Impressionism and landscape lyrics by A.A. Feta "Poet - Artist"

The poetic position of Afanasy Afanasyevich Fet (1820, Novoselki, Oryol province - 1892, Moscow) for a long time was interpreted incorrectly. Fet was considered a “priest of pure art”, however, if we turn to his work, even Fet’s programmatic statement: “I myself don’t know what I will sing - but only the song knows” - can be understood not as a poetic “whim”, but as responsiveness poet on changes in the world around him. The poetic instrument is very sensitive; any fluctuation in nature, change in the state of the soul will immediately respond in poetry. Feta the poet is led forward by the impression of the world around him, this impression is conveyed in living images to the person reading his poems. Based on the impression, he creates a whole bright, rich world around the reader. The poet’s art has magical powers, it subjugates a person, guides him among everyday hardships: “Carry my heart into the ringing distance, Where, like a month behind the grove, there is sadness: In these sounds, the smile of love gently shines on your hot tears. O child! how easy it is among the invisible swell Trust me in your song." (“To the Singer”, 1857) The purpose of the poet is to embody the unembodied, to be a connecting link between disparate parts of the world and human souls: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s as your own, Whisper about something before which the tongue is numb, Intensify the battle fearless hearts - This is what only a chosen singer possesses, This is his sign and crown! (“With one push to drive away a living boat...”, 1887) Fet is also known as a singer of nature. Indeed, nature in his poems is subtly captured, the poet notices the slightest changes in it: “Night light, night shadows, Shadows without end, A series of magical changes of a sweet face. In the smoky clouds there is the purple of a rose, A reflection of amber, And kisses, and tears, and dawn , dawn!..” (“Whisper, timid breathing...”, 1850) Fet in his verse plays on every string of the soul, making them sound like beautiful music. Changes in the “sweet face” and changes in nature - such parallelism is typical of Fetov’s poems. Fet, seeing the beauty of the world, tries to preserve it in his poems. I think that the poet introduces this connection between nature and love because you can express your feelings and impressions only by talking about the beautiful and eternal, and love and nature are the two most beautiful things on earth, and I don’t know anything more eternal than nature and Love. Expressing his impressions, he increases the acuity of perception several times by introducing this connective. Not only the state of nature is reflected in the state of the human soul. Nature and people are components of a single world, and through nature a person understands himself better, describing it, he can more fully express his own psychological condition. But nature is eternal, the trees “will remain with their cold beauty to frighten other generations” (“Pines”, 1854), and man is mortal, and yet he can learn from nature perseverance, hope for the best: “Don’t trust spring. Genius will rush through it, Again breathing warmth and life. For clear days, for new revelations, the grieving soul will recover." (“Learn from them - from the oak, from the birch”, 1883) The combination of several of the most important motifs of Fetov’s lyrics can be traced in the following poem: “What sadness! The end of the alley Again in the morning disappeared into the dust, Again silver snakes crawled through the snowdrifts. a piece of azure, In the steppe everything is smooth, everything is white, Only one raven flaps its wings heavily against the storm. And the soul does not dawn: It has the same coldness that is all around. Lazy thoughts fall asleep Over dying work. And all hope in the heart smolders, That , perhaps, even by chance, Again the soul will become rejuvenated, Again the native will see the land, Where storms fly by, Where the passionate thought is pure - And spring and beauty are only visibly blooming for the initiated.” (1862) The picture of nature (winter, silver snakes of drifting snow, gloomy sky) is at the same time, as it were, a picture of the human soul. But nature is changing, the time will come when the snow will melt and, hopefully, lyrical hero, “the soul will become younger again.” And besides, art is that " motherland", where there are no storms, where "spring and beauty bloom." A.A. Fet was one of the founders of Russian impressionism, which appeared as a style in Europe in late XIX V. His works influenced not only Russian but also world culture. Fet's influence is clearly visible if we consider the work of poets and artists of the 20th century. Among the authors of the early twentieth century, Blok can be distinguished. His poetry is very similar to Fet's poetry. Especially Blok’s poem “Autumn Will” reminds me of Fet, although the surrounding reality wedges more into this work. Before I read Fet for the first time at the age of twelve, I had been to many painting exhibitions, but I did not understand the section reserved for the impressionists. After reading Fet, I was able to understand the meaning of this direction, its ideas, tasks, which expanded my horizons and forced me to change my views on some things.

In his poems, A. Fet wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the most simple movements souls, even about momentary impressions. His poetry is joyful and bright, it is characterized by a feeling of light and peace. Beauty,...

The image of the night in the lyrics of A.A. Feta is unsteady, wavering. It envelops the reader in a light haze and immediately disappears somewhere. For the lyrical hero A.A. Feta night is a wonderful time of day when a person is left alone with himself and his thoughts....

The Grigorievs' house became a gathering place for talented university youth. Students of the literature and law faculties Ya. P. Polonsky, S. M. Solovyov, the son of the Decembrist N. M. Orlov, P. M. Boklevsky, N. K. Kalaidovich visited here. Around A. Grigoriev...

Others have inherited from nature a prophetically blind Instinct: They smell, hear the waters And in the dark depths of the earth. Beloved by the great mother, Your destiny is enviable a hundredfold: More than once, under the visible shell, You have seen it. F.I. Tyutchev Afanasy Afanasyevich Fet was...

Impressionism (French impression - impression) - a movement in art of the last third of the 19th and early 20th centuries, whose masters, recording their fleeting impressions, sought to most naturally and impartially capture the real world in its mobility and variability.

A special feature of this style was “the desire to convey the subject in sketchy strokes that instantly capture every sensation.”

Pierre Auguste Renoir "The Paddling Pool"

The creaking of footsteps along the white streets,

‎ Lights in the distance;

On the frozen walls

The crystals sparkle.

From the eyelashes hung into the eyes

‎ Silver fluff,

The silence of a cold night

‎ Occupies the spirit.

The wind sleeps and everything goes numb,

‎ Just to fall asleep;

The clear air itself becomes timid

‎ To die in the cold.

Wonderful picture

How dear you are to me:

White plain,

Full moon,

The light of the high heavens,

And shining snow

And distant sleighs

Lonely running.

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

The motif of “reflection in water” is found unusually often in Fet’s works. Most likely, an unsteady reflection provides more freedom to the artist’s imagination than the reflected object itself:

In this mirror under the willow tree

You caught my jealous glance

Lovely features...

Softer is your proud gaze...

I'm shaking, looking happy,

Just like you tremble in the water.

Impressionism is manifested in the listing of individual objects, from which an amazing poetic miniature, a true poetic story is obtained.

This morning, this joy,

This power of both day and light,

This blue vault

This cry and strings,

These flocks, these birds,

This talk of the waters

These willows and birches,

These drops - these tears,

This fluff is not a leaf,

These mountains, these valleys,

These midges, these bees,

This noise and whistle,

These dawns without eclipse,

This sigh of the night village,

This night without sleep

This darkness and heat of the bed,

This fraction and these trills,

It's all spring .

Impressionism emphasizes the impact of creativity on human feelings. It is based on feelings - impressions. Russian word“impression” (like the French “impression”) comes from the words “seal”, “imprint”; here we mean some internal imprint of past events and images. Sunset and sunrise, birds singing, snow - these are just statements of facts. A bloody sunset, a spring dawn, the trills of a nightingale, sparkling snow - this already affects the feelings of readers. “The first snow...” Someone, for example, will imagine their former home; snowflakes of different sizes, beautiful, as if printed, fall into a puddle at the entrance and disappear into it. Someone will remember the flakes of cotton wool falling heavily in the twilight from above, the way they get tangled in the branches of trees and flicker near the lanterns. This is the difference in perception. Therefore, it seems to every reader that the poems were written specifically for him, about him. It’s amazing how a real poet can guess something so cherished, so personal for almost every person. Fet was considered a “priest of pure art,” however, if we turn to his work, even Fet’s programmatic statement: “I myself don’t know what I will sing - but only the song knows,” can be understood not as a poetic “whim,” but as the poet’s response to changes in the surrounding world. The poetic instrument is very sensitive; any fluctuation in nature, change in the state of the soul will immediately respond in poetry. Feta the poet is led forward by the impression of the world around him, this impression is transmitted through images to the person reading his poems. Os-. based on impressions, he creates a whole bright, juicy world. The poet’s art has magical powers, it subdues a person, makes him forget everyday troubles. Poetry, beauty, harmony are always together, one implies the other. And their embodiment may not be ancient statues, but the moving and beautiful states of a changeable soul. It is not for nothing that in ancient times the myth of Pygmalion and Galatea was born, glorifying not the cold beauty of the statue, but the sculptor’s fiery love for his creation. After all beautiful person not necessarily beautiful in appearance. Inner beauty, spiritual beauty means much more. Here is a poem that almost everyone knows: * And at dawn you don’t wake her, * At dawn she sleeps so sweetly: * The morning breathes on her chest, * It shines brightly on the pits of her cheeks. In the soft light of the morning, A. A. Fet sings of the freshness and charm of a young girl, but does it in a way that only he can. It is not for nothing that this poet was sometimes called “the whisper of Russian poetry.” These lines are the morning whisper in the silence of a sleeping house. Warmth, joy, diffused light rising sun fill the poem. “Open your closed eyes towards the northern Aurora”... - this is from Pushkin, Fet does not have Auroras, Apollos, Poseidons. Only feelings and poems, poetry and music: the product will get rid of fat! Lose 8 kg in 3 days, if before bedtime... * The sun's ray between the linden trees was both burning and high, * In front of the bench you drew shiny sand. * I completely gave myself up to golden dreams * You didn’t answer me at all. “Burning ray”, “golden dreams”, “brilliant sand... In simplicity, in seeming banality, something completely unusual suddenly appears... Music sounds and rings in this ray of sun and rises to the blue sky. Umbrella by the bench. The same as they were then: white handle, sharp tip, airy lace frills. What exactly, what feelings of the reader does the author influence? Is that really important here? Real art, so to speak, is designed to elevate a person, teach him wisdom and love. Having experienced this poem by A. A. Fet, you will learn something new, wonderful life. And, I think, the point here is in that very magical “imprint” that seemingly such simple and unpretentious words leave in the soul. The print is an impression... Not everyone likes impressionism in painting. It is often believed that anyone can paint the same paintings - a stroke here, a stroke there. Here it is very important to understand the differences between the work of a Master and the work of a mediocre one. It lies in the sincerity and depth of the creator’s impression and in the ability to convey it to the reader or viewer. The more warmth and love an artist puts into his creation, the better he knows the world of human emotions - happiness,1 suffering, anger, jealousy, fun, the more enthusiastically the viewer or reader will accept him. A. A. Fet was one of the founders of Russian impressionism, which appeared in Europe at the end of the 19th century. His works influenced not only Russian but also world culture. Fet's influence was especially reflected in the work of poets and artists of the 20th century, and most of all Blok. "Beauty will save the world." It doesn't really matter which artistic techniques it is expressed, what style it belongs to, what direction it corresponds to. Impressionism... Lyrics... It can be argued that in Fet’s work these concepts are inseparable.

The poet’s impressions of the world around him are conveyed in vivid images:

A fire blazes in the forest with the bright sun,

And, shrinking, the juniper cracks;

A choir crowded like drunken giants,

Flushed, the spruce tree staggers.

A strange picture... One gets the impression that a hurricane is raging in the forest, shaking the mighty trees, but then you become more and more convinced that the night depicted in the poem is quiet and windless. It turns out that it is just the glare from the fire that makes the trees appear to be shaking. But it was precisely this first impression, and not the giant spruce trees themselves, that Fet sought to capture in his poem. Fet consciously depicts not the object itself, but the impression that this object makes. He is not interested in details and details, he is not attracted to motionless, complete forms, he strives to convey the variability of nature, the movement of the human soul. This creative task is helped to be solved by unique visual means: not a clear line, but blurred contours, not color contrast, but shades, halftones, imperceptibly turning into one another. The poet reproduces in words not an object, but an impression. We first encounter such a phenomenon in literature in Fet’s poetry. (In painting, this direction is called impressionism.) Familiar images of the surrounding world acquire completely unexpected properties. And although Fet’s poems contain a lot of very specific flowers, trees, and birds, they are depicted in an unusual way. And this unusualness cannot be explained only by the fact that Fet widely uses personification:

The last flowers were about to die

And we waited with sadness for the frost...

Flowers look with the longing of a lover,

Sinlessly pure, like spring...

Fet does not so much liken nature to man as fill it with human emotions, since the subject of his poetry is most often feelings, and not the phenomena that cause them. Art is often compared to a mirror that reflects reality. Fet in his poems depicts not an object, but its reflection; landscapes “overturned” into the choppy waters of a stream or bay seem to double; motionless objects vibrate, sway, tremble, tremble:

Over the lake a swan reached into the reeds,

The forest overturned in the water,

With the jagged peaks he sank at dawn,

Between two curving skies.

The meeting of lovers by the pond in the poem “Willow” is so trembling that, afraid to look at his beloved, the young man peers at her reflection in the water, and just as her reflection trembles and flickers, the excited soul of the lovers trembles.

In this mirror under the willow tree

You caught my jealous glance

Lovely features...

Softer is your proud gaze...

I'm shaking, looking happy,

Just like you tremble in the water.

Fet's poems are saturated with aromas, the smell of herbs, “fragrant nights”, “fragrant dawns”:

Your luxurious wreath is fresh and fragrant.

You can smell the incense of all the flowers in it...

For Fet, sometimes it is not so important to trace the development of feelings or events as to capture a fleeting state, stop a moment, delay it:

Every bush was buzzing with bees,

Happiness weighed on my heart,

I trembled, so that from timid lips

Your confession did not fly away.

………………………………………..

I wanted to talk - and suddenly,

Scaring with an unexpected rustle,

At your feet, on a clear circle,

A golden bird flew away.

With what timidity of love we

Hold your breath!

It seemed to me that your eyes

They begged her not to fly away.

The hero seeks to prolong the moment preceding recognition, when the inexpressible feeling is clothed in verbal form.

But sometimes the poet still manages to stop the moment, and then the poem creates a picture of a frozen world:

The mirror moon floats across the azure desert,

The steppe grasses are covered with evening moisture,

The speech is abrupt, the heart is again more superstitious,

Long shadows in the distance sank into the hollow.

Here, each line captures a brief, complete impression, and there is no logical connection between these impressions.

But in the poem “Whisper, timid breathing...” the rapid change of static pictures gives the verse amazing dynamism, airiness, and gives the poet the opportunity to depict the subtlest transitions from one state to another:

Whisper, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

In the smoky dots there is a purple rose,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

Without a single verb, only with short descriptive sentences, like an artist with bold strokes, Fet conveys an intense lyrical experience. The poet does not depict in detail the development of relationships in poems about love, but reproduces only the most significant moments of this great feeling.

The poetic position of Afanasy Afanasyevich Fet (1820, Novoselki, Oryol province - 1892, Moscow) was interpreted incorrectly for a long time. Fet was considered a “priest of pure art”, however, if we turn to his work, even Fet’s programmatic statement: “I myself don’t know what I will sing - but only the song knows” - can be understood not as a poetic “whim”, but as responsiveness poet on changes in the world around him. The poetic instrument is very sensitive; any fluctuation in nature, change in the state of the soul will immediately respond in poetry. Feta the poet is led forward by the impression of the world around him, this impression is conveyed in living images to the person reading his poems. Based on the impression, he creates a whole bright, rich world around the reader.

The poet’s art has magical powers, it subjugates a person, guides him through everyday adversity:

"Carry my heart into the ringing distance,

Where, like a month behind the grove, there is sadness:

In these sounds your hot tears

The smile of love shines gently.

O child! how easy it is among the invisible swells

Trust me in your song."

"To the Singer", 1857)

The purpose of the poet is to embody the unembodied, to be a connecting link between disparate parts of the world and human souls:

"Give life a sigh, give sweetness to secret torments,

Instantly feel someone else’s as your own,

Whisper about something that makes your tongue go numb,

Strengthen the fight of fearless hearts -

This is what only a select few singers possess,

This is his sign and crown!”

(“With one push to drive away a living boat...”, 1887)

Fet is also known as a singer of nature. Indeed, nature in his poems is subtly captured; the poet notices the slightest changes in it:

"Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face.

There are purple roses in the smoky clouds,

The reflection of amber

And kisses, and tears, and dawn, dawn!..”

("Whisper, timid breathing...", 1850)

Fet in his verse plays on every string of the soul, making them sound like beautiful music. Changes in the “sweet face” and changes in nature - such parallelism is typical of Fetov’s poems. Fet, seeing the beauty of the world, tries to preserve it in his poems. I think that the poet introduces this connection between nature and love because you can express your feelings and impressions only by talking about the beautiful and eternal, and love and nature are the two most beautiful things on earth, and I don’t know anything more eternal than nature and Love. Expressing his impressions, he increases the acuity of perception several times by introducing this connective.

Not only the state of nature is reflected in the state of the human soul. Nature and people are components of a single world, and through nature a person understands himself better, describing it, he can more fully express his own psychological state. But nature is eternal, the trees “will remain with their cold beauty to frighten other generations” (“Pines”, 1854), and man is mortal, and yet he can learn from nature perseverance and hope for the best:

"Don't trust spring.

A genius will rush past her,

Breathing warmth and life again.

For clear days, for new revelations

The grieving soul will get over it."

(“Learn from them - from the oak, from the birch”, 1883)

The combination of several of the most important motifs of Fetov’s lyrics can be traced in the following poem:

"What sadness!

End of the alley

Again in the morning he disappeared into the dust,

Silver snakes again

They crawled through the snowdrifts.

There is not a shred of azure in the sky,

In the steppe everything is smooth, everything is white,

Only one raven against the storm

It flaps its wings heavily.

And it doesn’t dawn on the soul:

It’s the same cold that’s all around.

Lazy thoughts fall asleep

Over dying labor.

And all the hope in the heart is smoldering,

That, perhaps, even by chance,

The soul will become younger again,

Again the native will see the land,

Where storms fly by

Where the passionate thought is pure -

And only visibly to the initiates

Spring and beauty are blooming." (1862)

The picture of nature (winter, silver snakes of drifting snow, gloomy sky) is at the same time, as it were, a picture of the human soul. But nature is changing, the time will come when the snow will melt and, the lyrical hero hopes, “the soul will become younger again.” And besides, art is that “native land” where there are no storms, where “spring and beauty bloom.”

A.A. Fet was one of the founders of Russian impressionism, which appeared as a style in Europe at the end of the 19th century. His works influenced not only Russian but also world culture. Fet's influence is clearly visible if we consider the work of poets and artists of the 20th century. Among the authors of the early twentieth century, Blok can be distinguished. His poetry is very similar to Fet's poetry. Especially Blok’s poem “Autumn Will” reminds me of Fet, although the surrounding reality wedges more into this work.

Before I read Fet for the first time at the age of twelve, I had been to many painting exhibitions, but I did not understand the section reserved for the impressionists. After reading Fet, I was able to understand the meaning of this direction, its ideas, tasks, which expanded my horizons and forced me to change my views on some things.