Practical work with literary text. The experience of analyzing the poem At dawn, you don’t wake her up

Target: develop the skills of analyzing a lyrical work;

Tasks: to form the ability to work independently and in groups, find, select material and draw conclusions; expressively read a poetic text; to consolidate knowledge about the features of poetic speech and about the artistic and expressive means of the language.

Materials, equipment and manuals for the lesson:

• Poems by A. Fet, printed out for everyone.
• Analysis of the poem "At dawn, you do not wake her."
• Plan for the analysis of a lyrical work (approximate).
• Computer, reproductions of paintings by impressionist artists.
• Presentation (prepared by each student for himself).

During the classes

1. introduction teachers, setting goals and objectives.

2. Work with the analysis plan.

3. Repetition of tropes and figures of speech at the level of theory.

Reference materials:

1. Date of writing.
2. Real-biographical and factual commentary.
3. Genre originality.
4. Idea content.
   1. Leading theme.
   2. The basic idea.
   3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
   4. External impression and reaction to it.
   5. The predominance of public or private intonations.
5. The structure of the poem:

1. Comparison and development of the main verbal images:

a) by similarity;

b) in contrast;

c) by adjacency;

d) by association;

d) by inference.

2. The main figurative means of allegory used by the author: metaphor, metonymy, comparison. Allegory, symbol, hyperbole, litote, irony (as a trope), sarcasm, paraphrase.

3. Speech features in terms of intonation-syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.

4. The main features of rhythm:

a) tonic, syllabic, syllabo-tonic, dolnik, free verse;

b) iambic, trochee, anapaest, dactyl, amphibrach, pyrrhic, sponde.

5. Rhyme (masculine, feminine, dactylic, exact, inaccurate. Rich; simple, compound) and rhyming methods (pair, cross, ring), rhyme game.

6. Strophic (two-line, three-line, five-line, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).

7. Euphony (euphony) and sound writing (alliteration, assonance), other types of sound instrumentation.

*The analysis plan was taken from the book by A. A. Smirnov (see item 4 in the list of references).

Reading the poem "At dawn, you do not wake her ...". Identification of expressive means of speech. Discussion. (Attention: it is important to understand not so much by what means, but the main thing is why the author draws this lyrical miniature).

Athanasius Fet

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.

And her pillow is hot
And a hot tiring dream,
And, blackening, they run on their shoulders
Braids tape on both sides.

And yesterday at the window in the evening
She sat for a long time
And watched the game through the clouds,
What, sliding, started the moon.

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.

That's why on a young chest,
On the cheeks so the morning burns.
Don't wake her, don't wake her...
At dawn she sleeps so sweetly!

It is impossible to read this poem by the finest lyric poet Fet without hearing the music that accompanied, complemented, organically continued this lyrical miniature - a poem written in 1842. Even if the jubilant melody created by the composer Varlamov does not sound, we still hear it in our souls, perhaps because Fet's verse itself is surprisingly musical. The plot is almost guessed in the poem, and not even a lyrical plot, but some kind of ballad (that's why the musical genre - romance is logical), because the external piano implies an internal forte.

Everything is musical, logical and striking in its unity. So, the composition of the poem - ring (the first and last stanzas echo) - helps to understand not only the author's intention, but also his feelings, in fact, surprisingly human and essentially simple. Not confusion, but the search for an answer to some hidden question. The question itself is not directly posed, but in the last stanza there appears “because of that”, which sounds exactly like an answer to it. The very motive of the poem, the motive of sleep, also directs us to the unreality of what is happening. In a lyrical work, it allows us to stop a moment, to consider the details and details of a sketch, sketch, study. We think: what is it? long long time” lasted “ yesterday...in the evening"? And we see a portrait of a young, beautiful girl: “ Brightly blazes on the pits of the cheeks”, “And, turning black, they run on their shoulders / Braids with a ribbon on both sides”, “That’s why on a young chest, / On the cheeks the morning burns like that". Sublime obsolete " cheeks”, repeated twice, braids, breasts - all this is young and beautiful. It would seem that everything is clear and transparent. But there is an antithesis in the poem: following “ bright moon", the girl became more and more" paler". Something tormented her and made her " sicker and sicker” beating heart. The antithesis here is created due to the dynamics of states:

“a game, / What, sliding, the moon started” - “she sat”;
“the brighter the moon played” - “she became paler”;

So, the feeling is not directly named, the word “love” is not pronounced, only the images of the moon and the nightingale, traditional for love lyrics, indicate to us the origin of this feeling. The picture of morning, dawn is organic - it is the birth of a new, languid and beautiful that the reader (listener) of the work feels.

As if with the thinnest invisible threads, beautiful and silk, this poetic text is connected by an anaphora. She seems to convey the breath of the lyrical heroine, the breath is barely perceptible, exciting the imagination lyrical hero. Moreover, the anaphora in the first, second, fourth and fifth stanzas is given through the service parts of speech - prepositions and conjunctions. That's why it seems light, almost imperceptible.

The very instrumentation of the poem is quite complex, assonance dominates here: in the first and fifth quatrains, these are the sounds “ and”, “uh" (most often " "uh”). Tenderness and softness in the feelings of admiring young beauty (we find an indication of youth in the last quatrain, although age does not matter for beauty, beauty cannot be otherwise). It should be noted that already in the first stanza there is an open sound “ a”, which allows you to somewhat expand the picture and guess that the inner gaze of the lyrical hero sees something disturbing, the opposite of this serene picture. Such an internal antithesis only increases tension, emotional intensity. And in the second stanza, the assonance will be activated through these “wide” vowels: “ I AM brightly flaunts on I am mk a x l a nit.” The sound gradation is continued in the third and fourth (to a lesser extent, already softened and diluted with other vowels) quatrains: here an alarming sound appears “ at”: “But yesterday at windows in the evening at", "...sweat at chum game”, “l at on the". See how narrowed the picture is, how clearly we catch frankly disturbing notes. Here it is - the antithesis. The serenity of today's sleep, on the one hand, is temporary, and on the other hand, it is unusually beautiful, which makes it even more touching and delightful. Probably, a sensitive ear will hear a whole sound choir, trace the ring composition in sound: after all, in the last stanza everything returns to light and soft sounds. and”, “e”, “"uh". Undoubtedly, the life-affirming principle that is so dear to us in this poem dominates. And the skill of the poet, who owns all poetic means, cannot but delight, because everything “serves” beauty, and therefore life itself.

The three-foot anapaest emphasizes the musicality of the verse, enhances it. cross rhyming ( abab) and the masculine endings do not contradict the change of pictures, beautiful, with a slight reticence, which, in principle, is characteristic of Afanasy Fet, who is usually called an impressionist in Russian poetry.

Impressionism and poetry, it would seem, are different concepts. What is impressionism? This is a direction in painting (from the French word impression - impression). It originated in France at the end of the 19th century. Impressionist artists (Edouard Manet, Claude Monet, Auguste Renoir, etc.) tried to convey that which is elusive, fleeting, inexpressible except for sensations. But isn’t the same thing conveyed from Fet’s poem (and not only in this one)? It also captures the soul at once and entirely, it practically does not lend itself to fragmentation, it conveys exactly that instant that gives rise to an understanding smile in an adult with a touch of slight regret, in a young person - a revelation and a premonition of a bright and joyful, which, perhaps, the name - something no.

Not only this poem evokes such feelings. Let us recall the amazing Fetov’s “Whisper, timid breathing ...” Flashing pictures for moments, wordless phrases that fill the poetic world with amazing movements, sounds, actions, are seen with one eye - a poem is read in one breath.

It seems that in Fet's lyrical miniatures, the motive of comprehending a simple and perfect world dominates, which at the same time can never be exhausted and understood to the end. On the canvases of impressionist painters, the colors live, breathe, are full of light and music, smell and movement, and the word in Fet's poetry is filled with music, movement, beauty. The beauty of youth is a special motive. Let us recall the light and beautiful poem “Butterfly”:

Right now, sparkling, I will spread my wings,
And I'll fly away.

Harmonic moments in Fet's verses are precisely moments. They live in one day, they are able to amaze with their perfection in the morning, “at dawn”, but the value of this transience is eternal.

What do you think should be added to what was said in the analysis? What should be excluded/replaced?

5. Selection of poems for analysis.

Key questions for analysis:

1. How does the external world of nature and the inner world of man correlate in the poems of A. A. Fet?
2. What is impressionism in painting and can we talk about impressionism in poetry?
3. How do you understand the end of the poem?

Reference material:

Impressionism in poetry is the image of objects not in their entirety, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in fragments and, on the one hand, does not immediately form into a single picture, but on the other, it moves, breathes, lives.

Homework: analysis of the selected poem by A. A. Fet and expressive reading by heart.

Reference: expressive reading in this case should be a synthesis of what we have analyzed.

Bibliography.

1. A.A. Fet. Lyrics. M.: Children's literature. 1980
2. Literature. 10 cells Proc. for general education institutions. Basic and profile. levels. At 2 p.m. / V. I. Korovin. – 7th ed. – M.: Enlightenment, 2007.
3. L.I. Sobolev. Russian poetry second half of XIX century in literature lessons in the 10th grade. Lectures 4 - 5. M .: Pedagogical University“First of September”, 2005.
4. A.A. Smirnov. Handbook on Russian literature for applicants to universities. - 2nd ed. – M.: Publishing House of Moscow State University, 1994.

“At dawn, don’t wake her up…” Afanasy Fet

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.

And her pillow is hot
And a hot tiring dream,
And, blackening, they run on their shoulders
Braids tape on both sides.

And yesterday at the window in the evening
She sat for a long time
And watched the game through the clouds,
What, sliding, started the moon.

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.

That's why on a young chest,
On the cheeks so the morning burns.
Don't wake her, don't wake her...
At dawn she sleeps so sweetly!

Analysis of Fet's poem "At dawn, you don't wake her up ..."

The lyrics of Athanasius Fet are divided into two periods. The first of them, relating to the youth of the poet, is characterized by lightness and serenity. The works of this time are practically devoid of drama, although the life of Fet himself is far from being cloudless. However, after 1849, the direction of the poet's poems changes dramatically, as he experiences the death of a girl with whom he was madly in love. His works do not lose their lightness, but from now on they are filled with sadness and remorse.

It is generally accepted that the poem “Don’t wake her up at dawn” was also dedicated to Maria Lazich, with whom the poet broke up, not wanting to tie the knot without sufficient material well-being. However, in fact, this work was born in 1842, when the 22-year-old poet was not yet familiar with Maria Lazich. According to eyewitnesses, Fet wrote it after spending the night at the house of his friends, whose little daughter was dying of heart failure. It was to this fragile girl that the author dedicated his famous poem, which later became one of the most famous Russian romances.

This work begins with lines addressed to the mother of the baby, in which the author asks not to wake up the terminally ill baby, who, having suffered all night from chest pains, fell asleep only at sunrise. “Morning breathes on her chest, brightly puffs on the pits of her cheeks” - these rather beautiful and romantic lines are actually full of sadness and fear for the girl, whose hours are already numbered. The author notes that the day before she could not fall asleep for a long time, she sat at the window "and watched the game through the clouds, which, sliding, started the moon." However, even such an innocent and harmless occupation caused the girl suffering, since "she became paler, her heart beat more and more painfully."

Tired of the illness, the baby was not soon able to fall asleep, and this dream brought her short relief. Therefore, the author notes that “at dawn she sleeps so sweetly” and asks not to disturb the baby. If you believe the memoirs of Fet's close friends, then the heroine of his poem just died in her sleep after a sleepless night spent at the window. Therefore, it can be assumed that the poet, knowing about the future fate of the girl, wants her to go to another world calm and happy, not feeling constant pain and fear. But this knowledge is not easy for the author, since he carefully disguises all the tragedy of subsequent events in his poem. There is no hint in it of what fate awaits the one to whom he dedicated these exciting, full of tenderness and care lines. Apparently, the poet wanted to keep in his memory her beautiful image, not overshadowed by the seal of death.

In fact, by this time Afanasy Fet had already seen how people were dying, and one of them was his adoptive father Afanasy Shenshin. But, being a 14-year-old teenager, Fet did not take his death as a tragedy. In the work “at dawn you don’t wake her ...” there is a similar attitude towards death, which is inevitable, therefore, according to the author, it should be treated without exaggerated suffering.

Later, when the beloved poet Maria Lazich died in a fire, he radically changed his attitude to the philosophical issues of life and death. This was just the case with which the poet did not want to put up with and believed that if he were next to his chosen one, he would be able to prevent her ridiculous and tragic death. Therefore, the late lyrics of Afanasy Fet are no longer as serene as in his youth, and he even considers romantic events through the prism of personal tragedy, which left an imprint on all subsequent work of the poet.

Document without a title

Although the number of works devoted to Fet has increased dramatically in recent decades, in Russia he still remains the least studied of her great poets. Among the practically unstudied works is the textbook “Don’t wake her up at dawn…”, first published already in 1842, when the author was only 22 years old. The poem, miraculously arranged by Varlamov, has forever gained immense popularity - but, apparently, the very charm of this masterpiece still hinders its comprehension. So:

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.

And her pillow is hot
And a hot tiring dream,
And, blackening, they run on their shoulders
Braids tape on both sides.

And yesterday at the window in the evening
She sat for a long time
And watched the game through the clouds,
What, sliding, started the moon.

And the brighter the moon played

She became more and more pale
My heart was beating harder and harder.

That's why on a young chest,
On the cheeks so the morning burns.
Don't wake her, don't wake her...
At dawn she sleeps so sweetly!

At any careful reading, the logical inconsistency of the first and second stanzas is puzzling here: morning sleep is called first “sweet”, and then “hot” and “tiring”. The solution is that the time of the action is reversed, from the morning "dawn" to the night, pre-morning hour - for it is quite obvious that after her hot nightly tossings, the heroine blissfully calms down only with sunrise. However, the description continues to go back - from the night to the evening preceding it: "And yesterday at the window in the evening ...". Finally, in the next, 4th stanza, we come into contact with the semantic center and the main riddle of the entire poem:

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.

All this means that those magical evening and night forces, which Fet always associates with love languor, drink the life energy of the heroine and, in essence, threaten her with death. In other words, we have before us a kind of vampirism, albeit impersonal. Although nothing is said about the nature of her debilitating night dreams, there can be no doubt that they are of a sexual nature.

Here it is worth recalling, first of all, the dating. "At the Dawn ..." adjoins a whole group of ballads or compositions related in genre, created by Fet at the turn of the 1830s-1840s or a little later and telling about you feasts and other wandering dead. In these verses, the motifs of “Lenora” by Burger and Zhukovsky, “The Corinthian Bride” by Goethe (which Fet later translated) and generally common German plots (for example, the opera “Vampire” by G. Marschner), echoes of Polydoriev's “Vampire”, Byron's “Giaura” sound , the works of Nodier and Gauthier, Merimee's "Guzla" or its interpretation by Pushkin; the influence of Gogol (“Viy”), Senkovsky (“Love and Death”), Lermontov (“Love of a Dead Man”), A.K. Tolstoy ("Ghoul"), etc. In a word, the influence of fashion is undeniable - and yet the very abundance of such works in Fet's debut work speaks of something much more than a simple craving for borrowing, characteristic of novice authors.

Almost all of these texts, with the exception of The Strangled Man (1840), are devoted precisely to erotic contacts with the waking dead or other undead - contacts that are painful and destructive for the living. So, in 1842, that is, simultaneously with “At the dawn ...”, he prints the famous “Mirror in a mirror, with quivering babble ...” - about a girl who wonders with horror at night about her fiancé: “Well, how will they fill with coffins oak / This whole table between the candles? Well, how shaggy, with leaden eyes, / Suddenly looks out from behind his shoulders? At the same time or a little later, perhaps in competition with Apollon Grigoriev, Fet wrote the ballad "Fever", based on popular belief about personified fevers that infect sleeping people with their kiss. The nanny retells this belief to the sick hero; however, he is languishing not only from chills, but, like the girl in "At Dawn ...", also from erotic dreams:

“I believe, nanny! .. Is there a fur coat?
Even though I don't remember the dream
Kissed hard on the lips -
Does she have a fever?

A few years later, in 1847, the ballad “The Serpent” was created, reflecting the popular belief that the ghost of her husband flies to widows at night in the form of a fiery serpent.

At the same time, picking up the tradition of Lenora, Fet can give it a symmetrical orientation: not only the dead man lures his living beloved to him, but she herself wants to go to his grave as a marriage bed. The heroine of Fet's very early poem, Crazy (1840), dreamed of such a deathly union, maddened by grief. At first, she is frightened by the call of a murdered friend:

Oh, dear, I'm scared:
He is dreaming
With bright eyes!
Everyone nods their head
And calls me along
Terrible words.

And here follows an unexpectedly contrasting continuation. At first, the girl hopes to die at the hands of the deceased:

Oh dear, show me
Where is he, where is he? - Strangle
You me, my dear!
Sweetly I will die with you;
Will you share with me
Close grave.

But dreams of a blissful death are immediately forced out by the opposite impulse-pulse - she is ready to endow the deceased with her life force passing her in a kiss:

Don't choke me:
Wrap around you
Greedy hands;
I will press your lips
And I'll give half my life
Dead man's mouth.

In relation to him, she herself now acts in the paradoxical role of a ghoul, conquering death. After all, the blood here is not drunk by a dead man from a living girl, but, on the contrary, alive from a bleeding dead man for some reason - but he drinks in order to resurrect him. In short, the ballad plot is defiantly inverted:

That blood will pour out of the wound,
That will freeze again;
I'm thirsty for blood
Sweet sweet choke
Sweet blood.

I'll throw myself up like a bird, I'll fly,
Black curls mark
On the forehead with rings.
Smile, sleep well!
I came here to play
Black curls!

It is noteworthy that some elements of this tragic entourage will then be repeated in “At the Dawn ...”, and in many other Fet’s poems, endowed, it seems, with a completely different, bright tone. The mad heroine says to her mother:

Why are you looking at me?
I'm funny even without you:
Heart wants to burst!
It's hard for me among people!
Do you hear. The nightingale whistles
And the owl laughs.

This owl, of course, flew to Fet from the Gothic bestiary, but with other details the situation is more complicated. Let me remind you about heart, which is under the night nightingale whistle "more and more sick" beats at the heroine "At dawn ...". We are faced here with a common feature of his work: the same rather few realities or semantic landmarks roam from text to text, radically changing their function depending on the dominant setting. Thanks to its fruitful and inconsistent eclecticism, his youthful poem about an insane girl once again reveals that amazing fluidity of Fetov's worldview, which A.A. rightly wrote about. Smirnov. The boundaries between good and evil, the grave and heaven, in general, top and bottom in his poetry are always blurred (“. All / It reaches into the sky, / And the earth is good“I wouldn’t part with her!” - “Swallow”, 1840), how often the line between bliss and torment is blurred: “In suffering bliss I stand before you ... "(this is already 1882). Life and death are mutually reversible: “Submissive to the rays of the sun, / So the roots descend deep into the grave, / And there they seek strength from death / To run towards spring days,” he said in 1890, shortly before his death. The closest relationship between these "roots" and "rays" is due to cosmic eros, which brings together or identifies both states - being and grave vegetation.

That is why the dead can live their heavenly or underground life, retaining their former feelings in it. If the heroine of the "Mad" prays to the dead man to share with her a "cramped grave", then in another text of the same year, 1840, "Castle Raufenbach" (about a lover who is buried with a hateful spouse), it is said: "Stuffy in Theodore's coffin / To sleep with the unlovable, where is he? "He" is the dead lover, and Theodora continues to dream of him in the matrimonial vault. But Fet is able and indifferent to renounce both of these states - both life and death - in the name of that notorious religion of eros and beauty, to which he devoted all his work: “It’s not a pity for life with a weary breath. / What is life and death? And it’s a pity for that fire, / That shone over the whole universe / And goes away, and cries, leaving.

It seems that there was no author in Russian poetry who was less afraid of death than Fet - hence his constant, well-known craving for suicide, blasphemous from the point of view of a Christian and, apparently, inherited from his mother. When, back in 1838, he showed his first works to a certain Fritsch, the Shenshins' home teacher, he advised the author "not to read these poems to the mother, whom appeals to the dagger as the only refuge could not please." However, a few years later, she herself, suffering from unbearable pain asked her son to kill her. “I will never forget the moment,” Fet admits, “when, a 23-year-old boy who had just completed the course, I was ready, yielding to the pleas of a painfully dying mother, to give up my entire career and, having loaded a gun, end her suffering with one sure blow. . One can imagine with what joyful tenderness I looked at her dear and enlightened face when she lay in a coffin. But the poet himself, having grown old, in a similar situation, also set out to commit suicide, replacing the poetic dagger with a “steel knife” for cutting letters, which his secretary Kudryavtseva managed to snatch from Fet; then he rushed to the sideboard, apparently for another knife, and at that moment he died.

As you know, Fet praised death more than once. It seems to me, however, that in these doxologies his own impulses were further stimulated by the strong influence of the Herrnhuters, or "Moravian Brethren." After all, from the age of fourteen, he studied for three years in the Livonian town of Verro (today it is Võru in southern Estonia) at the boarding house of Hernguter G. Kryummer, where he first received a serious education. Members of the Hernguter community perceived the burial as a holiday, because they had to rejoice at death - and the poet, indeed, always sincerely rejoiced at her, capturing this mood, for example, in two poems of 1857: “It was a wonderful May day in Moscow ...” and “Dreams” (“I had a dream. I lie breathless.”). Concluding the story about his mother's death that touched him, Fet adds : "Later, I did not meet a single death of people close to me without internal reconciliation, not to say - without joy."

Such a dependence only confirms the correctness of Georgy Blok, who wrote in his remarkable book that “the biographer of the atheist Fet should not pass over in silence” . Unfortunately, things are different in Russia so far, to the detriment of research. Among the Herrnhuters, the spiritual upsurge converged with rationalism, and, as G. Blok suggested, it was precisely the skeptic-rationalist hardening received in Verro that Fet owed his complete immunity to theological dogma. His atheism, however, went far beyond Hernguther's skepticism; but it is worth taking into account that this very atheism of his - rather confused, uncertain and sometimes bordering on outrageous demonism - was not at all materialistic in nature. At the same time, Kryummer's preparation determined many other things. Among other things, the Hernguters, especially the Baltic ones, resolutely rejected the church hierarchy and church rituals - and Fet, following this approach, had an irresistible antipathy for both of them, which was vividly expressed in his letters and memoirs.

On the other hand, in the very core of his personality, one can recognize a certain reflection of that “inner Divinity” that the “Moravian Brethren” and other adherents of Pietism so hoped to find in themselves. It is true, as Klenin notes, that all descriptions of the school in Verro emphasize “the absence of mysticism and the narrow nature of its religiosity” - but at the same time, she continues, since the time of Zinzendorf this trend has remained an important and recurrent (recurrent) part of Hernhutherian pietism. In other words, mystical influences could be occasional, hidden or mediated - and, in all honesty, it is difficult to assume that Fet did not come into contact with them in any way. After all, among other things, he read the prose of George Sand, in whose novels "Consuelo" and especially "The Countess of Rudolstadt" an extensive place is devoted to the mystical tradition of the "Moravian brothers".

In the appropriate context, I propose to consider the often quoted tirade from the message of Ya.P. Polonsky, his old friend. In essence, in this bewildered and enthusiastic letter to the decrepit, already dying Fet, he unconsciously appealed to the purely pietistic opposition of the old - outer and eternally young - inner Adam: “What kind of creature you are - I don’t comprehend<.>Where do you get such unctuous-pure, such sublimely ideal, such youthful-reverent poems<.>If you do not explain this to me, then I will suspect that inside you sits another - unknown to anyone - and to us, sinners, not visible, a little man, surrounded by radiance, with eyes of azure and stars, and - winged! - You have grown old, and he is young! You deny everything, but he believes!” But in his pietistic duality, Fet once and for all replaced the “inner Christ” with an inner Apollo, and the Christian ideal with eroticism and aesthetics.

But in everyday life, he just as firmly mastered the moral and behavioral principles of Herngutherism and Lutheranism. It was Fet's German Protestant training that ultimately predetermined the contrast between the inspired lyricism of the "winged" poet and the squat practicality of the farmer, which so struck and irritated readers. By the way, a very similar duality distinguished his older contemporaries, who, like him (only in the earlier, Alexander period), were strongly influenced by “spiritual Christianity”: suffice it to recall Pogodin, from whom Fet also studied and who was a colorful a different type of stingy dreamer, or Pogodin's friend - Gogol, who composed both "the Dnieper is wonderful in calm weather.", And corrosive economic instructions in "Selected places from correspondence with friends." Be that as it may, the strictest ethics of diligence, duty and conscientiousness, assimilated by Fet in Verro, brought best results- He was an executive officer, a model farmer and an excellent justice of the peace.

In Germany, unlike in Russia, such a gap between the poetic and everyday hypostases of the personality looked absolutely natural (it was not for nothing that B. Sadovskoy compared Fet with Goethe - a poet and a venerable administrator at the same time). There, for example, the landowner talents of Arnim, the bureaucratic virtues of the storyteller Hoffmann, or the excellent business qualities of Novalis, a diligent assessor in salt affairs and at the same time the author of Hymns to the Night and Hernguter chants, did not amaze anyone there.

Just a parallel with Herrnhuter Novalis, apparently, requires clarification, including a biographical one. Both poets grew up in a family with a despotic father (in the case of Fet, a stepfather) and a tender, sickly mother, both received the same religious upbringing. Following Yu. Moritz, who (in an article of 1918) suspected the connection between Fetov's "rose" and the "blue flower" of Novalis, Klenin admits some possibility of his influence on the Russian poet. Subsequently, L. Pild, in turn, casually noticed in Fet and some influence of Hymns to the Night. However, such comparisons should also reveal a cardinal ideological difference between the two authors. Fetov's death hymns, in any interpretation, are irreversibly at odds with Hernguther's, and in general with the Christian tradition, because, with rare exceptions, they are devoid of hopes for salvation after death. Death could also be interpreted by Fet as a longed-for eternal night: “The blind are looking in vain for where the road is, / Trusting feelings to blind guides; / But if life is God’s bazaar, / Then only death is his immortal temple,” both as a reunion with the fundamental principles of being, and as the dissolution of the soul in native nirvana, but not as an ascension to the evangelical paradise.

Like Novalis and other German romantics, the young Fet (albeit to a lesser extent) was involved in natural philosophy. Relevant works, of course, were available both in Krimmer's school library and in Pogodin's home boarding house, where he continued his studies after Verro. In subsequent student years - that is, long before turning to Schopenhauer - his acquaintance with natural philosophy should have been stimulated by Fet's then closest friend, the Hegelian Apollon Grigoriev. So, in the poem "I came to you with greetings ..." Klenin quite convincingly caught the echoes of Schellingism. Of course, Fet's very idea of ​​the luminous unity of nature, of the constant combination and dynamic struggle of opposites, and of love as the basis of the universe bears a vague imprint of Schellingian-romantic and related natural-philosophical tendencies, traceable, in turn, to Heraclitus, Neoplatonists and Stoics - and all these trends were linked by the poet with the cult of spiritualized nature, involved in collusion with the lyrical subject.

At the same time, the transcendental idealism adapted by Fet to lyricism entered into an ambivalent union with the ballad tradition, the fruit of which was, for example, the final stanza from the first edition of the poem “Tediously inviting and in vain.” (1871): “I will carry your light through earthly life, / Its fire will not die with me, / And whoever loved, even golden spark / In my coffin cooled find. The spark turned out to be too sinister, and the author chose to remove it, replacing this stanza with another. It was a relic of his youthful ballads, and many such grave sparks - reflections of an extinct genre are scattered throughout Fet's late legacy.

As for his early ballad-chthonic topic, then, in addition to fashion, it was undoubtedly affected by the suicidal mood that so alarmed Fritche and the reason for which lies partly in the circumstances associated with the maturation of Fet. In a letter to his friend Ivan Borisov, touchingly recalling their joint forest walks, he adds: “But I never go back to this childhood alone - it presents me with completely different images - the intrigues of the servants, the stupidity of teachers, the severity of the father, the defenselessness of the mother and living in fear every day. God be with her, with this<.>lousy youth". At first, his life was no better in Verro, where fellow students mocked the stranger for a long time, especially after he suddenly lost his noble family name Shenshin and became Fet. It was a school of struggle for survival, and he projected its principles both on everyday life and, although in a completely different color, on eroticism and art. The eternal connection of polarities is seen by him as the innermost essence of being. “All living things are made up of opposites; the moment of their harmonious union is elusive, and lyricism, this color and pinnacle of life, will forever remain a mystery,” he writes in 1859 in his brilliant article “On Tyutchev’s Poems.” In Fet's own poems, this dual unity of binary oppositions very early transforms into an erotic leitmotif that carries the memory of some painful and at the same time sweet experiences that are inaccessible to a clear reconstruction - into a combination of childhood or youth with death or carrion. Among his ballads of 1842 there is this one, which later received the name "Vampire", and then "Mystery":

I was almost a child
Everyone admired me;
I went and curls on the shoulders,
And a colored apron.

Mother loved to watch me
Prayed in the morning
Loved to listen if I
She sang in the evening.

Alien once visited
Our quiet corner;
He was so gentle and smart
So lean and tall.

He often looked into my eyes
And quietly shook hands
And secretly my blue eyes
And kissed curls.

And, I remember, it became around me
With him everything is so bright
And it became cloudy in my head
And the heart is warm.

The days flew by... the year flew by...
The last hour has come -
His mother whispered something to him
And he left us.

And for a long, long time I had to
And cry and be sad
But I was afraid of him
Someone to ask.

Once I see: dear guest,
Falling to my lips,
He says to me: "Do not be afraid, friend,
I am invisible to others."

And since then - he is mine again,
In my arms
And passionately, firmly he me
Kissing in front of others.

Everyone says bright light
Lanit mine - sick.
They don't know how hot they are
Kiss my dear!

The picture is given here from the point of view of the girl herself. Forty years later, in Romanzero, the sixty-two-year-old Fet will portray a similar situation from the outside, describing a child who is obsessed with a painful erotic attraction comparable to the nightly ordeals of the heroine of At Dawn ... - in a different). The lyrical subject, unknown to the reader, beckons the child to him - apparently, to the realm of healing death:

I know why you, sick child,
So relentlessly you all look at me,
I know why big eyes
A tear flows from under the eyelashes.

It's stuffy there, there's a hot chest
Never can breathe cool,
Yes, catching up on the weak fear,
A kite swims on dark circles.

Only here, among the cherished flowers,
The shadow spread a mysterious shelter,
Only in the heart of wilted roses
Drops frozen baby tears.

The erotic combination of childhood or youth with death shines through in Fet and in the motive of the dance with the deceased or his deputy. In RG, he portrays his stepfather (calling him "father") as an unusually sullen and callous man who never caressed his wife or children. But the memoirist also remembered a scene of a different kind, connected with his younger sister, who soon died: “For the first time in my memory, I see my father waltzing quickly around our Mtsensk hall with 4-year-old Anyuta. At the same time, his hair with a strong gray hair, which he combed from the back of his head to naked skull, having fallen off their heads with long braids, they were rattling behind his back. In fact, we have a skull dancing with a girl. Some distant reflections of this ominous waltz are later guessed in Fet's poem about the dance with the deceased. It dates back to the same year, 1842, when the ballad about a girl and a vampire, “At the Dawn ...”, “Mirror in a Mirror ...” was written:

For a long time or under the magical sounds
We were running around the hall with her?
Gentle hands were warm
The stars of the eyes were warm.

Yesterday they sang the song of burial,
The tomb was without a roof;
Close your eyes, don't move
She slept under the brocade.

I was asleep. over my bed
The moon was dead.
Under wonderful signs, we are with her
The two of them ran around the hall.

We are not accustomed to accusing Fet of sadomasochistic addictions, so characteristic of Dostoevsky; however, some of the cited quotations make us look at the matter differently. Here is another expressive example. At the very beginning, RG Fet fondly recalls little Anyuta: “I loved my sister with some kind of unbridledness, and when I attacked kissing her plump arms and legs, as if tied with silk threads, I ended up cruelly biting the girl, and she raised a heart-rending cry." A few pages later, he tells how he kissed this, already strangely immobile sister - it turns out she was dying.

The material briefly touched upon here forces me to draw a clear, albeit bleak, conclusion regarding Fet's pedophilic and sadistic-necrophilic tendencies. We must not forget, of course, that we are talking about one of the the greatest poets Russia - but without taking into account all these aspects, our understanding of it will be significantly incomplete. In addition to the above-cited ballad about a girl and a vampire or the poem “I know why you are a sick child ...”, his pedophilic tendencies are evidenced by the huge, truly dominant role of children's images included by him in the erotic register. Even a superficial view shows that in the absolute majority of those cases when Fet mentions the age characteristics of his characters, endowed with an erotic function, we are talking about “babies”, “children” (the epithet “childish” is constant), “child”, etc. Even if we assume that these are purely endearing or standard definitions, their striking frequency requires special study. Anticipating its results, I can say that, in principle, I prefer to link this issue with the problem of time and becoming in Fet's writings; but, unfortunately, this topic does not fit into the scope of the proposed publication.

As for necrophilia, so palpably seen through already in his youthful poems, it finds confirmation in some of the adventures of the author himself, described by him in his memoirs.

Once, on vacation in Verro, he visited his friend and fellow student Alphonse Pereira (the latter, by the way, himself showed the features of a sadist). While riding, they drove up to the old churchyard. The riders dismounted and, having managed to open the locked gate, entered the cemetery, where Fet's attention was attracted by a crypt, "like a basement." Pushing on the dilapidated door, they saw inside "rows of coffins, in some places placed in two tiers." “We didn’t want to mess with large coffins,” the memoirist continues, “but close to the entrance, a small one stood on the big ones.” Friends brought it to the light and easily removed the "roof" (cf. the quoted verses about the dance with the girl lying in the "tomb" without a "roof") - the tree had long rotted. “The gaze appeared completely white as chalk, a girl of about 10 years old, with a quiet expression, like a sleeping child. She was dressed in a light white dress trimmed with wide lace. Then Fet acted alone: ​​“Squeamish to touch the dead, I grabbed a piece of a branch that fell under my arm and tried to touch the dress. The lace and the dress itself presented no resistance to my twig and crumbled under it as insensitively as if I were drawing on water. The same thing happened with the body."

Noteworthy here is the usual, seemingly, detail of the grave maiden en-tourage - a wedding white dress. Given this matrimonial detail, the episode presented can be perceived as a kind of inversion of "Lenora": a living horseman comes to the bride's grave. It would be superfluous to dwell on the psychoanalytic symbolism of a rod piercing a dead girl; But didn't this episode become the starting point for Fet's ballad debuts?

In any case, the scene quoted suggests that death was not for him a state of aloof reverence. Its very description appears, of course, as a direct challenge to any Christian norms and, from their point of view, borders on devilry.

In another place of memories - where Fet tells about his military service, - he, as if anticipating and confirming such a conclusion, tells another remarkable story. It was during the cholera. In the evenings, he stayed with two colleagues - he sat with them at the window overlooking the cemetery, where more and more dead were constantly brought. Once, on a full moon, they sat up until late at night, and then, having made a bet, Fet went alone to the cemetery - to the church where the corpses were piled. There he climbed onto the bunk with the dead and drew a devil on the wall with chalk, as if in exchange for a signature. However, the word "damn" turned out to be his last, dying word.

The episodes cited probably give an adequate idea of ​​his attitude towards Christianity. However, both of these stairs made of corpses, which in the first case were crowned with the body of a girl, and in the second with a painted demon, will later receive some final liturgical coloring from Fet.

In 1884, shortly after the pedophile "Romanzero", Fet publishes another poem addressed to the child. Perhaps it has something to do with his personal, alternative religiosity - but this religiosity is of a very specific nature. The narration is in the first person, and the hero is endowed with a sign of the author himself (the famous beard of old Fet):

With a gray beard, I am the high priest,
I will put a fragrant crown on you,
And the imperishable salt of hot speeches
I will shower the innocent luxury of curls.

I will cut this child's chest later
An inspired word with a ringing sword,
And will reveal to the descendant of the past haze,
That in the world of all you were purer in heart.

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.

And her pillow is hot

And a hot tiring dream,

And, blackening, they run on their shoulders

Braids tape on both sides.

And yesterday at the window in the evening

She sat for a long time

And watched the game through the clouds,

What, sliding, started the moon.

And the brighter the moon played

She became more and more pale

That's why on a young chest,

On the cheeks so the morning burns.

Don't wake her, don't wake her...

At dawn, she sleeps so sweetly.

1842

In its structure, the poem resembles Pushkin's "Winter Morning": in the morning the poet turns to his beloved and recalls what happened in the evening. But the picture created by Fet is original. The morning is beautiful, the lyrical hero wants to enjoy the wonderful morning with his beloved (as in the poem “I came to you with greetings ...”), but does not want to wake her up. She sleeps sweetly, but the pillow is hot, "hot tiring sleep." Why? In the evening she sat at the window and watched the moon:

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.

Why? What happened? What events could cause such experiences in the heroine of the poem? Fet says nothing about specific events. We can only speculate or imagine them.

The girl was worried, felt anxiety, but only in a dream did the desired peace come to her: “At dawn, she sleeps so sweetly!” the peace of the beloved is dear to the lyrical hero, and he does not want to disturb the girl's desired rest. Maybe with the awakening, anxiety will again take possession of her. V love lyrics Feta lacks an individualized image of a girl, her image merges with the images of nature. In this poem, the portrait of the heroine is created with light sketches: we see the chest, cheeks, braids, we admire her beauty along with the lyrical hero. The character and fate of the heroine are missing. The poet captured the state of youth with its secret desires, impatient expectations, vague anxieties.

The exalted mood is created by outdated vocabulary and archaic grammatical forms: “cheeks”, “running on the shoulders”. The poem creates a romantic setting: moon, nightingale, night. But the images do not look schematic - they are filled with life.

The poem is filled with a three-foot anapaest, which corresponds to the rhythm of the waltz. This gives the poem even more intimacy and romanticism.

Cross rhyming, rich male rhymes (closed: sleeps - cheeks, sleep - sides and open: wake up - breasts, the moon - she, the nightingale is more painful), frequent repetitions (at dawn ..., at dawn ...; pillow is "hot", sleep " hot") create a unique musicality of the poem. It was not for nothing that Fet was called a poet-musician: the parallelism of syntactic constructions (“And the brighter the moon played / And the louder the nightingale whistled ...”), alliteration (“A HF e R and by the window centuries e h e R at…”, “Heart b and l axis b O l ney and b O l nei") help the poet create the melody of the poem. Not without reason, music was written for this poem, and one of the most popular romances turned out.

The world of nature at Fet lives full life: “morning breathes”, “burns”, the moon “starts a game”. The epithets are very expressive - “tiring sleep”, “on a young chest”. One can also note metaphors connected with personifications: “And, turning black, they run on their shoulders / Braids with a ribbon on both sides.”

At the heart of the poem is a ring composition.

This poem belongs to Fet's love lyrics, its early period. The lyrical hero experiences love-joy, which is combined with pictures of nature.

Independent work:

According to the model, analyze the poem by I. Makarov “The bell rattles monotonously”

Events that amazed to the depths of the soul, A. Fet captured in poems. This layer of his lyrics strikes with touching images and a special atmosphere. It also includes a poem, the analysis of which is presented in the article. Learn it in 10th grade. We invite you to familiarize yourself with brief analysis“At dawn, you don’t wake her” according to the plan.

Brief analysis

History of creation- the poem was written in 1842 in the same year it was published in the magazine Moskvityanin.

Theme of the poem- the serene beauty of a sleeping girl; death.

Composition– In terms of meaning, the work is divided into two parts: a portrait of a sleeping girl, a story about how the little heroine watched the moon in the evening. The poem consists of five quatrains.

genre- elegy.

Poetic size- three-foot anapaest, cross rhyme ABAB.

Metaphors – “sleeps so sweetly”, “morning breathes on her chest”, “braids run on her shoulders”, “followed the game through the clouds, which, sliding, started the moon”.

epithets – "her pillow is hot", "hot tiring sleep".

History of creation

If you do not take into account the biography of A. Fet, the history of the creation of the poem “Do not wake her at dawn” can be associated with the poet’s love for Maria Lazich. This version is erroneous, because at the time of the appearance of the work, Afanasy Afanasievich was not familiar with the girl who became the love of his life.

The lines appeared from his pen in 1842 after the poet visited his friends. At this time, their daughter was dying of heart failure in their house. Fet saw that the girl was saved from pain only in a dream, so he asked her mother not to wake the child.

The work appeared on the pages of the Moskvityanin magazine in 1842, in the same year A. E. Varlamov set the poems to music.

Topic

The theme of death is common in world literature, but A. Fet managed to reveal it in a special way, with aching anguish. In the center of the analyzed poem are the images of a lyrical hero and a girl, a secondary role is played by an invisible addressee, to whom the lyrical "I" refers.

In the first stanza, the lyrical hero begs someone: “don’t wake her at dawn.” He is afraid to frighten away the morning from the cheeks and chest of the girl. Without knowing the circumstances under which the poem was written, it is difficult to guess that its main character is dying. However, the details “shout” about this to the attentive reader: “hot tiring sleep”, pallor and pain in the heart. The portrait of the girl is also woven from details. The author draws attention to the black braids and blush on the chest. He cannot believe that a young creature leaves this world so early.

The lyrical hero admits that in the evening he saw the girl watching the moon and listening to the nightingale. Apparently she understood that every night could be her last, which is why she sat by the window for so long. She felt pain in her heart, but was in no hurry to lie down. The lyrical knows that only in a dream can a girl be distracted from thoughts of death and get rid of pain at least for a while, so she ends her monologue with a repetition of the initial request.

Composition

In terms of meaning, the work is divided into two parts: a portrait of a sleeping girl, a story about how the little heroine watched the moon in the evening. The poem consists of five quatrains. The peculiarity of the composition is the repetition of the meaning of the first quatrain and one of its lines. Thus, the organization of the work is circular.

genre

means of expression

The image of the main character is created using artistic means. They are also a tool for conveying the experiences of a lyrical hero. Play a key role metaphors: “sleeping sweetly”, “morning breathes on her chest”, “braids run on her shoulders”, “followed the game through the clouds, which, sliding, started the moon”.

The expressiveness of the monologue of the lyrical hero is given epithets: “her pillow is hot”, “hot tiring sleep”. There is no comparison in the text. The penultimate quatrain is built on the contrast: “the moon became brighter”, “the nightingale whistled louder” - “she became paler”.

In the last stanza, intonation plays an important role. heartache The author conveys the lyrical "I" with the help of a broken syntactic construction and an exclamation.