Class: 10

Goals:

• to acquaint with some episodes of the personal life of remarkable Russian poets and their reflection in poetic works;
• to discover these poets as authors of love poems, to help students see the images of beloved poets;
• aesthetic and moral education of students.

Equipment: portraits of poets F. I. Tyutchev and A. A. Fet, musical records, candles.

Conduct form: living room.

Methodical methods: the teacher's story, reading poetry and comments on them, students' messages, listening to romances.

Epigraph:

Tears of love...

W. Shakespeare

DURING THE CLASSES

1st student:

Everything starts with love...
They say:
"At first
It was
word!"
And I proclaim again:
Everything starts with love!

2nd student:

Everything starts with love:
And illumination
and work
flower eyes,
The eyes of a child
Everything starts with love.

1st student:

Everything starts with love.
With love!
I know it for sure.
Everything,
even hatred
native
and eternal
sister of love.

2nd student:

Everything starts with love:
dream and fear
wine and gunpowder.
Tragedy, longing and feat -
everything starts with love

1st student:

Spring whispers to you:
"Live..."
And you shake from a whisper,
And straighten up.
And you will begin.
Everything starts with love.

Teacher: With these wonderful lines of the poet Robert Rozhdestvensky, we begin the lesson "Love in the lyrics of F. I. Tyutchev and A. A. Fet." The great W. Shakespeare was right when he said:

On the whole earth you will not meet a poet,
Daring to take up the pen,
Without dipping him first in beautiful
Tears of love...

- The lesson consists of two parts. In the first part, we will talk about the love of the 19th century poets F. I. Tyutchev and A. A. Fet. In the second - we will read our favorite lines about love.

Fedor Ivanovich Tyutchev. The theme of love became one of the central ones in his mature work; it reflected his personal life, full of passions, tragedies, disappointments.
In 1826, Tyutchev married the widow of a Russian diplomat, Eleanor Peterson, although shortly before his marriage he was infatuated with Amalia Lerchenfeld, to whom he dedicated a later poem that became a popular romance.

The romance "I met you - and all the past ..."

After 7 years, Tyutchev's romance began with Ernestine Dernberg. After a nervous and physical shock (a fire on the ship on which Eleanor and her three daughters were returning from Russia to Italy), Tyutchev's wife dies. According to family tradition, "Tyutchev, after spending the night at the coffin of his first wife, turned gray with grief." Later, Tyutchev married Ernestine Dernberg. When Tyutchev was 47 years old, a new love affair began, enriching Russian poetry with an immortal lyrical cycle.

Student: Love in Tyutchev's lyrics is always a fatal passion that can cause the death of one of the lovers, and the victim is most often a woman. However, despite the danger of destruction that love carries, the poet perceives it as happiness. About such love tells the "Denisevsky cycle", which is dedicated to Elena Alexandrovna Denisyeva, the last love of the poet.

Still longing for you with my soul -
And in the darkness of memories
I still catch your image ...
Your sweet image, unforgettable,
He is in front of me everywhere, always,
Unfathomable, immutable,
Like a star in the sky at night...

Teacher: Tyutchev is 47 years old, Denisyeva is 24, she studied at the Smolny Institute with Tyutchev's daughters. They loved each other, for 14 years they were connected by bonds of civil marriage and two children until Denisyeva's death. The complexity of the situation was that Tyutchev still loved his second wife, Ernestine, and his family. In the eyes of high society, the connection with Denisyeva was scandalous, the whole burden of condemnation and rejection fell on Denisyeva's shoulders.

Student: It was both happy and hard love. Love, which acquired in the eyes of the St. Petersburg society the interest of a scandal; the love that closed the doors of those houses to a young woman from a good family, where she had previously been a welcome guest; the love that made Denisyeva's father abandon his daughter; love that tormented Tyutchev with the consciousness of his guilt.

The poem "I knew the eyes - oh, these eyes! ..".

Student: Under the influence of an ambiguous position in society, Elena Alexandrovna developed irritability and irascibility. All this accelerated the course of her illness, and in 1864 Elena Alexandrovna died of consumption. The drama lived by the poet was imprinted in the "Denisiev cycle", one of the pinnacle achievements of love-psychological lyrics in Russian and world literature.

The poem "No matter how furious slander ...".

Student: In his previous poems, the poet spoke about the conflict of man with nature, with the chaos of the night, with the inexorable movement of time, taking away youth. In the "Denisiev cycle" for the first time in the work of Tyutchev, a conflict between people is drawn. The feeling, passion, personality of a person in their manifestations and even in their development is dependent on society. In Tyutchev, love becomes a tragedy for people not because of the guilt of one of them, but because of the unfair attitude of society, the crowd towards those who love:
"... The crowd, surging, trampled into the mud what was blooming in her soul." Tyutchev called the human court a fatal force.

The poem "There are two forces - two fatal forces ...".

Student: The "Denisiev cycle" as a "novel in verse" has an unusually peculiar structure, which is not at all traditional for the literary depiction of love, which knows no similarity in prose works. A slow, penetrating depiction of sympathy, falling in love, the prehistory of love and then failed love relationships is characteristic of the novels of Pushkin, Lermontov, Turgenev. The "novel" in Tyutchev's poetry immediately begins with a very high, tragic-sounding note.

The poem "Oh, how deadly we love ...".

Student: Tyutchev gives a romantic assessment of love. Love is an elemental passion, disharmony and a fatal duel; love brings the characters together, they cannot live without each other. This is a clash of two personalities, in this struggle it burns out like a weaker Deniseva. Tyutchev and Denisyeva understood that the fault, first of all, lay with Tyutchev, but he did nothing to alleviate the fate of his beloved woman. She, passionately loving him, could not refuse this connection:

Now in anger, now in tears yearning, indignant,
Passionate, wounded in the soul,
I suffer, I do not live, by him, by him, I live alone -
But this life!.. Oh, how bitter it is!

The poem "All day she lay in oblivion ...".

Student: The poem is dedicated to the memory of last hours life of E. A. Denisyeva. Tyutchev recalls how Denisyeva was unconscious on the last day of her life, and August rain was falling outside the window, merrily murmuring through the leaves. Having come to her senses, Elena Alexandrovna listened to the sound of rain for a long time, realizing that she was dying, but still longing for life.

Teacher: Tyutchev's poetry belongs to the creations of the Russian poetic genius. Tyutchev, the inspired creator of nature, is close to us; Tyutchev is dear to us, a sensitive seer of the human heart.

Teacher: Afanasy Afanasyevich Fet. And the personality, and fate, and the creative biography of the poet are unusual and full of mysteries, some of which have not yet been solved. N. Nekrasov wrote: “A person who understands poetry and willingly opens his soul to its sensations will not draw as much poetic pleasure from any Russian author after Pushkin as Fet delivers.” Poems about love were sublime and wise in Pushkin's style. It is no coincidence that many of them became romances, the performance of which even now gives rise to a range of feelings in the soul of every person. Almost all love poems are written in the first person, in the form of a monologue, as a memory of love left in the past.

A romance by P. I. Tchaikovsky to the words of A. A. Fet “Do not wake her at dawn” sounds.

Student: Like other poets, in Fet's life there were specific meetings with extraordinary and yet earthly women who inspired the creation of poems. The poet in his poems sang of female beauty.

The poem "A call to the beloved Beethoven."

Student: Based on female beauty, Fet creates in different years a whole cycle of lyrical messages addressed to S. Tolstoy, T. Kuzminskaya, S. Tolstoy's sister, E. Khomutova, N. Sologub and many other women. Tatyana Andreevna Kuzminskaya, the sister of Sofya Andreevna Tolstoy, first saw the poet at home when she was 15–16 years old. Then there were meetings with an adult woman. And there was an important episode in the poetic biography of Fet, associated with Tatyana Andreevna. He dedicated his poem to him. This poem is one of the best lyrical works of the poet, it is one of the best examples of Russian love lyrics.

The poem "The night shone."

Student: L. Tolstoy liked the poem: “These verses are beautiful,” he said, “but why does he want to hug Tanya? The man is married ... ". However, the poem is not a document. It is inspired by a real life case, but is not a mirror image of it. Ultimately, this poem is not about Fet's feelings for the sweet young Tanya Burns (later on by her husband Kuzminskaya), but about high human love.

Student: Fetov's theme of love most often has a tragic tinge, the poems are addressed, as a rule, to the same woman, whose image is shrouded in a haze of mystery.

The poem "Whisper, timid breathing ...".

Teacher: This poem by Fet is the most unusual. It is one difficult sentence. It does not contain any verbs. The poem has been ridiculed in dozens of parodies. They said that it can be read from the first to the last line and vice versa - the meaning will not change from this. This, of course, is not true. Composers Balakirev and Rimsky-Korsakov set it to music.

Student: In 1849, Fet wrote to his childhood friend Borisov, “I met a creature that I love. It is for me an opportunity for happiness and reconciliation with the vile reality. This is about Maria Lazich, the daughter of a large landed nobleman, a retired general. She became the heroine of his love lyrics. Maria Lazich was gifted with a deep and subtle poetic feeling, she knew poetry and understood it. She knew and loved Fet's poems. The poet could not help but appreciate this. “Nothing,” he wrote, referring to his relationship with Lazich, brings people together like art in general - poetry in the broadest sense of the word. Such intimate rapprochement is poetry in itself.

The poem "What a night! Transparent air is bound ... ".

Student: But the prudent mind prevails over the heart of the poet, who recognized the charm of pure love and hoped for family happiness. A few months later, a break followed. Fet convinced the girl of the impossibility of their marriage for material reasons.

The poem "For a long time I dreamed of the cries of your sobs ...".

Student: Maria Lazich was deeply upset by the break with her loved one. Some time later, a tragedy occurred, about which everyone spoke with horror. Maria burned down in her own house. This thought haunted Fet.

The poem "When you read the painful lines ..."

Student: After the tragic death of Maria Lazich, the poet fully realizes love, love unique and unique. Only now did the poet feel that the happiness that was so possible had perished. And he was the culprit. Now Fet will remember all his life, will speak and sing about this love in high, beautiful, amazing verses.

The poem "You suffered, I still suffer ...".

Student: Fet's love for Lazich, burned by the lightning of indifference and calculation, turned into some kind of magic violin called poetry. Fet's lyrical revelations dedicated to Mary are the best in the poet's work. In poems about love, the female image, according to K. Balmont, is devoid of "temporality", "it is eternal." Already in his declining years, in one of his best poems, Fet will say: “... That grass that is far away on your grave, Here on the heart, the older it is, the fresher, ..”

The poem "ALTER EGO" ("Second Self" (lat.)).

Teacher: Most of the lyrics of Tyutchev and Fet have a pronounced musical character. It is focused on romance, created in the tradition of romance and is perceived in line with this tradition. Fet and Tyutchev are great sages and humanists who turn tragedy, suffering, pain into beauty and joy:

Someone else instantly feel your own.
Whisper about what the tongue goes numb to.
Strengthen the fight of fearless hearts...

- this is exactly how, in the indestructible ability to “pass through the heart”, the work of Tyutchev and Fet is perceived today.

The romance "I won't tell you anything ..." sounds.

Teacher: These were love poems by brilliant poets of the 19th century. Their lyrical works attract with purity, sincerity, depth of feelings and convince that, even suffering and despairing, "it's terrible not to love." We live in the 21st century and experience the same feelings. Each of us has favorite lines about love.

Students read their favorite love poems.

Teacher: We hope that you enjoyed your visit to our living room, and that you liked the poems you read today. We want to end the evening with words from a poem by the poet Bolat Kunyaev:

Poems are useless to fools and tedious.
Through rhyme will not cure their hearts.
Poetry is loved by beautiful people.
I do it by personal experience I know.

List of used literature:

1. Tyutchev F.I. Spring Waters: Lyrics / Comp. and foreword. K. Pigareva; Note. K. Pigareva and V. Korovin; Rice. G. Volkhonskaya. - 3rd ed., add. – M.: Det. lit., 1983. - 126 p., ill. - (School library).
2.Fet A. A. Poems / Comp. and foreword. E. Vinokurova; Artistic F,. Domogatsky. M.: Artist. lit., 1979 - 319 p. - (Classics and contemporaries. Poetry library.)

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2. Bobrovsky V. Functional foundations of musical form: research. M., 1978. S. 64.

3. Shane S. Theory of symphonism in the interpretation of B. Asafiev // Problems of Musical Science. M., 1985. Issue. 6. p. 4.

4. Asafiev B. Ways to the future. Pg., 1918. Book. 2. S. 69.

5. Alyivang A. Russian symphony and some analogies with the Russian novel // He. Selected works. M., 1964. S. 77.

6. Blinova S. The problem of the finale in the classical sonata-symphony cycle // Interpretation of the artistic text: Interdisciplinary seminar - 4: Sat. nfgch. materials. Petrozavodsk, 2001, p. 17.

7. Andreeva N. Dynamics and statics of musical form // Theoretical problems of musical form. M., 1982. S. 19.

8. Aristotle in "Poetics" identifies the following stages in the development of tragedy: "exposure", "outset", "development", "climax", "denouement (catastrophic

F)". See: Aristotle. On the Art of Poetry (Poetics). SPb., 2000.

9. There are similar examples in musical theatre. The “death scenes” of heroes with farewell arias or duets have even become a “stamp” in opera literature: let’s name here the finals in the operas “La Traviata”, “Rigoletto” by G. Verdi, “Pelléas et Mélisande” by C. Debussy, “The Stone Guest” by A. Dargomyzhsky, "Fiery Angel" by S. Prokofiev.

10. The listed symphonies were written in the same period - in the 1930-1950s and belong to the so-called musical classics of the 20th century.

11. Getselev B. On the dramaturgy of large instrumental forms in the second half of the 20th century // Problems of musical dramaturgy of the 20th century. M "1983. S. 12.

12. Kazantseva L. Fundamentals of the theory of musical content. Astrakhan, 2001, pp. 212-213.

13. Bobrovsky V. Functional foundations of musical form... P. 68.

0. V. SHMAKOVA. THE SYMPHONIC CYCLES BY BARTOK, HONEGGER AND HINDEMITH WITH THE FINALE-CULMINATION

Semantic foreshortenings of the culmination in the symphonic finales-apotheosis and finales-tragedies by Bar-tok, Honegger and Hindemith (1930-1950) are considered in the article. Semantic foreshortenings are focused around of the concept "harmony": in the concept of Pleasure - "becoming of harmony", "overcoming of disharmony", "finding of harmony"; in the concept of Eternity - "declaration of harmony"; in the concept of Tragedy - "non-overcoming of disharmonies", "metaphysics of harmony".

Key words: symphonic finale, dramatic art, apotheosis, tragedy, harmony, culmination.

I. V. BORISOVA, D. N. ZHATKIN

BEETHOVEN AND FET

The article discusses the influence of German classical music on Russian literature of the 19th century on the example of the creative heritage of one of the most "musical" poets in the history of Russian literature - A. A. Feta. Some facts of the poet's biography that influenced the formation of his aesthetic views and musical preferences are given, as well as an analysis of the poem "Anruf an die Geliebte by Beethoven", which became the apotheosis of the author's involvement in the music of the German composer, is given.

Key words: Fet, Beethoven, German classical music, Russian literature of the 19th century, intercultural dialogue, international contacts, interconnection between Russian and German national cultures.

German classical music provided big influence on the development of the culture of many European countries, including Russia. Literature and, above all, poetry, undoubtedly, interacts much more closely with music than many other art forms. V. Vanslov reveals the influence of music on the poetry of the 19th century in the following areas: 1) the general trend of lyrization of poetic works, 2) the saturation of poetry with musical rhythms and intonations, 3) a kind of transformation of one art into another: literature, as it were, absorbs music (one). German music has become an important component of the work of A. A. Fet, one of the most “musical” poets, not only in the literature of his era, but in general in the history of Russian literature. Critics contemporary to the poet (ap. A. Grigoriev, A. V. Druzhinin, V. P. Botkin, N. N.

Strakhov, V.V. Solovyov) considered Fet’s musicality to be one of the most characteristic features his creative talent (2). Researchers of the 20th century, for example, D. D. Blagoy (ibid.), B. Ya. Bukhshtab (3), B. M. Eikhenbaum (4), also noted this salient feature literary heritage of the poet.

Childhood by no means foreshadowed A. Fet either a serious musical career or any deep understanding of music. His father was sincere in his intention to give the child the basics of a musical education, because, in his opinion, "in every significant house where a young man would be interested to enter, there is a piano" (5). In fairness, it is worth noting that at that time it was customary to teach a noble child to play music from childhood without taking into account his natural data, inclinations and ability

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tei. Vocal and instrumental music, along with literary readings, was popular in noble salons (6). Fet himself admitted that learning music "exceeded his strength", and called the lessons that he took during the year "daily musical torment", and "unsuccessful" to such an extent that he did not even know the notes. The poet subsequently characterized his game very unflatteringly: “the two-stroke march began to hobble”, “my fingers were confused”, etc. Finally, “the cup of sorrow overflowed”, and the young man announced that he was “ready to go to the punishment cell and anywhere” but won't play anymore. Fet summed up his first, so unsuccessful acquaintance with music with the words: “So we parted forever with the goddess of music to our mutual pleasure” (7). Apparently, the cessation of musical studies was on that life stage quite natural for him.

Subsequently, in more adulthood, along with the poetic gift in the young man, a deep musicality was awakened, due to the originality of his mental make-up and worldview. It should be recognized that this is not the trivial interest in music that was inherent in educated people of that time to one degree or another, but an interest of a different kind: lively and deep, extraordinary and integral to the inner essence of the poet. Thus, Fet's musicality developed naturally and became part of his spiritual quest and acquisition.

The harmonious combination of poetry and music in the creative talent of the poet was noticed by P. I. Tchaikovsky, who believed that “Fet is not just a poet, but rather a poet-musician, as if avoiding even those topics that are easy to express in words”, because “ in his best moments" he "goes beyond the limits indicated by poetry" and "boldly takes a step" towards music, and therefore "there is no way to compare him with other first-class Russian or foreign poets" (8). Fet himself confirmed the involvement of his literary creativity music in the lines written later: “Tchaikovsky, as it were, spied on the artistic direction in which I was constantly drawn and about which the late Turgenev used to say that he was waiting for a poem from me, in which the final verse would have to be conveyed by silent movement of the lips.” Further, the poet admitted that “from a certain area of ​​words” he was always “drawn to an indefinite area of ​​music” and that he went into it “as far as he could” (9).

The atmosphere of the era left its mark on the formation of Fet's musical taste. Attending domestic musical evenings and concerts made his passions quite traditional for his time. In the second half of the 19th century, the music of Beethoven became widespread in Russia, which, according to V.P. Botkin, was “a complete and perfect manifestation of German music” (10).

The popularity of this composer is associated with the peculiarities of the historical development of world musical art, it was he who, according to V. D. Konen, was a “transitional” composer, whose work contains features of both classical and romantic music (11). Fet regularly attended piano parties, where, with a high degree of probability, the works of the German composer were performed (12). The poet himself spoke more than once about his special attitude to Beethoven's work, which is confirmed by the statements of his contemporaries and researchers of his work (13). He bowed before the composer, who was able to "speak with all its immeasurable depth, with all its infinity" "ineffable in no other way." Before Beethoven's music, according to Fet, "the powerless word becomes stagnant." The "moral concussion" brings the "young, bright, powerful, passionate" soul out of its "usual rest", and it loses its balance. The poet compares the emergence of emotions in the soul of the listener with the appearance of waves on the “mirror surface” of water. He feels how "the mirror surface is covered with patterned ripples", then "the ripples turn into a measured swell." The poet compares the sensation that arises in the listener with a wave that “rises after the wave in all the whimsical charm of the smallest details”, while “passionate excitement grows, raising from the bottom of the soul all the cherished secrets, now gloomy and bleak, like hell, then bright like the dreams of a seraph." And now "there are no shores and limits" and I want to "die - or speak out." The human language, according to the poet, is not able to "completely speak with all this", and here Beethoven's music comes to the rescue: after listening to it "in a proper way", a person will be able to "see with his own eyes all that has affected<...>secret." As you can see, Fet was a great admirer of the talent of the German composer, but at the same time he made a reservation that in order to get a more complete and harmonious impression of what he heard, you should initially tune in to the desired emotional wave: only those who want to hear the expression of their innermost feelings and dreams will open that "infinity" , subject to Beethoven's music, which will give true pleasure and joy to the soul, languishing from the feelings that overwhelmed it. According to the fair observation of D. D. Blagoy, only a person who is able to “not only listen sensitively, but also deeply get used to it” could write about music in this way, - such was Fet in reality (14).

The apotheosis of Fet's involvement in Beethoven's music was his poem "Anruf an die Geliebte" by Beethoven (1857). “Anruf an die Geliebte” (“A call to the beloved”) is the name of one of the songs included in the cycle “An die ferne Geliebte” (“To the distant beloved”, 1816), created on the texts of poems by A. Eiteles. It is considered Beethoven's last major work for voice and piano. V. D. Konen considers it as a kind of starting point in the development of the song genre in the 19th century

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(15). The presence in Fetov's original work of a poem, the title of which mentions the name of Beethoven and one of his song works, is explained to a large extent by the popularity of the song genre in Russia and the spirit of lyrical poetry, which, of course, is present in Beethoven's songs. Apparently, Fet deliberately does not translate the name of the musical work in the title of the poem into Russian: the poet sees it natural that any educated person of that time is well acquainted with this work by a German composer, whose work was in harmony with the mindset of the modern era. As a result of the creative refraction of the composer's musical discoveries in Fet's vivid imagination, a finished poetic work comes out from under his pen, which he himself calls "a dreary confession" and "a pleading moan of the soul." His lines are addressed to the "beautiful creature", whose image is perceived only as a "deity". The “unknown forces”, the breath of which “inspires” the creator, originated in his soul while listening to the Beethoven melody. Being at the mercy of the composer's creative imagination, he "shudders and trembles." The “death torment”, so vividly felt by the lyrical hero, appears as a kind of borderline state in which all the feelings of a person yearning for his beloved are exacerbated to the limit.

Thanks to Beethoven's music, a strong emotional outburst occurs in the soul of the creator, he is “ready to fall into dust”, while experiencing only a feeling of bliss. "Each new torment", which is undoubtedly inspired by the gradual development theme song composer, by no means brings the creator into a state of despondency and depression, since it is consciously associated with the “triumph of beauty” of the object of his adoration. The emotional intensity of the lyrical narrative reaches its maximum in the words “hear at least once”, from which it is clear that the creator repeatedly turned in his thoughts to his beloved, but each time his calls and prayers remained unanswered. The words “I catch your image before parting” (16), emphasizing the inevitability of the coming separation, parting and ultimately death, do not bring a sense of a tragic end, on the contrary, this longing is very dear to the lyrical hero, he sings a solemn hymn to her and thanks his beloved for those strong feelings that paint his existence in bright colors, make him perceive the surrounding reality sharply, simultaneously enriching his inner world. In the author of the poem, it is easy to see a person of fine mental organization, equally sensitively responding to the external manifestations of various genres of art. The Creator is able to draw parallels between them, accumulate his emotions and feelings, and ultimately synthesize

express your impressions in a few elegant lines dedicated to your beloved. A sense of inner dignity helped capture a sincere, passionate confession, while not reproaching the object of his adoration for coldness and indifference.

In his poem, the author introduces the reader to the great laws of life with its eternal problems: joy and suffering, love and indifference, rebellion and humility, life and death. It is the solemnity, spirituality, awareness of the frailty of the earthly world with its passions and disappointments that obviously make Beethoven's musical work and Fet's poetic improvisation inspired by him. Consequently, Beethoven's music was a kind of tuning fork for the poet, with which he checked the sincerity of his feelings and which did not allow him to lose his inner sense of empathy, responsiveness and harmony with the world around him. The deep connection of Fet's lyrics with the work of the great German composer was obvious to P. I. Tchaikovsky, who noted: “Often Fet reminds me of Beethoven. Like Beethoven, he was given the power to touch such strings of the soul that are inaccessible to artists, however strong, but limited by the limits of the word” (17). D. D. Blagoy is not inclined to consider this statement the subjective opinion of P. I. Tchaikovsky, noting that “for all the difference in life paths, characters, worldviews in the very nature of Fet, who set as his main goal to overcome an unfair fate, and at the same time Fet- poet, so bravely breaking through the "everyday ice", so enthusiastically breathing the liberating and healing air of art, some "Beethovenian" features are observed" (18). The poet's lyrical poem, inspired by the Beethoven song, is perceived as a kind of combination of "German" and "Russian" and testifies to a certain phenomenon of his "German-Russian" musicality, reflecting Fet's mental duality, which also manifests itself at the level of musical perception.

Thus, the relationship between Russian and German national cultures is clearly seen in the work of Fet, which absorbed the best features of the spirituality of the German musical classics, and especially Beethoven. The concept of music that existed in his mind and embodied in his poetic work is undoubtedly close to the German perception and understanding of music in general. German cultural realities were the most significant for understanding the uniqueness of the Russian national world, which once again confirms the open nature of Russian literature and culture in relation to other national literatures and cultures, its pronounced inclination to intercultural dialogue and broad intercultural contacts.

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Literature

1. Vstslov VV Aesthetics of Romanticism. M., 1966. S. 282.

2. Blagoy D. D. The world as beauty // Fet A. A. Evening lights. M., 1979. S. 591.

3. Bukhshtab B. Ya. Fet // Fet A. A. Poems and poems. JL, 1986, p. 33.

4. Eikhenbaum B. M. On poetry. L., 1969. S. 435, 509.

5. Fet A. A. Memories. M., 1983. S. 115.

6. History of Russian music: in 10 volumes. T. 5. M., 1988. P. 114.

7. Fet A. A. Memories ... S. 115-116.

8. Letter from P. I. Tchaikovsky to K. R. dated August 26, 1888 // Tchaikovsky M. I. Life of P. I. Tchaikovsky. M.; Leipzig, 1902, vol. 3, pp. 266-267.

9. Good D. D. The world as beauty ... S. 57.

10. Botkin V. P. Literary criticism. Publicism. Letters. M-., 1984. S. 35.

11. Konen VD Essays on the history of foreign music. M., 1997. S. 355.

12. Eikhenbaum B. M. The melody of Russian lyrical verse ... S. 79, 208.

13. Blagoy D. D. The world as beauty... S. 578, 590-593.

14. Botkin V.P. Literary criticism. Publicism. Letters ... S. 592.

15. Konen V. D. Essays on the history of foreign music ... S. 352-353.

16. Fet A. A. Works: in 2 vols. T. 1. M., 1982. S. 128

18. Good D. D. The world as beauty ... M., 1979. S.592.

I. V. BORISOVA, D. N. ZHATKIN. BEETHOVEN AND FET

The article deals with the influence of the German classical music on the Russian Literature of the 19th century on the example of the creative heritage of one of the most "musical" poets in the history of the Russian Literature -A. A. Fet. The authors give some of his biographical facts which influenced the development of his esthetic views and musical preferences. They also analyze the poem "Beethoven"s Anruf an die Geliebte" which is considered to be the climax of the poet"s affection to the German composer"s music.

Key words: Fet; Beethoven, German classical music, Russian Literature of the 19th century, cross-cultural dialogue, international contacts, interconnection of the Russian and German cultures.

T. Yu. FEDINA

CLUB INSTITUTIONS IN ETHNO-CULTURAL SPACE

KUBAN (1990s)

At present, a policy focused on the preservation and development of traditional culture is being purposefully pursued in the Krasnodar Territory. Careful attitude to the cultural heritage of the peoples living in the region has become a tradition, the roots of which go back to the 1980-1990s.

Key words: club, folklore, festival, traditional culture.

In the post-Soviet period, club institutions remain the main conductors of state policy in the field of traditional culture. In the 1990s, despite the reduction in funding, folklore groups continued their work here, held folk holidays and rituals, folklore reviews, festivals, exhibitions of folk arts and crafts. This situation is also characteristic of the Kuban.

In fairness, it should be noted that the tradition of holding folklore holidays in the region developed in the 1980s. At the initiative of the artistic director of the Kuban Cossack Choir V. G. Zakharchenko, amateur groups from various cities and villages of the Kuban were invited to the regional philharmonic society. Their performance was accompanied by a commentary-story of the presenter about folklore, folk costume, life path performers. Concert,

as a rule, V. G. Zakharchenko himself or the Kuban ethnographer N. I. Bondar led. It was these meetings with folk art groups that paved the way for the Golden Apple festival, which has been held annually in Krasnodar for twenty years (1).

In 1990, the Center was established in Krasnodar folk culture Kuban, which included the Kuban Cossack Choir, the children's experimental school-lyceum of folk art, the state youth Cossack ensemble "Krinitsa", science Library, folklore and ethnographic department, department of traditional holidays, rituals and festivals and other divisions. The head of the TsNKK V. G. Zakharchenko, defining the strategy of the institution, proceeded from the fact that "the work of preserving and reviving the original cultural traditions should not consist of separate, ill-conceived actions and events." He insisted that "we need

V. Bryusov devoted a special article to the poet “A. A. Fet. Art or life "(1903) Fet's words were the epigraph to it:" I will become a riot of life as a living echo. According to Bryusov, Fet glorified the greatness of man: "No matter how great claims poetry expresses, it could not do more than express the human soul."

“A sad birch...” A sad birch At my window, And by a whim of frost It has been taken apart. Like bunches of grapes, The ends of the branches hang, - And the whole mourning outfit is joyful to look at. I love the game of the morning star I notice on it, And I'm sorry if the birds Shake off the beauty of the branches. 1842

Autumn How sad are the gloomy days of Silent and cold autumn! What languor desolate They ask to our souls! But there are also days when, in the blood of Golden-leaved headdresses Burning, autumn seeks the glances And the sultry whims of love. Bashful sadness is silent, Only the defiant is heard, And, fading so magnificently, She no longer regrets anything.

“I came to you with greetings ...” I came to you with greetings, To tell that the sun has risen, That it trembled with hot light On the sheets; To tell that the forest woke up, The whole woke up, each branch, Every bird started up And full of spring thirst; To tell that with the same passion, As yesterday, I came again, That the soul is still happy And ready to serve you; Tell me that from everywhere It blows fun on me, That I don’t know myself what I will Sing - but only the song is ripening. 1843

Loyalty to nature as a source of poetic inspiration was welcomed by F. I. Tyutchev in a poem addressed to A. A. Fet: Others inherited from nature A prophetic-blind instinct: They smell them, hear the waters And in the dark depths of the earth, Beloved Great Mother, A hundred times envious of your lot : More than once under the visible shell You saw the most.

In the 50s, Fet's romantic poetics was formed, in which the poet reflects on the connection between man and nature. Fet creates whole cycles of poems "Spring", "Summer", "Autumn", "Snow", "Divination", "Evenings and Nights", "Sea". Landscapes in these verses express the state of the human soul. Dissolving in nature, the hero Fet gains the opportunity to see the beautiful soul of nature. This happiness is a feeling of unity with nature: The night flowers sleep all day, But only the sun sets behind the grove The leaves quietly open, And I hear how the heart blooms.

Nature helps to solve riddles, mysteries of human existence. Through nature, Fet comprehends the subtlest psychological truth about a person. In this sense, the poem "Learn from them - from the oak, from the birch" is characteristic. Winter is around, it's a cruel time! In vain, tears froze on them, And the bark cracked, shrinking. The blizzard is getting worse and every minute Angrily tears the last sheets, And a fierce cold grabs at the heart; They stand silent; shut up and you! But believe in spring. Her genius will rush, Again breathing warmth and life, For clear days, for new revelations A grieving soul will be ill.

Like other poets, in Fet's life there were specific meetings with extraordinary women who inspired him to create poetry. The poet in his poems sang of female beauty. This photograph of female beauty is especially vividly embodied in the poem “Beethoven's Appeal to the Beloved” Understand at least once a melancholy confession, At least once hear the soul of the pleading groan! I am in front of you, a beautiful creature, Inspired by the breath of unknown forces. I catch your image before parting, I am full of it, and I tremble, and I tremble, And, without you, languishing with death agony, I value my longing as happiness. I sing it, ready to fall into the dust. You stand before me like a deity - And I am blessed; and in every torment of your new beauty I foresee the triumph ...

On May 22, 1891, Sofya Tolstaya wrote in her diary: “Fet was with his wife, he read poetry, everything was love and love ... He is 70 years old, but with his ever-living and ever-singing lyrics, he always awakens in me poetic and untimely young thoughts and feelings . Let it be untimely ... but still good and innocent "

The night shone. The garden was full of moonlight. Rays lay at our feet in a living room without lights. The piano was all open, and the strings in it were trembling, Like our hearts for your song. You sang until dawn, exhausted in tears, That you are one - love, that there is no other love, And so you wanted to live, so that, without dropping a sound, To love you, hug and cry over you. And many years have passed, tedious and boring, And now in the silence of the night I hear your voice again, And it blows, as then, in these sonorous sighs, That you are one - all life, that you are one - love, That there are no insults of fate and a burning heart torment, And life has no end, and there is no other goal, As soon as believing in sobbing sounds, To love you, hug and cry over you!

INTRODUCTORY ARTICLE

Fet's contemporaries repeatedly noted the narrowness of his subject matter and, depending on their own understanding of the tasks of poetry, blamed him for this or, on the contrary, found it natural, legitimate. So, M.E. Saltykov-Shchedrin (in a review of the collection "Poems by A. Fet", 1863) wrote with obvious irony: “The poetic meal of the city of Feta, with very rare exceptions, consists of: spring evening, summer evening, winter evening, spring morning, summer morning, winter morning; then: the tip of the leg, a fragrant curl, beautiful shoulders. It is clear that you can’t overeat with such dishes, no matter what sauces they come up with.” But, nevertheless, Fet's poems attract with something new, unprecedented.

What is the originality, innovation of Fet in covering eternal topics? What images and names does he give to designate states of the soul that were not embodied before him, not expressed in words? After all “The reader’s heart is agitated by the poet’s ability to catch the elusive, to give an image to what before him was nothing more than a vague fleeting sensation of the human soul, a sensation without an image and a name”(Druzhinin A.V., “Beautiful and Eternal”).

It would seem that Fet writes about what has long been known to everyone and everyone, moreover, he clearly does not strive to update the poetic vocabulary, the poems abound with the most traditional “poeticisms”: dawn, rose, nightingale, stars. But Fet writes about the ordinary in an unusual way (see the poems “Whisper, timid breathing ...”, “Do not wake her at dawn ...”). Musicality, tact, rhythmic diversity are felt in his poems. Fet's poems well confirm the affinity of lyrics and music: for example, they use a variety of repetitions (so typical for musical compositions). “Few of the living servants of Apollo understand the meaning of the music of words to such an extent, few know how to choose such a good size for their poems. In this regard, our poet is sensitive and subtle. He has things that hit the mark on music alone.(Druzhinin A.V., “Beautiful and Eternal”). A lot of Fet's poems were set to music. So, the romances of P. Bulakhov (“It will only become a little dark ...”, “The leaves were silent, the stars glowed ...”), P.I. Tchaikovsky (“Take my heart away into the ringing distance ...”, “My genius, my angel, my friend ...”), S.V. Rachmaninov (“What happiness: both the night and we are alone! ...”, “Oh, for a long time I will be in the silence of the secret night ...”) and others.

rich metric repertoire Fet, using all sizes and their various rhythmic variations. But iambic, trochaic and trisyllabic are used by very different poets. Why are Fet's poems so close, so related to music?

Fet has many poems where he continues the favorite theme of romantics - the inability to express his soul in a word (remember Zhukovsky, his "Inexpressible"). Such, in particular, are the poems “Like midges dawn ...”, “Share your living dreams ...”, “Some sounds are worn ...”, “I won’t tell you anything ...”. Already such a frequent appeal of the poet to the theme of "inexpressible" emphasizes the importance for him of verse as a sounding and melodic speech ( “Share living dreams, / Speak to my soul; / What you can’t express in words - / Nave sound on the soul ").

Fet also has poems directly dedicated to music and singing. One of them is “The night shone. The garden was full of moonlight. They lay down…”. An open piano, trembling strings, open hearts - the metaphorical meaning of words clearly replaces the nominative one, the piano also has a soul, a heart.

Literature, and even its lyrical kind, cannot directly convey singing, music, it has a different "language". But it is precisely literature that can convey how music and singing affect the listener.

POEMS

• 
  "It's only going to get a little dark..."

It just gets a little darker

I'll wait for the bell to ring

Come my sweet baby

Come sit in the evening.
I'll put out the candles in front of the mirror, -

It is light and warm from the fireplace;

I will listen to funny speeches,

To ease my mind again.

I'll listen to those childhood dreams

For which - all the brilliance ahead;

Every time grateful tears

My chest is boiling.

Until dawn with a careful hand

Again I will tie your scarf in a knot,

And along the walls illuminated by the moon,

I will walk you to the gate.

• 
  “The leaves were silent, the stars glowed ...”

The leaves were silent, the stars glowed.

And at this hour
We looked at the stars with you
They are on us.

When the whole sky looks like this

In a living chest
How to hide in this chest
Anything?

Everything that stores and awakens the power

In all living things
Everything that goes to the grave
Secretly from everyone

What is purer than the stars, more shy than the night,

Scarier than darkness
Then, looking into each other's eyes,
We said.

• 
  Singer (“Take my heart away into the ringing distance ...”)

Carry my heart into the ringing distance

Where, like a month behind a grove, sadness;
In these sounds on your hot tears
The smile of love gently shines.

O child! how easy it is among the invisible swells
Trust me in your song:
Higher, higher I swim the silvery way,
Like a shaky shadow behind the wing...

Take my heart to the ringing distance,
Where meek, like a smile, sadness,
And higher and higher I will rush along the silvery path
I am like a shaky shadow behind the wing.

• 
  "My genius, my angel, my friend..."

Are you not here as a light shadow,

My genius, my angel, my friend,
You talk quietly with me
And quietly fly around?

And give timid inspiration

And sweet heal the disease,
And you give a quiet dream,
My genius, my angel, my friend...

• 
  “What happiness: both the night and we are alone!…”

What happiness: both the night and we are alone!

The river is like a mirror and all glitters with stars;
And there ... throw your head back and take a look:
What depth and purity above us!

Oh, call me crazy! Name
Whatever you want; at this moment I'm weakening my mind
And in my heart I feel such a surge of love,
That I can’t be silent, I won’t, I don’t know how!

I'm sick, I'm in love; but, suffering and loving -
Oh listen! oh understand! I don't hide my passion
And I want to say that I love you -
You, you alone I love and desire!

• 
  “Oh, for a long time I will be in the silence of a secret night ...”

Oh, long will I be, in the silence of a secret night,

Your insidious babble, smile, random glance,

Fingers obedient thick strand of hair

Drive out of thoughts and call again;

Breathing impetuously, alone, invisible to anyone,

Scorched by vexation and shame with rouge,

Look for at least one mysterious feature

In the words that you spoke

Whisper and correct old expressions

My speeches with you, full of embarrassment,

And in intoxication, against the mind,

Treasured name to wake the darkness of the night.

• 
  "Like midges dawn..."

Like midges dawn,

Winged sounds crowd;

With my beloved dream

I don't want to break my heart.
But the color of inspiration

Sad among everyday thorns;

Former aspiration

Far away, like an evening shot.

But the memory of the past

Everything creeps into the heart anxiously ...

Oh, if without a word

It was possible to say the soul!

• 
  "Share living dreams..."

Speak to my soul;
What can not be expressed in words -
Sound on the soul.

• 
  “Some sounds are rushing…”

There are some sounds

And cling to my headboard
They are full of languid separation,
Trembling with unparalleled love...

It would seem, so what? resounded

Last gentle caress
Dust ran down the street
The postal stroller disappeared...

And only... But the parting song

Unrealizable teases love,
And light sounds are carried,
And cling to my headboard...

• 
  “The night shone. The garden was full of moonlight. They lay…”

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

Beams at our feet in a living room with no lights.

The piano was all open, and the strings in it were trembling,

Like our hearts for your song.
You sang until dawn, exhausted in tears,

That you are alone - love, that there is no other love,

And so I wanted to live, so that, without dropping a sound,

Love you, hug and cry over you.

And many years have passed, languid and boring,

And blows, as then, in these sonorous sighs,

That you are alone - all life, that you are alone - love.

That there are no insults of fate and hearts of burning flour,

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

As soon as you believe in sobbing sounds,

Love you, hug and cry over you!

• 
  "I won't tell you anything..."

I won't tell you anything

And I won't bother you at all
And what I silently say
I dare not hint at anything.

Night flowers sleep all day long

But only the sun will set behind the grove,

Leaves are quietly opening

And I hear the heart bloom.

And in a sick, tired chest

It blows with moisture at night ... I'm trembling,
I won't disturb you at all
I won't tell you anything.

• Organ grinder

I leaned to the window in the dark -

Well, right, it can not be more inappropriate:

Again in the lane the old man

With your incessant song!
Those sounds whistle and sing

Awkward - dreary - awkward ...

Rise before me, rise

Behind the frame are two bright heads.

Above them the glass surface

At a month it is bright - crystal.

One is so briskly - cheerful,

The other is so languidly sad.

And it's an old song! - with sadness

We gently cherish the past

And I'm sorry for both

And I'm glad for both of them.

Between them is visible

Still a young head

And all he is good, as one,

And all he is sad, like another.

He is forever devoted to one

And sadness is tormented by bait ...

Will you leave, gray-haired gaer,

With your persistent hurdy-gurdy? ..

• 
  Anruf an die Geliebte by Beethoven

Understand at least once a sad confession,

At least once hear the soul of the praying groan!

I am before you, beautiful creature,

Inspired by breath of unknown forces.

I catch your image before parting,

I am full of them, and I am thrilled and tremble,

And, without you, languishing in death throes,

I cherish my longing as happiness.

I sing it, ready to fall into the dust.

You stand before me like a god

And I am blessed; I'm in every flour new

MBOU "Ust-Udinskaya secondary school No. 2"

Lesson on the topic: “Love and nature in the work of A.A. Feta

Teacher of Russian language and literature Krys Olga Anatolyevna

Lesson - Internet on the topic: “Love and nature in the work of A.A. Feta"

Explanatory note

Subject

Literature

Class

Course name

Literature

Section name

Creativity A.A. Feta

The role and place of this topic in the course

The topic is studied in the 10th grade during two lessons in the section "Creativity of A.A. Fet" and is designed to introduce the main stages of the life and work of A.A. Fet, to form students general idea about nature and love in the lyrics of A.A. Feta.

List of lessons on this topic

Lesson topic 1: Love and nature in the work of A.A. Feta.

Theme of the lesson 2: Lesson - refutation. A.A. Fet and the aesthetics of "pure art".

A brief overview of what was learned in previous lessons

In previous lessons we studied:

Stages of the biography and creativity of F.I. Tyutchev.

The main motives of F.I. Tyutchev.

The main features of the use of digital educational resources:

Digital educational resources in this topic are used to search for and systematize information about the main stages of the life and work of A.A. Feta, to prepare the performances of students in the classroom. Students use the Internet to search for information, Microsoft Word and Microsoft Power Point to prepare presentations.

Using a computer to prepare a teacher for a lesson

The teacher uses the Internet, Microsoft Word and Microsoft Power Point programs to help students through their independent work.

Means of education

Computers, printers, projection equipment.

Interdisciplinary connections in the lesson

Music: Romance P.I. Tchaikovsky to the words of A.A. Feta "At dawn you don't wake her"

Visual arts: Portrait of A.A. Feta, S.A. Tolstoy, T.A. Kuzminskaya.

Highlights of this lesson

Independent search, selection and systematization of information

The work of the teacher in the classroom

Statement of educational tasks.

Organization of independent work of students using a computer.

Advising students on their own work.

Summing up and evaluating the work.

Description of student activities

Students are divided into groups:

Group 1 studies the main stages of the life and work of A.A. Feta.

Group 2 studies the theme of nature in the lyrics of A.A. Feta.

Group 3 considers the theme of love in the poet's work.

Each group prepares a speech and a computer presentation on their topic, using Internet resources and Microsoft Word and Microsoft Power Point programs. Progress report.

Expected learning outcomes

cognitive UUD: search and selection of the necessary information, conscious and arbitrary construction speech utterance in oral form,

Ability to prepare presentations using Microsoft Power Point

personal UUD: self-determination, moral and ethical orientation, the ability to self-evaluate their actions, deeds;

regulatory UUD: goal-setting, planning, self-regulation, highlighting and awareness by students of what has already been learned and what still needs to be learned;

communicative UUD: planning educational cooperation with a teacher and peers, observing the rules of speech behavior, the ability to express and justify one's point of view.

Lesson summary

Lesson 1

Lesson topic. Love and nature in the work of A.A. Feta

Lesson objectives by content:

Educational: To acquaint with the main stages of the life and work of A.A. Feta.

Reveal the theme of nature and love in the lyrics of A.A. Feta.

Developing: improve computer skills, the ability to find, select and systematize information, formulate and argue an idea, present information coherently, prepare a presentation using Microsoft Power Point

Educational: to form in children a love for beauty, respect for a person, feelings of compassion and empathy. Arouse interest in poetry, since it is in it that the inner world of a person, personal feelings are most clearly expressed, to teach to understand and read with the soul.

Technology: information and communication, group work.

During the classes

Epigraph:

But in a tender verse you will find

This ever-scented rose...

A.A. Fet

The main stages of the life and work of the poet.

The romance of P.I. Tchaikovsky to the words of A.A. Feta "At dawn, you do not wake her." ".

1. Introductory conversation on questions.

What do you know about A.A. Fete?

What verses did you read?

What does the poet write about?

2. Teacher's report about A.A. Fete.

And personality, and fate, and creative biography A.A. Feta are unusual and full of mysteries, some of which have not yet been solved. Pure poetry, far from the realities of life, subtle lyricism and vital practicality, the life of a poet full of drama and contradictions, often unexpected in its movement and transitions - all these paradoxes are intertwined in one person, causing an ambiguous attitude towards him.

The popularity of A. Fet is still great. The modern reader is undoubtedly interested in his poems. How can this be correlated with the rejection of the poetry of A. Fet by the democratic reader in the 60s of the XIX century.

Or maybe not to give an unambiguous answer, but simply reading the musical lines and reflections on the facts of life, love and death, as incomprehensible secrets of the nature of human being. Everyone should try to find answers in the poet's verses to many exciting questions of life

It is impossible to talk about the originality of A. Fet's work without talking about his life.

2. Work in groups

1 group.

Task: Make a presentation about the life and work of A.A. Feta.

The theme of love and nature in the lyrics of A.A. Feta.

Nature in the work of A.A. Feta.

Love and nature are A. Fet's favorite topics. The discreet beauty of Russian nature is reflected in poetry in a peculiar way. A.A. Fet notices her elusive transitional states: as a landscape painter, he “draws” with words, finding more and more new shades and sounds.

2 group

The task. To analyze the originality of nature in the lyrics of A.A. Feta?

What is nature for the poet? Analysis of the poem.

The poem "I came to you with greetings" ...

The poem "Evening"

The poem "Another May Night"

The poem "Wonderful picture"

Poem "Learn from them - from the oak, from the birch"

The poem "There are nights of winter brilliance and strength ..."

3rd group.

Task: Get to know love lyrics A.A. Feta. Analyze one of your favorite love poems.

From the silence of A.A. Feta about love.

According to Pushkin, A. Fet's poems about love were sublime and wise. It is no coincidence that many of them became romances, the performance of which even now gives rise to a range of feelings in the soul of every person. Almost all love poems are written in the first person, in the form of a monologue, as a memory of love left in the past.

Like other poets, in Fet's life there were specific meetings with extraordinary and yet earthly women who inspired him to create poetry. This photograph of female beauty is especially vividly embodied in the poem "Appeal to Beethoven's Beloved"

A printout of the theoretical material and a plan for the analysis of a poetic text about nature.

2 group

3 group

A printout of the theoretical material and a plan for the analysis of a poetic text about love.

group work

Organizer, consultant

Observation of the work of students, counseling, ensuring independence of performance

intermediate control

Monitoring the performance of work by weak students

STAGE 3

The final stage

Target

Checking the progress of work in groups

Formation of UUD

personal:

Evaluate the result of educational activities.

Regulatory:

Correlate the result with the goal.

Stage duration

14 minutes

Main activity with ICT tools

Progress Report

Form of organization of student activities

Individual appearances

Functions of the teacher at this stage

Tracking results, comments, suggestions

The main activities of the teacher

Explanation, additions

Final control

Checking, evaluating, debriefing

Homework

Formation of UUD

personal: the desire for speech self-improvement;

regulatory: self-regulation.

List of used literature:

Internet resources:

Report on the work done by the second group.

The originality of nature in the lyrics of A.A. Feta?

What is nature for the poet?

The discreet beauty of Russian nature is reflected in poetry in a peculiar way. A.A. Fet notices its elusive transitional states: as a landscape painter, he “draws” with words, finding new shades and sounds.

For the poet, nature is a source of joy, philosophical optimism and unexpected discoveries.

Fet saw in nature that perfection, that harmony that he so lacked in life, in the sphere of human relations.

1. Creation of changeable, contrasting pictures of nature (especially "day" and "night").

2. An attempt to penetrate the secret of the contradictory unity of nature and man.

3. Reflections on the divine beginning of the Universe.

4. The feeling that a natural phenomenon or event is similar to what is happening in the soul of a person.

5. Simplicity of verbal embodiment, refined poetic phrases in lyrics.

6. Landscape and philosophical lyrics.

7. Man in the world and his destiny.

8. The lyrics are imbued with delight before the greatness, beauty, infinity, diversity of nature.

9. Surprise of epithets and metaphors that convey the collision and play of natural forces.

3rd group.

Analysis of a love poem.

Analysis of the poem

"At dawn, don't wake her up"

This poem is one of the best lyrical works of the poet, it is one of the best romances about love. The theme is old and eternal. The biggest love of Fet's life was Maria Lazich. The poem “At dawn, don’t wake her up ...” is fanned with pure, sincere, tender love for her beloved.

Don't wake her up at dawn

At dawn she sleeps so sweetly;

Morning breathes on her chest

Brightly puffs on the pits of the cheeks.

In this quatrain, nature acts along with “her”. The poet used the anaphora "at dawn" to show how inseparable for him and nature. Fet's morning is lively, it breathes on her chest, that is, at the girl's heart. In a woman, Fet was most attracted to hair:

And, blackening, they run on their shoulders

Braids tape on both sides.

It is curious here that the poet does not write about black braids, but about the fact that they, blackening, run. By this he shows their iridescence, plasticity, softness. Following the development of the plot, we discover the moon. The moon is known to be a symbol of parting, and it is often present in poems about "her".

And the brighter the moon played

And the louder the nightingale whistled,

She became more and more pale

My heart was beating harder and harder.

This quatrain evokes sadness, even fear. The brighter the moon flared up, the worse it got. As if dying, she went further and further.

In the language of the poem, personifications can be noted the moon was playing, the heart was beating

Analysis of the poem "The night shone"

The poem "The night shone ..." is one of Fet's best lyrical works. Moreover, this is one of the best examples of Russian love lyrics. The poem is dedicated to a young, charming girl who went down in history not only thanks to Fet's poem, she was one of the real prototypes of Tolstoy's Natasha Rostova. Fet's poem is not about Fet's feelings for the sweet Tanechka Bers, but about high human love. In the lyrical play “The Night Shone…” the themes of love and art are merged into one. Love for Fet is the most beautiful thing in human life. And art is the best. The poem is about doubly beautiful, about the most complete beauty.

The poem is written in iambic six-foot.

Surprisingly in terms of vivid expressiveness and visibility, visibility is the very beginning of the poem. The picture that a lyrical play opens with is tangible and unforgettable. You vividly see the darkened hotel and outside its windows the garden is full of night freshness, moonlight and radiance. And you hear music, all the more surprising and amazing to our imagination, because nothing is directly said about music in the first stanza. But it is said about the piano: “The piano was all open, and the strings in it were trembling ...” Behind this image we see not only the piano itself, but also hear the sounds that come from it. The poet draws a subject and, pushing our imagination, makes us see and hear what is connected with it. We ourselves heard this, the poet did not tell us about it - and we are grateful to him that he performed such a miracle: he made us hear, helped us without direct verbal designations His poems are especially powerful due to the combination of words, combinations of vowels and consonants, alliteration, internal consonance . Sound repetitions are present in the poem:

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

Beams at our feet...

The poem “The night was shining ...”, like many of Fet’s poems, is distinguished by its harmony of tone and harmony of composition. One follows from the other, the next continues and develops the previous one. The lyrical narration goes on growing: the feeling grows. This kind of verse compositions make a particularly strong impression. The words in Fetov's poem are moving; the movement of words and sounds occurs strictly in one direction - to a lyrical result:

That there are no insults of fate and hearts of burning flour,

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

As soon as you believe in sobbing sounds,

Love you, hug you and cry over you...

The last four lines of the verse are the musical, emotional, and semantic completion of the poem. This is the last and highest point of the lyrical plot. And this is the glory of both the beautiful in life and the beautiful in art.