Caroline and father Karl Becker). A.N. got married Shenshin and Charlotte (now Elizaveta Petrovna) according to the Orthodox rite only in 1822. I will not analyze all the existing versions of the origin of the poet (see. Bukhshtab. pp. 4–13) - it is the well-being of a boy who is lonely in a German boarding school (there was not a single Russian in the class), cut off from his family, from his home (he was not taken home and summer vacation). In the book “The Early Years of My Life”, which was published after the death of the poet, Fet (secret in his memoirs, silent about many things) tells how, having been on Russian soil during a horseback ride, he “could not cope with the enthusiasm that boiled in his chest: got off the horse and rushed to kiss his native land ”( Fet. 1893. S. 101). And one more confession is important: “In quiet moments of complete carelessness, I seemed to feel the underwater rotation of flower spirals, trying to bring the flower to the surface” ( Fet. 1893, p. 115). This is how the poet began.

The catastrophe experienced by Fet in adolescence determined a lot in his life. After graduating from Moscow University (1844), the Hesse-Darmstadt subject Fet ( yo changed to e after the first journal publications) enters the service as a non-commissioned officer in the Order's cuirassier regiment - in military service, he expects to serve the hereditary nobility as soon as possible (in 1846 he was accepted into Russian citizenship); the right to it was given by the first chief officer rank, that is, the captain (in the cavalry). But after the decree of Nicholas I, only the first staff officer rank (major) gave such a right; many years of service lay ahead. In 1856, when Fet rose to the rank of guards headquarters captain, Alexander II issued a decree according to which only the highest headquarters officer rank (colonel) was given hereditary nobility. In June 1857, Fet retired on indefinite leave (see. chronicle) and has not returned to service since. In 1873, Fet filed a petition addressed to the king “for permission to take the legal name of my father Shenshin” ( chronicle. S. 170); the request has been granted. “If you ask: what are the names of all the suffering, all the sorrows of my life, I will answer: their name is Fet,” the poet wrote on January 10, 1874 to his wife (quoted from: Bukhshtab. S. 13).

Fet's worldview still causes controversy among researchers. Even B. Sadovskoy wrote in 1915 that “Fet was a convinced atheist”, and “when he talked about religion with the believer Polonsky, he sometimes brought the latter<…>to tears" ( IV. S. 153; Sadovskaya. 1916, p. 80). In 1924, a book by G.P. Blok, The Birth of a Poet. The Tale of Fet's Youth. The author cites the text of the “contract” concluded between the teacher of the Pogodin boarding school where Fet lived in 1838, Irinarkh Vvedensky, and a certain “Reichenbach”, who claimed that in twenty years he would remain an atheist. G.P. Block proves that “Reichenbach” is Fet ( G. Block. pp. 32–34). Such an understanding of Fetov's disbelief seems to other researchers too straightforward. Firstly, the very nickname “Reichenbach” (the name of the hero of the novel by N.A. Polevoy “Abbadonna”) raises Fet’s theomachism to “the legend of the proud angel of heaven Satan, who rebelled against God and was cast down from heaven”; connected with this is the motif of paradise lost by Fet ( Fet. 2. S. 390–391). Secondly, “one of the key images of his poetry (and what, if not poetry, could testify to the true faith of Fet?) was<…>"soul", directly called "immortal"" ( Ibid. S. 390). V. Shenshina claims that not only Fet (poet. - L.S.) was not an atheist, but “Shenshin was not an atheist either” (man. - L.S.), since he “was baptized, married and buried by the Russian Orthodox Church” ( Shenshin. S. 58).

“How little in the matter of the liberal arts I value reason in comparison with the unconscious instinct (inspiration), the springs of which are hidden to us<...>so in practical life I demand reasonable grounds, supported by experience” ( MV. Part 1. S. 40). "We<...>constantly sought in poetry the only refuge from all sorts of worldly sorrows, including civil ones ”(Preface to the III edition of“ Evening Lights ”- IN. S. 241). The question of Fet/Shenshin's wholeness/duality has a large and unequal literature. “There was something hard about him and, oddly enough, there was little poetry. But the mind and common sense were felt, ”recalled the eldest son of L. Tolstoy ( S.L. Tolstoy. S. 327). The emphasis here seems to be "common sense"; let's listen to B. Sadovsky: “Like Pushkin, Fet had that common sense which is given to a few paramount geniuses” ( Sadovskaya. 1990, p. 383). As Fet wrote Ya.P. Polonsky (December 27, 1890), “it is impossible to write your biography based on your poems, and even hint at the events of your life ...” ( Writers about literature. S. 470). This does not negate the thesis about the integrity of Fet, about the unity of his personality - and this integrity is expressed in the main values ​​\u200b\u200bthat are found in poetry, and in prose, and in the life of the poet - in love, nature and beauty. Here is a quote from a village essay (we are talking about the cultivation of flowers in a landowner's estate): “... You hear here the presence of a sense of beauty, without which life is reduced to feeding the hounds in a stuffy-stinking kennel” ( Stepanovka's life. S. 149).

“He said that poetry and reality have nothing in common with each other, that as a person he is one thing, and as a poet it is another,” wrote N.N. Strakhov ( Strakhov. S. 18). How can we explain this to our students? Let's listen to B.Ya. Bukhshtaba: “... He perceived his life as dreary and boring, but he believed that such was life in general. And before meeting Schopenhauer, and especially relying on his teachings, 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 life in this world of sorrow and boredom. , pure joy - the sphere of beauty, a special world ”( Bukhshtab. S. 59). In early letters to I.P. Borisov, a friend and neighbor (and in the future the husband of Nadya's sister), Fet speaks of the endless hardships of service and life in general: “... I can only compare my life with a dirty puddle, now it stinks. I have never been morally killed to such an extent. Just a living dead. My very sufferings are like the suffocation of someone buried alive” ( LM. S. 227). But similar complaints can be found in later letters - it is no coincidence that I.S. Turgenev wrote in 1870 that no one can compare with Fet in “the ability to mope” (p. I.P. Borisov on January 31, 1870). I will not undertake to expound the philosophical system of Schopenhauer - as you know, Fet not only read and honored this thinker, but also translated his main work (“The World as Will and Representation”); Fetu’s word: “The whole and everywhere true to himself Schopenhauer says that art and beauty lead us out of the languishing world of endless desires into the weak-willed (here this is a positive epithet! - L.S.) the world of pure contemplation; watch the Sistine Madonna, listen to Beethoven, and read Shakespeare, not for the next place or any profit” (Letter to K.R., September 27, 1891. Quoted from: Bukhshtab. S. 46). And in the “Preface to the III edition of “Evening Lights”,” the poet spoke of the desire to “break through everyday ice, so that at least for a moment breathe in the clean and free air of poetry” ( IN. S. 238).

But where does poetry come from? “Of course, if I had never admired the heavy braid and the clean parting of thick female hair, then they would not have appeared in my poetry; but there is no need for each time my poem to be a literal scrap from the moment experienced, ”Fet wrote to Konstantin Romanov ( K.R. Correspondence. S. 282). “You should not think that my songs come from nowhere,” he writes to Ya.P. Polonsky - they are the same gifts of life as yours<…>Forty years ago, I was swinging with a girl, standing on a board, and her dress crackled in the wind, and forty years later she got into a poem ... ”(quoted from: Bukhshtab. S. 90). And here is from the article “On the poems of F. Tyutchev”: “Let the subject of the song be personal impressions: hatred, sadness, love, etc., but the further the poet moves them away from himself as an object, the more vigilantly he sees the shades of his own feeling, the purer will be his ideal” ( Fet. 2. S. 148).

This is true for the poet himself. In the summer of 1848, Fet met the daughter of a retired cavalry general, Maria Lazich (in the "Early Years ..." she is named Elena Larina). They fell in love, but Fet “clearly understood that marrying an officer who receives 300 rubles. from home, on a girl without a fortune, means thoughtlessly or in bad faith to take on an oath promise that you are not able to fulfill ”( Fet. 1893. S. 424). The lovers parted, and soon Lazich died. But memory of the heart(Fet's expression from a letter to Ya.P. Polonsky on August 12, 1888) turned out to be so strong that Fet wrote poems dedicated to Maria Lazich until his death. Here are a few titles: “Old letters”, “Alter ego”, “You have suffered, I am still suffering ...”, “For a long time I dreamed of your cries of sobs ...”, “No, I have not changed. To deep old age ... ".

In 1860, Fet buys the Stepanovka estate in the Mtsensk district and becomes a landowner - more precisely, a farmer, since he has no serfs. What prompted Fet to buy the estate and start farming? “Three years before the manifesto, the inactive and expensive city life began to bother me greatly,” Fet himself writes at the beginning of his first village essay ( Stepanovka's life. S. 59). In "Memoirs" the poet admits that "the belief in the impossibility of finding material support in literary activity<…>led me to the idea of ​​looking for some corner of my own for the summer” ( MV. Part 1. S. 314). A.E. Tarkhov, with reference to the letters of I.P. Borisov, mentions two more reasons - a devastating article about Fet's translations (Sovremennik. 1859. No. 6), “directed against all aesthetic principles” of the poet, and a change in the “air of life”, that is, the onset of the utilitarian era of the 1860s ( Fet. 2. S. 370). It is worth recalling the insightful remark of V.P. Botkin about the need for Fet to be “sedentary” now, when literature “does not represent what it used to represent, with its contemplative direction” ( MV. Part 1. S. 338–339). His opposition to modernity makes us remember another big loner who dug in his estate, as in a fortress - Leo Tolstoy. And for all the difference between the two farmers, their position is similar in one thing: they did not try to fit in with the times, they did not yield to it in their convictions. A special and important topic is the phenomenon of estate life; without him, we will not understand much in the life and work of L. Tolstoy, I. Turgenev, N. Nekrasov and Fet (and not only).

“Literary lining” (the expression of L. Tolstoy) was disgusting to both L. Tolstoy and Fet - it is no coincidence that they both seemed wild and alien in the literary circle: L. Tolstoy was called a “troglodyte” (see, for example, the letter of I.S. Turgenev to M.N. and V.P. Tolstoy on December 8/20, 1855), and Druzhinin in his diary noted the “antediluvian concepts” of Fet ( Druzhinin. S. 255). Meanwhile, the author of “War and Peace” admitted to Fet that he valued him in mind “above all acquaintances” and that the poet “in personal communication alone gives me that other bread, which, apart from unified man will be fed” (November 7, 1866. - Tolstoy. Correspondence. T. 1. S. 382). In the same letter, L. Tolstoy, mentioning the deeds “for the Zemstvo” and “for the household”, which they both do “as spontaneously and unfreely as ants dig a tussock”, asks about the main thing: “What do you do with thought, the very spring of your Fetova"? And just as the poet sent his poems to L. Tolstoy before any publication, so L. Tolstoy admitted that “his real letters” to Fet are his novel (May 10–20, 1866. - Tolstoy. Correspondence. T. 1. S. 376).

With the secret of the birth of Fet, the not entirely clear circumstances of his death “rhyme”. Here is how B. Sadovsky tells about her: “In the autumn of 1892, Fet moved from Vorobyovka to Moscow in early October. Upon arrival, he soon went to Khamovniki to visit S.A. Tolstoy, caught a cold and fell ill with bronchitis<…>On the morning of November 21st, the patient, who was on his feet as always, unexpectedly wished for champagne. To his wife's objection that the doctor would not allow this, Fet insisted that Marya Petrovna immediately go to the doctor for permission.<…>When Marya Petrovna left, Fet said to the secretary: "Come on, I'll dictate to you." - Letter? she asked. - “No”, and then, from his words, Ms. F. wrote on top of the sheet: “I do not understand the conscious increase in inevitable suffering. Volunteering towards the inevitable." He signed these lines with his own hand: November 21st. Fet (Shenshin).

On the table lay a steel cutting knife, in the form of a stiletto. Fet took it, but the alarmed Mrs. F. began to pull out the knife, and injured her hand. Then the patient began to run quickly through the rooms, pursued by Mrs. F. The latter rang with all her might, calling for help, but no one came. In the dining room, running up to the chiffonier where the table knives were kept, Fet tried in vain to open the door, then suddenly, breathing often, fell on a chair with the word "damn!". Then his eyes opened wide, as if seeing something terrible; The right hand moved to rise, as if for the sign of the cross, and immediately lowered. He died in full consciousness" ( Sadovskaya. 1916, pp. 80–81. See also the 5th edition of the almanac "Russian archive". M., 1994. S. 242–244).

Collections

The traditional view of Fet's first collection is “this is a typical youthful collection - a collection of rehashes”; here is the “traditional Byronism of the late 30s”, and “cold disappointment”, and the influence of all possible predecessors - Schiller and Goethe, Byron and Lermontov, Baratynsky and Kozlov, Zhukovsky and Benediktov ( Bukhshtab. S. 19; I draw the reader's attention to a forgotten but very important article: Shimkevich K. Benediktov, Nekrasov, Fet // Poetics. L., 1929. T. 5).

A serious analysis of the "Lyrical Pantheon" is contained in the comments on the first volume of the proposed complete collection of "Works and Letters" by Fet, undertaken by the Pushkin House and the Kursk Pedagogical Institute. V.A. Koshelev, the author of the commentary on the first collection, dwells on the meaning of the title of the book ( pantheon- and the temple, and the cemetery, and - according to Dahl - an anthology); at the same time, the connection of the title with the absence of the author's name is emphasized ( Fet. 2002, pp. 420–421). According to the commentator, the title reflects the cross-cutting idea of ​​feta collections - the inseparability of one's own lyrical compositions and translations; the deliberate ambiguity of the title (perhaps reflecting the “exorbitant vanity”, “ambition” of the debutant, “who decided to create a “temple” with the first attempts of his pen”) correlates with the ambiguity of the epigraph from Lamartine, in which one can see Fet’s author’s credo for all his creative years: lyre I would like to become like the “trembling of the wings of a marshmallow”, or “wave”, or “cooing doves” ( Ibid).

Another semantic implication of the title of the collection is obviously associated with “Fet’s attraction to anthological motifs” ( Ibid. S. 424). Anthological poetry, quite popular in the middle of the century (not only in the works of Fet, but, above all, in the works of A.N. Maikov and N.F. Shcherbina), sang beauty, regretted its loss (Fetova's "Greece" is characterized by the lines: “I am sad: the world of the gods, now orphaned, // The hand of ignorance brands oblivion”); the plasticity of the anthological poems demonstrated the skill of the poet. It is no coincidence that out of the four poems of the first book included in the collection of 1850, three are anthological.

“Already in the youth collection,” sums up V.A. Koshelev, - Fet fully presented those general attitudes that will become the basis of all his subsequent work: 1) an attitude towards “pure” poetry and “small” topics; 2) deliberately complicated lyrical imagery, opposed to prosaic "common sense"; 3) installation on the only “form” inherent in him to reveal this imagery, which determines the special structure of his poems; 4) the creation of a specifically "cyclical" way of lyrical narration<…>; 5) highlighting “translations” as a special department of one’s own poetic passions and including them “on an equal footing” in the composition of the collection” ( Ibid. S. 422). Precisely because the "Lyrical Pantheon" did not oppose the later work of the poet, Fet, unlike Nekrasov, never abandoned his first book and did not try to buy it up and destroy it.

In the collection of 1850 (“Poems by A. Fet”, Moscow), the principle of compiling a poetic book, characteristic of Fet, was found - not according to chronology, but according to genres, themes and cycles. Fet is a poet “without a path”; in a letter to K.R. (November 4, 1891), he admitted: “From the first years of clear self-consciousness, I did not change at all, and later reflections and reading only strengthened me in the initial feelings that passed from unconsciousness to consciousness” ( Writers about Literature. S. 115; see also Rosenblum. S. 115).

“Poems by A.A. Fet ”(St. Petersburg, 1856) came out during Fet’s closest approach to the Sovremennik circle. Fet's editor was I.S. Turgenev - this poses the most important textological problem for all publishers and researchers of Fet: the definition of the so-called "canonical" text of a particular poem.

The editors of the twenty-volume collection of Fet (so far only the first volume has been published) made the following decision: all poems are printed from lifetime collections; two editions (where they exist) are printed in parallel as part of the main text; options are in the comments. In the meantime, I offer the teacher the most important, in my opinion, form of assignment in the lesson: to compare two editions of the same text (see the options in the publications of the Poet's Library in the corresponding section; see also Questions and Assignments for this lecture).

The peculiarity of the 1863 collection ( Poems by A.A. Feta. Ch. 1–2. Moscow) lies in the fact that, firstly, it was published without an editor; secondly, it included translations from ancient and modern European poets; entered the book and a cycle of translations from Hafiz. The book of 1863 was, in fact, a farewell book - Fet did not fit into the non-poetic atmosphere of the 1860s and practically left literature. And the fate of this collection confirmed the untimeliness of Fet - 2400 copies were never sold until the end of the poet's life. M.E. Saltykov-Shchedrin noted the “weak presence of consciousness” in the poet’s “half-childish worldview” ( Shchedrin. P. 383), D.I. Pisarev and V.A. Zaitsev practiced wit in every possible way about Fet, and Fet himself began to take care of the household.

Fet did not break down and did not reconcile with the spirit of the times. “If I have something in common with Horace and Schopenhauer, it is their boundless contempt for the intellectual mob at all levels and functions.<…>It would be insulting to me if the majority understood and loved my poems: this would only be proof that they are unchanged and bad ”(Letter to V.I. Stein, 1887. Quoted from: Bukhshtab. S. 51). But in the 1880s, interest in poetry began to revive, Fet wrote more and more, and from 1883 separate issues of Evening Lights began to appear. In 1891, the fourth was published, and the fifth was prepared, but did not come out during the life of the poet (for more details about these collections, see. IN, comments). Fet again has advisers - N.N. Strakhov and V.S. Solovyov. It is here, in the preface to the third edition of "Evening Lights", Fet sets out his views on poetry, on the relationship between the poet and society, poetry and life.

The poetic world of Fet

Following Zhukovsky and Tyutchev (for all the difference between their poetic declarations), Fet already in his early poems asserts ineffability God's world and the inner world of man in the word.

Oh, if without a word
It was possible to say the soul!

(“Like midges dawn ...”, 1844) *

* If the quotation contains the first line of the poem, only the year is indicated in brackets (in broken brackets - the dating of the editors of the publication); if other than the first lines are quoted, the opening line of the poem and the date are given in parentheses.

This motif will be preserved in later works.
How poor is our language! - I want and I can not, -
Do not pass it on to friend or foe,
What rages in the chest with a transparent wave.
(1887)

It is no coincidence that there are so many indefinite pronouns and adverbs in Fet's poems - they express dreams, dreams, daydreams lyrical hero - his most characteristic states.

I stood still for a long time
Looking into the distant stars,
Between those stars and me
Some connection was born.

I thought... I don't remember what I thought;
I listened to the mysterious choir
And the stars trembled softly
And I love the stars since then ...
(1843)

Next to words like: “some”, “somewhere”, “someone”, verbs with a negative particle are often found in Fet’s poems: “I won’t say anything”, “I won’t alarm”, “I won’t dare” (all this - from the poem “I won’t tell you anything ...”, 1885), “I don’t remember”, “I don’t know”, etc. Important impression(already contemporaries started talking about the "impressionism" of Fet's poetry). Like Zhukovsky, Fet not only depicts, but conveys the subjective state of the lyrical hero; the landscape is painted with his feeling, his not completely intelligible sensations determine the fragmentary, fragmentary nature of Fetov's poems.

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...

In this poem of 1859, the words “flame”, “bright sun”, “warmed up”, “sparks”, and with the day - “sparsely”, “lazy”, “flickering”, “fog”, “turn black”; of course, we are not talking about the traditional and generally understood perception of nature, but about the subjective, often paradoxical sensation of the lyrical hero (a winter night is similarly depicted in the poem "On the Railroad", 1860). At the same time, the reason for the poem, its theme are declared unimportant by Fet; Ya.P. Polonsky recalled: “Fet<…>used to say to me: “Why look for a plot for poetry; these plots are at every step - throw a woman's dress on a chair or look at two crows that perched on the fence, here are the plots for you ”( Polonsky. S. 424).

Apparently, with the transience of “separate spiritual movements, moods, shades of feelings” ( Bukhshtab. P. 76) is also connected with the “nonverb” of some of his poems (see about this: Gasparov). It is as if the poet refuses to try to express his feelings in words, to convey his feelings to another. This can only be done with sound - inspire to another soul what you feel yourself.

P.I. Tchaikovsky wrote about Fet: “Fet in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our area<…>This is not just a poet, but rather poet-musician, as if avoiding even such topics that are easily amenable to expression in a word ... ”( K.R. Correspondence. S. 52). Upon learning of this review, Fet wrote to his correspondent: “Tchaikovsky<...>as if he had spied on that artistic direction in which I was constantly drawn and about which the late Turgenev used to say that he expected me to write a poem in which the final couplet would have to be conveyed by silent movement of the lips.<...>I was always drawn from a certain area of ​​words to an indefinite area of ​​music ... ”( Ibid. S. 300). The musicality of Fet's poetry lies not only in the fact that many of his poems are set to music, and not only in the fact that in many of them music, singing is the main theme, but in the very structure of his poems.

This is primarily a sound recording.
Rye ripens under a hot field,
And from the field to the field
Whimsical wind blows
Golden overflows.
(1859)

And the sounds of a separate blow are changing;
The jets whisper so tenderly,
Like timid strings cooing guitars,
Singing calls of love.
(“Fragrant night, blessed night...”, 1887)

Musical rhythm is created not only by sound repetitions, but also by lexical ones.

No, do not wait for a passionate song,
These sounds are vague nonsense,
The languid ringing of the string;
But, full of dreary flour,
These sounds evoke
Sweet dreams.

They flew in a ringing swarm,
They flew and sang
In the bright sky.
Like a child I listen to them
What affected them - I do not know
And I don't need.

Late summer in the bedroom window
Quietly whispers a sad leaf,
Whispers not words;
But under the light noise of a birch
To the headboard, to the realm of dreams
The head droops.
(1858)

The words: “sounds”, “flown”, “whisper”, repeating, create the melody of the poem - in particular, by the fact that an internal rhyme appears. You can notice in Fet's poems and syntactic repetitions - most often in interrogative or exclamatory sentences.

The last sound fell silent in the deaf forest,
The last ray went out behind the mountain, -
Oh, how soon in the silence of the night,
Beautiful friend, will I see you?
Oh, soon baby speech
Will my expectation change in fear?
Oh, how soon to lie down on my chest
Will you hurry, all the thrill, all the desire?

Entire lines and even stanzas are often repeated - a ring composition is created (“Fantasy”, “Your luxurious wreath is fresh and fragrant ...”), the meaning of which is not exhausted, as it seems to me, by romance intonation; the poet, as it were, reveals, unfolds the moment, stops it, showing the enormous meaning of just one moment in the life of nature or man. So, in the poem “The night shone. The garden was full of moonlight. They lay ... ”repeats (“that you are alone - love”, “love you, hug and cry over you”) seem to express one thought: everything that has elapsed between two meetings, “many years, tedious and boring”, are not worth one moment of the fullness of life, the fullness caused by the singing of a woman (comparison of this poem with Pushkin's "I remember a wonderful moment ..." see: IN. pp. 575–576 - article: Blagoy D.D. The world is beauty. The same in the book: Blagoy D.D. The world is beauty. About "Evening Lights" by A. Fet. M., 1975. S. 64–65).

Fet is no less original in metrics; many of his discoveries will be picked up by the poets of the 20th century. One of the first Fet turns to vers libre.

H Most of all I like to glide across the bay
So - forgetting
Under the sonorous measure of the oar,
Soaked in effervescent foam, -
Yes, look, how many drove off
And there's a lot left
Can't you see the lightning?
(“I love a lot that is close to my heart...”, 1842)

Fet often has stanzas with alternating short and long lines, and for the first time in Russian poetry stanzas appear where a short verse precedes a long one.

The garden is in bloom
Evening on fire
So refreshing-joyful to me!
Here I stand
Here I go
Like a mysterious speech I'm waiting for.
This dawn
This spring
So incomprehensible, but so clear!
Is it full of happiness
Do I cry
You are my blessed secret.
(1884)

Fet alternates not only different lines, but also written different sizes- anapaest and dactyl (“Only in the world there is that shady ...”, 1883), iambic and amphibrach (“For a long time there has been little joy in love ...”, 1891); one of the first Russian poets, he refers to the dolnik ("The candle burned. Portraits in the shade ...", 1862).

In the peculiarities of rhyming, the poet is just as bold an experimenter: he rhymes odd lines, leaving even ones without rhyme (“Like the clarity of a cloudless night ...”, 1862), rhymes even ones with unrhymed odd ones - the so-called “Heine’s verse” (“I stood motionless for a long time. ..", 1843), rhymes two adjacent verses, leaving the next pair without rhyme ("What are you, my dear, sitting thoughtfully ...", 1875), gives part of the stanzas with rhymes, part - without rhymes.

The gardens are silent. With dull eyes
With despondency in my soul I look around;
The last leaf is scattered underfoot,
The last radiant day has gone out.
Only you alone, arguing with common death,
Dark green poplar, not wilted
And, still trembling with sheets,
About spring days you babble to me as a friend ...
("Poplar", 1859; first edition)

Fet is no less bold, bold, unusual in the vocabulary of his poems, more precisely, in the phrases he uses: “the soul of dying violins”, “dreary mystery” (“The spring sky looks ...”, 1844), “melting violin” ( "Smile of languid boredom ...", 1844); “And there, behind the walls, like a light dream, / From the bright east, the days flew wider and wider ...” (“Sick”, 1855). This unusualness was keenly felt by contemporaries - for example, regarding the poem “Patterns on double glass ...” (1847), O. Senkovsky mockingly remarked: “... Frost draws patterns on glass, and the girl is smart, and Mr. Fet loves to contemplate fatigue<...>I don’t understand the connection between love and snow” (quoted from: Bukhshtab. S. 82).

Fet never recognized any goals for art, except for the glorification of beauty.

Only a song needs beauty
Beauty does not need songs.
(“I will only meet your smile ...”, 1873)

I'm bored forever talking about what is high, beautiful;
All these rumors only lead me to yawning...
Leaving the pedants, I run to talk with you, my friend;
I know that in these eyes, black and intelligent eyes,
More beautiful than in a few hundred folios,
I know that I drink the sweet life from these pink lips.
Only a bee recognizes hidden sweetness in a flower,
Only an artist senses a beautiful mark on everything.

Hence the stable theme of Fet's poetry: the special role of the poet, the great purpose of art - to sing and thereby preserve beauty. Fet's “Chosen Singer” is a servant of beauty, her priest; with the theme of the poet, Fet has the motif of flight, heights - “to rise with one wave into another life ...” (“To drive the living boat with one push ...”, 1887), “the soul<...>flies where the wing carries ... ”(“ Everything, everything that is mine that was before ... ”, 1887),“ ... by air way - And we will fly away to eternity ”(“ May Night ”, 1870). In the poem "To a Pseudopoet" (1866), Fet's program is expressed sharply, polemically and artistically consistently.

Shut up, hang your head
As if presented to a terrible judgment,
When by chance in front of you
Favorite Muses mentioned!

To the market! The stomach is screaming
There for the hundred-eyed blind man
More valuable than your penny mind
Mad whim of the singer.

There is a sale of painted rubbish,
In this musty square, -
But to the Muses, to their pure temple,
Selling slave, don't come near!

Dragging at the whim of the people
In the dirt, a low-worshiping verse,
You are the words of the proud freedom
Never got it with my heart.

Didn't ascend piously
You are in that fresh haze,
Where selflessly only freely
Free song and eagle.

The space of a true poet is a pure temple of the Muses, a “fresh haze” into which one can only “ascend”; he is free as an eagle (remember Pushkin's: "the poet's soul will start up like an awakened eagle"). Dictionary for a pseudo-poet: “market”, “stomach”, “penny mind”, “painted rubbish”, “dirt”, “low-browed verse”. The crowd, the people - "a blind man with a hundred eyes"; serving him will never be the lot of a true poet.

And one more expression is worth noting - "the crazy whim of the singer." Creativity, according to Fet, unconsciously, intuitively; the poet sharply formulated this in the article “On the Poems of F. Tyutchev” (1859): “Whoever is not able to throw himself from the seventh floor upside down with an unshakable belief that he will soar through the air, he is not a lyricist. But next to such audacity, a sense of proportion must burn inextinguishably in the poet's soul. Fet. 2. S. 156). As you can see, the audacity and madness of the lyric poet is still restrained not by thought, but by a sense of proportion. The unconsciousness of creativity is also spoken of in poetry.

... I don’t know myself what I will
Sing - but only the song matures.
(“I came to you with greetings ...”, 1843)

The epithet "mad" is often found in both poetry and Fet's prose - and always with a positive connotation. But the ecstasy of poetry does not exclude, according to Fet, but requires vigilance - “vigilance in relation to beauty” (“On the poems of F. Tyutchev”). And in Fet's love poems, the theme of beauty is the main one.

To whom the crown: the goddess of beauty
Or in the mirror of her image?
The poet is confused when you marvel
His rich imagination.
Not me, my friend, but God's world rich,
In a speck of dust, he cherishes life and multiplies,
And that one of yours expresses a look,
That the poet cannot retell.
(1865)

In love, the poet finds the same fullness of the feeling of life as in nature and in art. But the feeling of love is depicted in Fet's poems in the same fragmentary, fragmentary, indefinite way as other states of the soul of the lyrical hero. A moment, a moment - this is the artistic time of Fet's love lyrics, and often these moments belong to memories, this is the past resurrected by the poet (“When my dreams are beyond the past days ...”, 1844).

It’s not a pity for life with a weary breath, -
What is life and death?
What a pity for that fire
That shone over the whole universe,
And goes into the night, and cries, leaving.

Literature

Block G. The birth of a poet. The Tale of Fet's Youth. Based on unpublished material. L., 1924.

Bukhshtab B.Ya. A.A. Fet. Essay on life and creativity. L., 1990.

Afanasy Fet. Evening lights. M., 1979.

Gasparov M.L. Fet verbless // Gasparov M.L. Selected articles. M., 1995.

Druzhinin A.V. Tales. Diary. M., 1986.

Kozhinov V.V. On the secrets of the origin of Afanasy Fet // Problems of studying the life and work of A.A. Feta. Kursk, 1993, pp. 322–328.

K.R. Selected correspondence. SPb., 1999.

Chronicle of A.A. Feta // A.A. Fet. Traditions and problems of study. Kursk, 1985.

Lotman Yu.M. Alexander Sergeevich Pushkin. Biography of the writer. L., 1982.

Polonsky Ya.P. My student memories // Polonsky Ya.P. Cit.: V 2 t. M., 1986. T. 2.

Rosenblum L.M. A. Fet and the aesthetics of “pure art” // Questions of Literature. 2003. Issue. 2. S. 105–162.

Russian writers about literature: In 3 vols. L., 1939. T. 1.

Sadovskoy B. Konchina A.A. Feta // Sadovskoy B. Ice drift. Articles and notes. Pgr., 1916. The same: Historical Bulletin. 1915. April. pp. 147–156 (a photograph of the poet in a coffin is printed in the magazine) ( IV.)

Sadovskoy B. A.A. Fet // Sadovskoy B. Swan clicks. M., 1990. The same: Sadovskoy B. Russian stone. M., 1910.

Saltykov-Shchedrin M.E. Sobr. cit.: In 20 t. M., 1968. T. 5.

Strakhov N.N. A few words in memory of Fet // Fet A.A. Complete collection. op. SPb., 1912. T. 1.

Sukhikh I.N. Shenshin and Fet: life and poems // Fet Athanasius. Poems. St. Petersburg, 2001 (New "Poet's Library" a. Small series).

Tolstoy L.N. Correspondence with Russian writers: In 2 vols. M., 1978.

Tolstoy S.L. Essays of the past. M., 1956.

Fet in correspondence with I.P. Borisov // Literary thought. Issue. 1. Pgr., 1923 ( LM.)

Fet A. My Memoirs (1848–1889). Reprint reproduction of the 1890 edition. M., 1992. Ch. 1–2 ( MV.)

Fet A. The Life of Stepanovka, or the Lyrical Economy. M., 2001.

Fet A. Early years of my life. Reprint reproduction of the 1893 edition. M., 1992.

Fet A.A. Collected works and letters. Poems and Poems 1839–1863 SPb., 2002.

Fet A.A. Cit.: In 2 volumes. Introductory article and comments by A.E. Tarkhov. M., 1982.

Shenshina V. A.A. Fet-Shenshin. Poetic worldview. M., 1998 (The chapter "A. Fet as a metaphysical poet" is also published in the collection "A. A. Fet. Poet and thinker". M., 1999).

Questions and tasks for self-examination

• Read the story of A.P. Chekhov "In the estate". What do you think it has to do with the hero of our lecture? (After you try to answer on your own, see the article by I.N. Sukhikh - Dry. S. 27).
• Compare the early and late editions of the poem "Whisper, timid breathing ..." ( Fet. 2002. S. 198) or the poem "Fantasy" ( Ibid. P. 76), or the poem “Every feeling is more understandable to me at night, and every ...” ( Ibid. pp. 88–89).
• Disassemble the poem "Life flashed without a clear trace ...". How did Fet's closeness to Tyutchev's poetic world manifest itself in this poem?
• Which of the works on Fet listed in the list would you recommend to your students?

Test No. 1

For students of advanced training courses "Russian poetry of the second half of the 19th century at literature lessons in the 10th grade"

Dear students of advanced training courses!

Control work number 1 is a list of questions and tasks. This work is based on the materials of the first three lectures. Evaluation of the control work will be carried out according to the “pass/fail” system. In order for the work to be credited, it is necessary to correctly answer at least three questions.

Please complete this test and no later than November 15 send it to the Pedagogical University "First of September" at the address: 121165, Moscow, st. Kyiv, 24.

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Tasks

1. Analyze Tyutchev's poem "Day and Night" - poetic size, vocabulary, syntax, composition of the poem; Formulate the main motives of this poem and its connection with other poems of the poet.

2. Analyze Fet's poem "At dawn, you don't wake her up ..." - poetic size, vocabulary, syntax, composition of the poem; Formulate the main motives of this poem and its connection with other poems of the poet.

3. As an assignment for the class, select two poems by two poets for comparison; specify in detail what you would like to receive as a result of the work.

4. As a task, select one poem by Tyutchev or Fet for analysis; give a parsing plan and indicate what you would like to get as a result of the work.

5. Choose two or three fragments from the most suitable, in your opinion, works about Tyutchev and Fet for literary presentation.

6. Make a commentary summary of one of the articles about Tyutchev (Turgenev, Nekrasov, Vl. Solovyov, or others).

etc.) and dactylic rhymes. If earlier 3-syllables were used only in small genres, then Nekrasov and other poets also write large poems and poems with them (III,,,). 3-syllables become universal. If in the XVIII century. iambs made up more than 80% of all poetic lines, and 3-syllables less than 1%, if in the first quarter of the 19th century. - respectively 3/4 and about 4%, then in the period under consideration iambic - about 2/3, 3-syllables - 13% ( ). And Nekrasov has iambs - about 1/2, 3-syllables - about 1/3. 3-syllables are dominated by 3-foot (III, , , , , , ,), less often 4-foot (III, , ,) and alternation of different stops; 5-foot single (III, ).

Comparing the 3-foot anapaests of Nekrasov (III, , , , , ) given here, you can see how diverse they are rhythmically and intonationally - from song verse to colloquial verse.

In the 40s, dactylic rhymes were used even more often in comic verse, couplet or feuilleton, for example, in iambic 3-foot with cross alternation with masculine ones: A? bA? b (III,). From the middle of the century, dactylic rhymes become as universal as feminine ones (III, , , , , , , , , ). The only size they have not been grafted to is iambic 4-foot. In the form of a single experiment, they appear even in the Alexandrian verse, instead of female ones (III, ).

Experiences of imitation of folk verse become few - and only in small genres (III, , , ). From the second third of the XIX century. imitation of the Russian folk song in many ways begins to approach the gypsy romance (cf. II,,; III,). The poet, Nekrasov, who most organically assimilated the poetics of folklore, absorbed folk poetic vocabulary, syntax, imagery, but from the features of folk verse he perceived only dactylic rhymes - and made them the property of literary verse.

Nekrasov is the only one 19th poet c., 15 times allowed omissions of metric stress (tribrachs) in 3-syllables (III, , , ), which will develop after half a century. In Nekrasov, there are interruptions in meter, anticipating the achievements of the poets of the 20th century, in particular Mayakovsky. In several works, among the usual 3-syllables, he allows contractions, introducing separate dolnikov verses (III, , ); or highlights the ending by putting a dactyl instead of an anapaest (III, ); or adds an extra syllable, turning the dactyl into a tactician - at the same time, again, into a “dactylic” tactician instead of an anapaest (III,).

Few contemporaries appreciated these innovations. The editor of the first posthumous edition of Nekrasov corrected the imaginary mistakes of the poet. N. G. Chernyshevsky rightly wrote: “The usual reason for amendments gives him an “irregularity in size”; but in fact the meter of the verse he corrects is correct. The fact is that Nekrasov sometimes inserts a two-syllable foot into the verse of a play written in three-syllable feet; when this is done the way Nekrasov does, it does not constitute an irregularity. I will give one example. In The Wanderer's Song, Nekrasov wrote:

I'm already in the third: man! Why are you beating your grandmother?

In the Posthumous Edition, the verse is corrected:

... why are you hitting a woman?

Nekrasov, not through an oversight, but deliberately, made the last foot of the verse two-syllable: this gives special power to expression. The amendment corrupts the verse."

Tyutchev's metrical interruptions are few, but extremely expressive, moreover, in the most traditional, and therefore the most conservative size - iambic 4-foot (III,,). The innovation of Nekrasov and Tyutchev was duly appreciated in our days, against the backdrop of Blok, Mayakovsky and Pasternak, when dolniks, tacticians, tribrachs, and metric interruptions have become familiar. Single examples of free verse (III, ) are a foreshadowing of the 20th century.

Rhyme. During this period, approximate rhyme begins to develop ( birch - tears); theoretically it was substantiated and often used in all genres by A. K. Tolstoy (III,,), but the main background remains the exact rhyme. Lyrics, folklore stylizations are satisfied with familiar rhymes, in dactylic rhymes the percentage of grammatical ones is especially high: consolation - salvation etc.

Composite rhymes are frequent in satire, with proper names, barbarisms (III,,,). D. D. Minaev was nicknamed the king of rhyme: his punning rhymes, like the compound rhymes of Nekrasov the feuilletonist, anticipate the achievements of Mayakovsky.

The sound instrumentation of the verse, in particular the inner rhyme (III, , , , , , , , ), begins to acquire greater significance than in the previous period.

strophic. The proportion of strophic works is increasing. If in the XVIII and the first quarter of the XIX century. their number was approximately one third of all poetic works, but now it noticeably exceeds half ( ). 4-verses predominate. Huge complex stanzas, like those of Derzhavin and Zhukovsky, come to naught. But Fet and some other poets virtuously vary 6-verses (III, , , , , ,), 8-verses (III, , ), odd stanzas are unusual (III, , , ), even 4-verses sound unusual (III , ). Of particular note are the stanzas with blank verses. There are two types. One is a 4-verse with only even verses rhymed haha ​​(III,,), which became very popular from the middle of the century under the influence of translations from Heine. The other is individual stanzas. For the early Tyutchev, they were similar to Derzhavin's (III,,), for Fet they were peculiar (III,,).

Diverse stanzas continue to develop, first of all - 4-verses (III, , , , ). The extreme degree of contrasting diversity - rhyme-echo (III,) and the combination in the stanza of different meters (III,) - so far only in satire.

Examples of strophic free verse are becoming more frequent (III,,). The sonnet fades into the background; from other solid forms, a sextine suddenly appears - in L. A. Mey (III,), L. N. Trefolev. Unlike the canonical form, both of them are rhymed.

Unusual strophoids of white iambic 3-foot are created by Nekrasov in the poem “Who Lives Well in Russia” and in the poem “Green Noise” (III,), written simultaneously with the beginning of the poem. The alternation of dactylic and masculine clauses is not set by the stanza model, but depends on the syntactic structure. Within one sentence, which can cover from 2 to 7 verses in a poem (from 2 to 5 in a poem), all endings are dactylic; the end of a phrase is indicated by a masculine clause. This is just as individual a structure as, for example, Onegin's stanza, and if it occurs in someone, it sounds like a rhythmic quotation.

F. I. Tyutchev (1803–1873)

As the ocean embraces the globe,
Earth life surrounded by dreams;
Night will come - and sonorous waves
The element hits its shore.

That is her voice; he urges us and asks...
Already in the pier the magic boat came to life;
The tide is rising and taking us fast
Into the immensity of dark waves.

vault of heaven; burning with star glory,
Mysteriously looks from the depths, -
And we are sailing, a flaming abyss
Surrounded on all sides.

2. Two sisters

I saw both of you together -
And I recognized all of you in her ...
The same look of silence, the tenderness of the voice,
The same charm of the morning hour,
What blew from your head!

And everything, as in a magic mirror,
Everything is redefined:
Past days of sadness and joy
Your lost youth
My lost love!

3. Madness

Where with the scorched earth
Merged like smoke, the vault of heaven, -
There in carefree fun? Loy
Madness miserable lives on.

Under fiery rays
Buried in the fiery sands
It has glass eyes
Looking for something in the clouds.

It suddenly springs up and, with a sensitive ear
Falling to the cracked earth
Hearing something with a greedy ear
With secret contentment on the forehead.

And he thinks that he hears boiling jets,
What hears the current of underground waters,
And their lullaby singing
And a noisy exit from the earth! ..

Let the pines and firs
All winter stick out
In the snow and blizzard
Wrapped up, they sleep.
Their skinny greens
Like hedgehog needles
Though it never turns yellow,
But never fresh.

We are a light tribe
Bloom and shine
And short time
We are guests on branches.
All red summer
We were beautiful
Played with rays
Bathed in dew!

But the birds sang
The flowers have faded
The rays faded
The Zephyrs are gone.
So what do we get for free
Hang and turn yellow?
Isn't it better for them
And we'll fly away!

O wild winds,
Hurry, hurry!
Rip us off
From boring branches!
Rip it off, rip it off
We don't want to wait
Fly, fly!
We fly with you!

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! ..

6. Spring calm

(From Uhland)

Oh don't put me down
Into the damp ground
Hide, bury me
Into the thick grass!

Let the breath of the breeze
move the grass,
The flute sings from afar,
Light and quiet clouds
Float over me!

7. Sleep on the sea

And the sea and the storm rocked our boat;
I, sleepy, was betrayed by every whim of the waves.
Two infinities were in me,
And they arbitrarily played with me.
Rocks sounded around me like cymbals,
The winds called and the billows sang.
I lay stunned in the chaos of sounds,
But my dream hovered over the chaos of sounds.
Painfully bright, magically mute,
It blew lightly over the thundering darkness.
In the rays of the flame, he developed his world -
The earth turned green, the ether glowed,
Lavirinth gardens, halls, pillars,
And hosts seethed silent crowd.
I learned a lot of unknown faces,
Ripe creatures magical, mysterious birds,
On the heights of creation, like a god, I walked,
And the world under me motionless shone.
But all dreams through and through, like a wizard's howl,
I heard the roar of the deep sea,
And into the quiet realm of visions and dreams
The foam of roaring shafts burst in.

My soul is Elysium of shadows,
Shadows silent, bright and beautiful,
Nor the thoughts of this violent year,
Not involved in joys or sorrows.

My soul, Elysium of shadows,
What is common between life and you!
Between you, ghosts of the past, better days
And this insensitive crowd? ..

10. Day and night

On the world of the mysterious spirit?
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover -
Day, earthly revival,
Souls of the aching healing,
Friend of men and gods!

But the day fades - the night has come;
Came, and from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!

11. Russian woman

Far from the sun and nature
Far from light and art
Far away from life and love
Your younger years will flash,
Feelings that are alive will die,
Your dreams will shatter...

And your life will pass unseen
In a land deserted, nameless,
On unseen land,
How the cloud of smoke disappears
In the sky dim and misty,
In the autumn endless haze ...

Like a pillar of smoke brightens in the sky! -
How the shadow below glides elusively! ..
“This is our life,” you said to me,
Not light smoke, shining in the moonlight,
And this shadow running from the smoke ... "

Human tears, oh human tears,
You pour early and late sometimes ...
Flow unknown, flow invisible,
Inexhaustible, innumerable, -
Pour like rain streams pour
In autumn, deaf, sometimes at night.

14. 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.

I don't know if grace will touch
Of my painfully sinful soul,
Will she be able to rise and rise,
Will spiritual fainting go away?

But if the soul could
Here on earth find peace
You would be a blessing to me -
You, you, my earthly providence! ..

16. Last love

Oh, how in our declining years
We love more tenderly and more superstitiously ...
Shine, shine, parting light
Last love, evening dawn!

Half the sky was engulfed by a shadow,
Only there, in the west, radiance wanders,
Slow down, slow down, evening day,
Last, last, charm.

Let the blood run thin in the veins,
But tenderness does not fail in the heart ...
Oh, last love!
You are both bliss and hopelessness.

Between 1852 and 1854

Is in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings ...

Where a peppy sickle walked and an ear fell,
Now everything is empty - space is everywhere, -
Only cobwebs of thin hair
Shines on an idle furrow.

The air is empty, the birds are no longer heard,
But far from the first winter storms -
And pure and warm azure pours
On the resting field…

Nature is a sphinx. And the more she returns
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.

I. S. Turgenev (1818–1883)

19. (On the road)

Foggy morning, gray morning
Fields sad, covered with snow,
Reluctantly remember the time of the past,
Remember faces long forgotten.

Remember abundant passionate speeches,
Looks, so greedily, so timidly caught,
First meetings, last meetings,
Quiet voice favorite sounds.

Remember separation with a strange smile,
You will remember a lot of distant native,
Listening to the unceasing murmur of the wheels,
Looking thoughtfully at the wide sky.

With missing eyes
I see an invisible light
By missing ears
I will hear the chorus of silent planets.
With missing hands
I will paint a portrait without paints.
missing teeth
Eat an immaterial pate,
And I will talk about
Non-existent mind.

Green Noise is coming,
Green Noise, spring noise!

Playfully disperse
Suddenly the wind is riding:
Shakes alder bushes,
Raise flower dust
Like a cloud, everything is green:
Both air and water!

Green Noise is coming,
Green Noise, spring noise!

My hostess is humble
Natalya Patrikeevna,
Water will not stir!
Yes, she got in trouble.
As a summer I lived in St. Petersburg ...
She said, stupid
Pip on her tongue!

In the hut he is a friend with a deceiver
Winter has locked us up
Into my eyes are harsh
Looks - the wife is silent.
I am silent ... but the thought is fierce
Does not give rest:
Kill ... so sorry heart!
Endure - there is no strength!
And here the winter is shaggy
Roars day and night:
"Kill, kill the traitor!
Get the villain out!
Not that you will miss the whole century,
Neither day nor long night
You won't find peace.
Into your shameless eyes
Neighbors spit! .. "
To the song-blizzard winter
The fierce thought got stronger -
I have a sharp knife in store ...
Yes, suddenly spring crept up ...

Green Noise is coming,
Green Noise, spring noise!

Like drenched in milk
There are cherry orchards,
Quietly noisy;
Warmed by the warm sun
The merry ones make noise
Pine forests;
And next to the new greenery
Babbling a new song
And the pale-leaved linden,
And white birch
With a green braid!
A small reed makes noise,
Noisy high maple ...
They make new noise
In a new way, spring ...

Green Noise is coming,
Green Noise, spring noise!

The fierce thought is weakening,
Knife falls out of hand
And all I hear is a song
One - in the forest, in the meadow:
"Love as long as you love,
Endure as long as you endure
Goodbye while goodbye
And God be your judge!

62. About the weather. Epiphany frosts

(Excerpt)

“My lord! where are you running?"
- “To the office; what's question?
I don't know you! - Rub it, rub it
Hurry, for God's sake, your nose!
Turned white! - "BUT! very grateful!”
- "Well, what about mine?" - "Yes, yours is radiant!"
- “That's it! - I took measures ... "-" What-with?
- "Nothing. Drink vodka in cold weather -
Save your nose
Roses will appear on the cheeks!

63. Recently

(Excerpt)

Harmless, peaceful themes!
They won't get angry, they won't quarrel...
We all have personal interests
Do more in those days.
However, we had Russophiles
(Those who saw the Germans as enemies),
Slavophiles came to us,
Their secular type then was as follows:
Petersburg champagne with kvass
Drinking from ancient ladles
And in Moscow they praised with ecstasy
pre-Petrine order of things,
But, living abroad, owned
Very bad native language
And they didn't understand
About his Slavic vocation.
I laughed my ass off once,
Hearing Prince NN say:
"I, my soul, am a Slavophile."
- "And your religion?" - "Catholic".

Honest fell silent, valiantly fallen,
Their lonely voices were silent,
Crying out for the unfortunate people,
But cruel passions are unbridled.

A whirlwind of malice and rage rushes
Above you, unrequited country.
All living things, all good things squint ...
Heard only, O dawnless night!

In the midst of the darkness you poured
Like enemies, triumphant, collide,
Like the corpse of a slain giant
Bloodthirsty birds flock
Poisonous bastards crawl ...

Between 1872 and 1874

M. L. Mikhailov (1829–1865)

<Из Гейне>

How it trembles, reflecting
In the splashing sea, the moon;
And she walks across the sky
And calm and clear, -
So you go, calmly
And clear, in its own way;
But your bright image trembles
In my trembling heart.

They say spring has come
Bright days and warm nights;
The green meadow is full of flowers,
The nightingales sing in the woods.
I walk among the meadows -
I'm looking for your traces;
In more often I listen to the forest,
Your voice will not be heard.

Where is spring and where are the flowers?
You don't go to pick them up.
Where is the song of the nightingale?
I can't hear your speech...
Spring has not yet come.
The day is gloomy, the night is cold.
A field of hoarfrost is being forged,
The birds cry, they don't sing.

67. Epigrams

MISUNDERSTANDING

We talked a lot in the magazines about the free press.
The public understood this: rot us freely under the press!

RECOVERY

Even penal servitude and execution are called decrees penalty:
You are exacted (so understand!) by royal mercy.

V. S. Kurochkin (1831–1875)

I'm not a poet - and unbound by bonds
with the muses
I am not deceived by either false or right
Glory.
Devoted to the motherland with unknown love,
honest,
Without singing with jury singers
important
Evil and good, with equal chances,
stanzas,
I put my feeling filial
Everything is in her.

But I can't cry for joy
With nastiness
Or look for beauty in ugliness
Asia,
Or smoke in the direction given
incense,
That is - to flirt with evil and adversity
Odami.

Climbing with rhymes special happiness
To power I
I don't find it - whatever it is
Arrived.
My rhymes walk with firm steps,
Proud
Settling down in rich couples -
Barami!

Well, they won't give me for them at the Academy
Prizes
They will not be given in examples of piitiki
Critics:
“There is nothing, they say, for “reading the people”
good,
No uplifting soaring
genius,
There is no warlike, brave and in old age,
Rage
And not one for Petrushka and Vasenka
Fables".

Well? Mother nature left me
Rules,
Giving a simple feeling equally
Anyone.
If they find a book with different songs
Idle
Kind people standing attention -
What else?
If I rhyme free and bold
I will do
In addition, the well-known impression
honest -
In it, and poetry will be plentiful,
strong
The fact that it is not even connected with the muses
By bonds.

D. D. Minaev (1835–1889)

(Excerpt)

From the German poet
Genius can't take over
Can our poets
Take the size of his creations.

Let it rhyme through the line
Modern Russian Heine,
And in the water of such songs
You can swim like in a pool.

I'm bad at poetry
But - I swear here before everyone -
I will write in that size
Every evening a poem

Every evening a poem
Without hard work
Where intertwined through the line
Along with the rhymes of wit.

70. Epigrams

I ate soup while sitting in a restaurant,
The soup was sweet like a subsidy
I sleep and think about
We tempt with a round sum.

Can't trust hope
She lies terribly often:
He gave hope before
Now he gives denunciations.

I'm not fit, of course, to be a judge,
But not embarrassed by your question.
Let Tamberlik take do breast
And you, my friend, take do - with your nose.

IN FINLAND

The area of ​​rhymes is my element,
And I write poetry easily;
Without hesitation, without delay
I run to line from line
Even to the Finnish brown rocks
Handling a pun.

OUR PEOPLE

A thief will not say about another and aside:
"Crow!.."
Eyes, it is known, will not gouge out a crow
Crow.

TO OFFICIAL GERMANS

In Russia, everyone is German,
Chinov suffering from thirst,
For them five times
Let us crucify.
For this reason
Before you, ross,
He turns up his nose
With the order, with the rank:
For a German, after all, ranks
Tastier than ham.

AFTER THE BENEFIT

“Whose play was on today?”
- Alexandrova. - "Was
Played with chic, without chic?
- "With chic, with chic: they hissed loudly."

B. M<АРКЕВИ>BC

The other day, dragging with him two huge portacocks,
He dragged himself to the station; sweat dripped from his face...
"Don't tell him!" - all around regretted the people,
And just some bully
Said, "Don't worry - bring!.. "

IN THE ALBUM TO KRUPP JUNIOR, WHO COMED TO PETERSBURG

Do I eat soup semolina,
Or I see horse croup -
Krupp comes to mind
And behind him - a large mass,
A pile of "cannon fodder" ...
Oh, let it not be thorny
The path of such a person:
He is a great humanitarian
Nineteenth century!

71. Rhymes and puns

(From the notebook of a mad poet) I

Grooms, do not weigh your noses,
Coming to his bride.

II

Value gold by weight
And for pranks - hang.

III

Don't go like everyone's open
Without a gift you to Rosina,
But, making visits to her,
Every time you bring a bouquet.

IV

Me, meeting with Isabella,
I cherish a gentle look,
As a reward, and, for the white
Taking her hand, I tremble.

V

Beautiful features, I pray
Depict me, painting them,
And I am written in pastel
I'll hang the portrait above the bed.

VI

With her I went to the garden,
And my annoyance is gone
And now I'm all over
Remembering dark alley.

IX

You sadly exclaim: “Am I the one?
My waist is a hundred centimeters ... "
Indeed, I will become
I won't give praise.

XIII

In the midday heat on the Seine
I searched in vain for the canopy,
Remembering the Volga, where, in the hay
Lying, listening to Senya's song:
“Oh, you, my canopy, my canopy! ..”

XIV

At a picnic, under the shade of spruce
We drank more than we ate
And, knowing a lot about wine and ale,
Barely returned home.

L. N. Trefolev (1839–1905)

72. Song about the Kamarinsky peasant

(Excerpt)

Like on Varvarinskaya street
Sleeping Kasyan, peasant Kamarinsky.
His beard is tousled
And cheaply soaked;
Scarlet streams of fresh blood
Cover sunken cheeks.

Oh, you dear friend, my dear Kasyan!
It's your birthday today, which means you're drunk.
There are twenty nine days in February
On the last day, the Kasyans sleep on the ground.
On this day for them green wine
Especially drunk, drunk, drunk.

February twenty-ninth
A whole damask of damned wine
Kasyan poured into the sinful womb,
I forgot my dear wife
And my dear children,
Two twins, youngsters.

Having famously twisted his hat on one side,
He went to his cousin's hut.
There the godfather baked his rolls;
Baba is kind, blush and white,
I baked him a hot bun
And respected ... more, more, more.

73. Cones fall on poor Makar

(Excerpt)

Makaram is not going well. Over poor Makars
Fate-villain amuses herself with cruel blows.
Our peasant, poor Makarushka,
There is no money for a rainy day, no woman, no lady.
In truth, there is money: a copper penny strums,
And there is a woman: she lies, withered and pale.
Help her, how can you help? Not affordable for the road
All doctors and healers, our dashing enemies ...

K. K. Sluchevsky (1837–1904)

74. At the cemetery

I lie on my tombstone,
I watch the clouds go high
How quickly the swallows fly under them
And in the sun their wings shine brightly.
I look like in the clear sky above me
Hugs green maple with pine,
How to draw on the haze of clouds
Movable pattern of fancy sheets.
I watch the long shadows grow
How quietly the twilight floats across the sky,
How beetles fly, bumping their foreheads,
Spiders spread their webs in the leaves...

I hear, as if under a tombstone.
Someone shudders, turns the earth,
I hear how the stone is sharpened and scraped
And they call me in a barely audible voice:
“Listen, dear, I have long been tired of lying!
Let me breathe spring air
Give me, my dear, on White light take a look
Let me straighten my crushed chest.
AT realm of the dead only silence and darkness
Tenacious roots, yes rot, yes sputum,
Sunken eyes are covered with sand,
My bare skull is worm-eaten,
I'm tired of silent relatives.
Will you lie down, my dear, for me?

I was silent and only listened: under the stove
He pounded his bone head for a long time.
For a long time the dead man gnawed the roots and scraped the earth,
He fumbled and quieted down at last.
I lay myself on a tombstone,
I watched the clouds rush in the air,
Like a ruddy day burned out in the sky,
As a pale moon floated up into the sky,
How they flew, bumping their foreheads, beetles,
How fireflies crawled out on the grass ...

75. Winter landscape

Yes, amazing, right, light jokes
There is in the winter landscape, dear to us!
So sometimes the plain, covered with a veil of snow,
Richly reddened by the sunbeam,
Some kind of senile freshness shines.
A fast river that flows through the plain
And, in rings, twisting in bends,
Does not freeze in deep winter, -
Enters into a color connection with the sky!
Skies green bright coloring
She is absolutely incredibly green;
On the white snow she, green, runs,
Green like emerald, like duckweed...

And so it seems then that in front of us
Earth and sky are joking, exchanging colors:
The sky shines, passing its blush to the snow,
The color of the green fields - it is accepted by heaven,
And, as if in memory of the past, like a trace of a trace,
Running on white snow green water.
O! if it were possible for you, sky plains,
Taking in all the colors of summer and spring,
Take our sorrows, doubts, the need for bread -
Giving back a little of your silence
And your peace ... we need them!

A. N. Apukhtin (1840–1893)

When you will be, children, students,
Don't break your head over the moments
Over the Hamlets, Lyres, Kents,
Over kings and presidents
Over the seas and over the continents
Don't mess around with your opponents
Be smart with your competitors.
And how do you finish the course with eminents
And you will go to the service with patents -
Do not look at the service of assistant professors
And do not hesitate, children, with presents!
Surround yourself with partners
Always say compliments
Be clients for bosses
Comfort their wives with instruments,
Treat old women with peppermints -
They will pay you for these with interest:
They will sew your uniform with braids,
The chest will be decorated with stars and ribbons! ..
And when doctors with ornaments
They will call you, alas, patients
And they will kill you with medicines ...
The bishop will sing for you and the regents.
Bury will be carried with assistants,
Provide your children with rent
(So ​​that they can be subscribers at the opera)
And they will cover your ashes with monuments.

M. N. Soymonov (1831–1888)

77. Woman's business

On the strip, I sting
Knitted sheaves of gold -
Young;
Tired, frustrated...
That's our woman's business -
Bad share!
It's heavy, - yes, it would be fine,
When there is no sweetness in the heart
Yes anxiety;
And with the sweetheart ... little sense! ..
On the sheaves I dozed off
By the road.
Darling, how did it happen here,
Smiled, leaned over
Started caressing
Kiss ... but the strip
So it remained, unfinished,
crumble…
The husband and mother-in-law waited a long time:
“The whole wedge, tea, - they reasoned -
Masha will survive.
And the night grew dark over Masha...
That's our woman's business -
Our stupidity!

Chernyshevsky N. G. Full coll. op. T. 1. M., 1939, p. 751.

So people call the awakening of nature in the spring. (Author's note).

Current page: 1 (total book has 34 pages) [accessible reading excerpt: 19 pages]

"Poetry has an echo..."

Let's start with a few quotes.

"In poetry and poetic prose, in music, in painting, in sculpture, in architecture - poetry is all that in them is not art, not effort, that is, thought, feeling, ideal."

“The poet creates with the word, and this creative word, caused by inspiration from an idea that powerfully possessed the soul of the poet, rapidly passing into another soul, produces the same inspiration in it and just as powerfully embraces it; this action is neither mental nor moral - it is simply power, which we cannot repel by force of will or by force of reason. Poetry, acting on the soul, does not give it anything definite: it is neither the acquisition of some new, logically processed idea, nor the excitation of moral feeling, nor its affirmation by a positive rule; No! - this is a secret, all-encompassing, deep action of frank beauty, which embraces the whole soul and leaves indelible traces in it, beneficent or destructive, depending on the property artwork, or rather, depending on the spirit of the artist himself.

If this is the action of poetry, then the power to produce it, given to the poet, must be nothing but a call from God, it is, so to speak, a call from the Creator to enter into the fellowship of creation with Him. The Creator put his spirit into creation: the poet, his messenger, seeks, finds and reveals to others the ubiquitous presence of the spirit of God. This is the true meaning of his vocation, his great gift, which at the same time is a terrible temptation, for in this strength for a high flight lies the danger of a deep fall.

“In order to write poems, a person talented in literature only needs to accustom himself to being able to use, in place of each, one real, necessary word, depending on the requirement of rhyme or meter, ten more approximately the same meaning words and then accustom every phrase , which, in order to be clear, has only one proper placement of words, to be able to say, with all possible movements of words, so that it looks like some sense; to learn more, guided by words that come across for rhyme, to come up with semblances of thoughts, feelings or pictures for these words, and then such a person can no longer stop making poems, depending on the need, short or long, religious, love or civil.

“Excuse me, isn’t it crazy to rack your brains for days on end in order to squeeze living, natural human speech at all costs into measured, rhymed lines. It’s the same as if someone would suddenly think of walking only along a spread rope, and without fail squatting at every step.

The first two quotes belong to Pushkin's contemporaries and friends, the poets Kuchelbecker and Zhukovsky; the second two - to his far from the worst followers, the prose writers Leo Tolstoy and Shchedrin. As we can see, the attitude towards poetry expressed in these quotations is exactly the opposite: instead of admiration and admiration, there is humiliation and contempt for poets and their “products”.

Why did this monstrous discord in thoughts arise? It would be easiest to answer this question this way: the Pushkin era was a high, golden age of Russian poetry, then it was replaced by the age of prose, and poetry first faded into the background, and then completely ceased to exist. However, Russian critics also wrote about this, starting with Polevoy and Belinsky; Leo Tolstoy also stated the same with his characteristic categoricalness: “In Russian poetry, after Pushkin, Lermontov (Tyutchev is usually forgotten), poetic fame first goes to the very dubious poets Maikov, Polonsky, Fet, then to Nekrasov, completely devoid of a poetic gift, then to artificial and prosaic poet Alexei Tolstoy, then to the monotonous and weak Nadson, then to the completely mediocre Apukhtin, and then everything gets in the way, and there are poets, their name is legion, who do not even know what poetry is and what it means that they write and why they write.

Maybe the seasoned human being is right here, and Russian poetry after Pushkin and Lermontov should be forgotten and erased from our memory? It seems, however, that something is not quite right here. At least, if we recall the poems of Tyutchev and Fet, Nekrasov and Maikov, Polonsky and Pleshcheev, familiar to everyone from childhood ...

Indeed, from the late 1830s, magazines began to publish poetry less and less often. They are replaced by young Russian prose and sharp-toothed literary criticism, which undertook to defend its interests from the very first steps. And she, this criticism, was extremely partisan, that is, she openly defended on the pages of the magazine the interests of certain political forces that originated in Russia at that time and entered into a battle that has not stopped to this day. It is clear that poetry, addressed to the human soul, to the eternal, was this criticism - regardless of its political interests - simply to nothing. But with prose, especially also party prose, it’s much simpler: after all, it describes understandable, earthly events and explains in clear text who is to blame, what to do, when the real day comes ... But poetry needs to be dealt with, interpreted, and for this it is better to understand either just not notice it, or ridicule parodist clickers.

Prose writers attacked the poetry of the middle of the century no less furiously than the critics. No, they agreed to consider their close friends real poets, they constantly admired their creations (especially in private correspondence), but put them next to Pushkin ...

Therefore, Pushkin's anniversary turned, first of all, into a celebration, in the words of Vyazemsky, prose writers. Even Shchedrin was perplexed about this: "Apparently, the clever Turgenev and the insane Dostoevsky managed to steal the holiday from Pushkin in their favor." Other prose writers turned him to their own, that is, prosaic benefit: it is enough to open newspapers and magazines of those years or anniversary collections to find that modern poets were simply not allowed to participate in the celebrations.

Of course, in the foreground of the politicized Russian prose writers were, as always, the interests of the party. But no less frankly expressed by all of them, in this case, regardless of political preferences, the general idea: Pushkin is a great poet of the past, today there are no poets and cannot be.

Of course, not without the pressure of these ideas, books, for example, Fet did not diverge for many years, as, indeed, in their time, the poems of Alexander Pushkin. But the “folk vitias” preferred not to talk about this out loud ...

Thus, a kind of conspiracy against Russian poetry developed - a conspiracy in which politicians, critics, and prose writers took part. The poets continued to create, not paying attention to the fact that the circle of their readers was getting narrower - despite the unconditional achievements. Poets made their way to the public in a different way - primarily through the increasingly popular romance, through simple poems addressed to children.

Indeed, after Pushkin, Russian poetry becomes much simpler and more accessible, it almost refuses to appeal to ancient and European traditions, consciously focuses on the folk song, speaks of simple things that are necessary for everyone: nature and love, the delights of youth and the experiences of old age. The high civil pathos of the Pushkin era sounds less and less in it, more and more often - a sincere voice loved one. Poetry of the second half of the 19th century is more intimate than its more successful predecessor.

At the same time, it does not depart from the defense of the highest human values ​​at all - on the contrary, it consistently defends them in contrast to the prose addressed to the actual modernity. This is especially evident in cases where the same writer writes both in verse and in prose. For example, Turgenev is the author of Fathers and Sons and Gray Morning. Today, the novel about nihilists needs to be explained in detail, and the classic romance does not need any comments ...

Contemporaries, absorbed by everyday storms, were incomprehensible and wild Fet's words, written about the publication of Tyutchev's collection of poems, almost unnoticed by critics: “All living things consist of opposites; the moment of their harmonious union is elusive, and lyricism, this color and pinnacle of life, in its essence, will forever remain a mystery. Lyrical activity also requires extremely opposite qualities, such as, for example, insane, blind courage and the greatest caution (the finest sense of proportion). Who is not able to throw himself from the seventh floor upside down, with an unshakable belief that he will soar through the air, he is not a lyricist.

The overwhelming majority of contemporaries were not lyricists. They, even being quite respectable people, cherished practical nihilism in the depths of their souls, secretly reading the articles of Pisarev, the author of the formula: "Boots are higher than Shakespeare." It was not for nothing that Blok later called the 19th century iron - after all, Fyodor Glinka wrote about this long before him, who was perhaps the first to see the formidable apocalyptic danger in the appearance of the first iron horses on Russian roads ...

Blok and his like-minded poets of the Silver Age, on the contrary, turned out to be romantics. They agreed to go without boots, but at the same time to know Shakespeare by heart. At least, the bloody October that soon broke out completely provided them with such an opportunity: the miraculously emerged publishing house “Vsemirnaya Literature” made it possible to earn money with translations for a piece of bread, but there was no longer enough for shoes ...

Poets and critics of the Silver Age called their teachers out of the abyss of oblivion. The same Blok prepared the publication of Apollon Grigoriev and named Polonsky among his teachers; Bryusov, with pedantic persistence, looked for the forerunners of Russian symbolism in the tradition of the lyrics of the last century, Gorodetsky published and promoted Nikitin, Piast-Mei, Kuzmin-Karavaev-Khomyakov; Dmitry Merezhkovsky, Boris Sadovsky and Julius Aikhenvald sympathetically wrote and published entire books about Russian poets of the past...

Then darkness came again. Ideologized even more than Russian society the second half of the last century, the Soviet state did not need numerous poets of the past, each with its own "quirk" and "artistic features". Loyal to his masters, the bard of the revolution, Mayakovsky, confidently sends all of them "somewhere to hell", where, however, he himself soon finds himself.

In school textbooks and academic works, the number of poets is decreasing year by year. And Pushkin and other “generals of the classics” (all according to the same Mayakovsky, only of an earlier “spill”) are becoming thinner before our eyes: only their selected works are “recommended for reading”.

Of course, every year the blue volumes of the Poet's Library are published - a series that saves "unrecommended" Russian poetry from final oblivion. The best philologists work on them, honest poets write "defensive" prefaces to them. But even here censorship is strong: poems get dirty, comments "pull up" the classics and semi-classics to the necessary ideological standard. And who does not fit at all, remain outside the series. She herself also bears a dubious name: it is obvious that only poets have the right to read all these books ...

It seems that the present time is again the age of poetry. At least, it is actively published, and without cuts and other restrictions. And while not forbidden to read, even aloud. And not only their own (although they are also worth it, because they again compare poetry with prayer, and not with the production of deadly radium), but also written a hundred and two hundred years ago. Although most readers still prefer prose, but more outrageous. However, this is also quite natural. Which means it's not entirely ugly.

So, perhaps, the time has finally come, about which Pushkin's elder friend Pyotr Andreevich Vyazemsky so perspicaciously wrote: “The poet carries his world with him: with his dreams he inhabits the desert, and when he has no one to talk to, he says by myself. This is probably why many of the prose writers consider poets to be mad. They do not understand what it is to the advantage of a poet to speak into the wind in the hope that this wind will someday and somewhere carry the sounds of their soul; that in due time they will merge with the responses of everything beautiful and will not disappear, because when there is the immortality of the soul, then there must be the immortality of poetry. Prose should speak more or less to those present; Poetry can also speak to those who are absent: it does not need a direct rebuke from present listeners. There is an echo to poetry: somewhere and someday it will respond to its voice.

Y. Orlitsky

Russian poets of the second half of the 19th century

Fedor Glinka

War song, written during the approach of the enemy to the Smolensk province

The sound of a military trumpet rang out,
Rattles through the storm abusive thunder:
The people, brought up by depravity,
He threatens us with slavery and yoke!
Crowds flow, smooth with self-interest,
Howling like carnivores
Alkaya drink blood in Russia.
They go, their hearts are a hard stone,
In the hands rotate the sword and flame
To the death of villages and cities!

Banners soaked in blood
Crimson in the quivering fields,
Enemies weave the chains of captivity,
Violence is threatening in their regiments.
They go, driven by a thirst for tribute, -
O fear! tear off impudent hands
From the temples of God beauty!
They go - and their trail is ashes and steppes!
They put chains on the elders,
Attract beauty to the torment!

Do we now slumber in peace,
Russian faithful sons?!
Let's go, let's close in military formation,
Let's go - and in the horrors of war
Friends, fatherland, people
Find glory and freedom
Or we all fall in our native fields!
What is better: life - where the bonds of captivity,
Or death - where are the Russian banners?
To be heroes or slaves?
Disappeared world happy days
The glow of war is blazing:
Forgive me, weigh, flocks, fields!
To arms, children of silence!
Now, this hour, we, O friends,
We forge sickles and plows into swords:
Fight now - or never!
Slow down the hour - and it will be too late!
Already close, close time is menacing:
Trouble is near for everyone!

And all, it seems to me, I will heed the oath:
Fun and joy not to know
As long as the enemy of the holy land
Stop bleeding!
There, a friend calls a friend to battle,
Wife, sobbing, sends her husband
And the mother into battle - her sons!
The groom does not think about the bride,
And louder than the trumpets on the field of honor
Calling to the fatherland love!

The song of a Russian warrior at the sight of burning Moscow

The stormy night is getting dark, it's getting dark,
And the wind roars, and the thunder roars;
Moscow is on fire
And the Russian warrior sings a song:

“The capital of the kings is burning, burning;
Above her in the bloody clouds of thunder
And the wrath of God's right hand ...
And fire storms all around.

O Kremlin! Your holy walls
And the towers are proud on the walls,
Palaces and temples are gilded
They will fall, humiliated, to dust! ..

And everything that antiquity sanctified,
On the winds with smoke will fly away!
And the city is vast as a grave
Or the wilds are deserted, they will be silent! ..
And the proud enemy, leaving the steppes
And heaps of ashes around Moscow,
Raise menacingly the sword and chains
And the army will move to the banks of the Neva ...

No no! He won't drink water
From the glorious Neva banks:
Armies and peoples rose up
And the throne of the king guards love!

Friends, cheer up! Revenge is near:
Already the leader, our gray-haired favorite,
arranged wisely troops movement
And in the rear of the enemy threatens trouble!

And we, friends, to the creator of prayer:
Oh, give, almighty, to us, the creator,
So that this wondrous peoples of the battle
They crowned the end with glory!

Broadcast - and the eyes of all are raised,
With weapons of hand to heaven:
The flash of lightning ran three times
By clear sabers and bayonets!

Between 1812-1816

Butterfly

Nice spring evening
As the gray dusk dressed the world,
On a lush, fragrant rose
The weary moth sat down;
In joys, in the sea of ​​​​pleasure,
The lucky man drinks oblivion nectar...
But suddenly the neighboring hall
Rows of lights lit up,
The madman was blinded by the brilliance
And he couldn't help himself.

It flies, carried away by the radiance,
Circling, fluttering near the candle.
Where? - deluded fool!
Stop!.. These rays...
But he is already in them, he is already burning,
Trembling, burning - and dying!
In vain with the morning dawn,
Waking up on a fragrant rose,
Early friend,
Looking for a friend in the dewy grass,
Flutters in sadness over the flowers
And the day is spent in anxiety.
He is no more! .. died in the hall
A lesson and fear to all moths.

So thirsty for honors,
Leaving the shadow of native forests
And the father's houses are peaceful,
Where friendship and love await us,
Seduced by false rays,
Run, blind, for dreams,
We run from glory to take a crown;
Oh, how we are alike here with a moth!
We are also akin to delusions:
They are the end of him and us.

dream invocation

The evening dawn is reddening,
Looking into the silver stream;
Zephyr blows from fragrant glades,
And the brook quietly splashes.
The fields are silent, the villages are silent,
And the sweet voice of philomela
Far away pours in silence ...
In the fields, the fogs subsided;
Trembling stars above
Behind a light haze lit up ...
But I have a lovely view of heaven,
Land of luxurious paintings,
Neither this blooming fresh forest,
Nor pretty valleys
They cannot bring happiness.
Not for me the beauty of nature,
And you, my young years,
You will bloom in secret sadness! ..
Come, at least you are inviting,
Wonderful in your dreams and sorrows,
O friend of the unfortunate, sweet sleep!
Come - and with a gentle hand
Bring the sad to rest
And quench the heart groan!
I am called to the land of dreams...
Isn't that your greeting voice?
Hide from weary eyes
Pictures of disaster and suffering...
There! to shining stars
From this abode of vice,
From under the hand of iron rock,
There, to the heights of the stars! ..
Ah, show me the lovely land,
Where is the truth, in wonderful beauty,
In their unshakable rights;
Where there is no barrier to enlightenment,
Where laws prevailed
And where freedom is not in chains!..
Come!.. But you did not heed the calling,
The annoying morning light burns,
And a new day is calling me
Again on a new suffering! ..

To Pushkin

1
These verses were written a year before this, after reading the first two songs of Ruslan and Lyudmila. - Note. F. Glinka.

Oh Pushkin, Pushkin! Who are you
Taught to captivate in miraculous verses?
Which of the inhabitants of heaven,
Loving you as a baby
Leleya, bayal in the cradle?
Only you saw the white light
Eros have come to you
And with caress of grace sat down ...
And the muses, I heard advice
Purposely the whole family kept
And, having finished a long argument, they said:
"Grow up, frolic - and be a poet!"
And you grew up, frolicked to your heart's content,
And the gift of the gods grew up with you:
And now, bliss is a careless share,
You sing joy and love,
Eat pleasures, pleasures,
And the clatter of horses, the thunder of battle,
And the spell of witches and sorcerers,
And Russian knights of fun ...
Leaning under the majestic oaks,
Only you sang, young singer,
And good spirit gray oak forest,
Ancient deeds, ancient glory
The young singer is crowned!
And all the past is renewed:
Resurrected in the songs of antiquity,
And the song is full of magic! ..
And the fearful moon
Buried behind a smoky cloud
And silently fell in love with your song ...
Everything was hearing and silence:
In the desert, the echo is silent,
The attention of the wave encircled
And it seemed that the shores heard!
And in them a young mermaid
I forgot the hero Rogdai,
Native waters - willow meadows
Runs to caress the young singer ...
Fate and gray time
Fear not, young singer!
Traces will disappear generations,
But talent is alive, genius is immortal! ..

A cry of remorse

God! no rage

Rebuke me with yours.

Psalm 6

Do not strike me, O Wrathful One!
Do not expose my sins!
I'm already withering, as in the midday heat
Forgotten cereal in the seas of sands;
My spirit is confused, my mind is waning,
My life is getting dark in the morning...
Burning with painful fire
My yellowing eyes
And vague visions of the night
My spirit is weary.
I am surrounded, like a chain, with fear!
Everywhere, like a shadow, melancholy follows me:
How heavy is your hand!
But I sprinkled dust on my head -
And in the dust of the forehead before you!
Hear my groaning voice!
Have mercy on me, O God!
I'm looking for heaven in spirit,
And at night sleepless bed
I'll rain boiling tears!
I'm thrown like a broken tympanum
Like a ringing harp without strings;
Everywhere I have a network - the enemies are angry!
Everywhere your perun shines!
Premonitions doused with cold:
Are you threatening me with death or hell?
But they don't sing songs in the coffin!
And in hell, oh my God Almighty,
In this abyss of terrible death,
You are not being praised!
And I burn with a thirst to praise
You with love every hour
And leave a later memory
The soul you saved, voice.
Oh joy! joy! weeping of the heart
Heard by my Lord!
You have illuminated me, my Eternal!
With your mysterious face!
Away, wicked with gifts,
With the poison of this runaway life!
I don't want to be with you anymore!
Creator! in your holy love
Washed, I will be like new;
And bless you with all my heart,
Vice rusty shackles
I'll throw myself far away!

Soul Prayer

Listen to the voice of my supplication,

My king and my God: as to

I will pray to you, Lord.

Psalm 5

To You, my God, I hasten with a prayer:
I'm tired of life, like a battle!
Where should I put my heart?
Everywhere the call of evil passions;
And in golden cups - poison,
And under the fragrant grass - a network.
There people build misfortunes for me;
And then passions rage in the chest!
My shield is broken, my spear is in pieces,
And there is no guarding hand for me!
I am a poor beggar, without protection;
Troubles boil around me
And my pale cheeks
They dug out tears.
Alone, without a leader and without light,
I wandered in this dark life,
And the summers flew by
Boiling my youth.
Everywhere, cold, laughed
Above my fiery heart,
And the wicked swore
Not by me, but by Your name.
But You me, my great God,
Taught peace in storms!
You are a helicopter in the wild desert
Intoxicated with heavenly moisture!
You became a fence around me,
And, sad, I breathe joy.
Alas! My path was the path of networks;
But you kept me, invisible!
And a storm of fiery passions,
how horrible dream rushed past;
The anxious battle of life subsided ...
Father! How sweet it is to be with you!
Lead me out of this dungeon
Into your invisible light!
All the gift of Your holy right hand:
And longitude, and happiness of years!