Themes of nature in the lyrics of Fet and Tyutchev. An essay on the topic “similarities and differences with the lyrics of Tyutchev and Fet. What attracts the reader to the lyrics of Tyutchev and Fet

Tyutchev and Fet, who determined the development of Russian poetry in the second half of the 19th century, entered literature as poets of “pure art”, expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.

A distinctive feature of the lyrics of these two poets was that they were characterized by a depth of analysis of a person’s emotional experiences. Thus, the complex inner world of the lyrical heroes Tyutchev and Fet is in many ways similar.

A lyrical hero is the image of that hero in a lyrical work, whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude towards nature, social activities, and people. The uniqueness of the poet's worldview, his interests, and character traits find appropriate expression in the form and style of his works. The lyrical hero reflects certain characteristic features of the people of his time, his class, exerting a huge influence on the formation of the reader’s spiritual world.

Both in the poetry of Fet and Tyutchev, nature connects two planes: externally landscape and internally psychological. These parallels turn out to be interconnected: the description of the organic world smoothly turns into a description of the inner world of the lyrical hero.

Traditional for Russian literature is the identification of pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, and Lermontov. The same tradition was continued by Fet and Tyutchev.

Thus, Tyutchev uses the technique of personification of nature, which is necessary for the poet to show the inextricable connection of the organic world with human life. Often his poems about nature contain thoughts about the fate of man. Tyutchev's landscape lyrics acquire philosophical content.

For Tyutchev, nature is a mysterious interlocutor and a constant companion in life, understanding him better than anyone. In the poem “What are you howling about, night wind?” (early 30s) the lyrical hero turns to the natural world, talks with it, enters into a dialogue that outwardly takes the form of a monologue:

In a language understandable to the heart
You talk about incomprehensible torment -
And you dig and explode in it
Sometimes frantic sounds!..

Tyutchev has no “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, eternal. Tyutchev's organic world is always many-sided and diverse. It is presented in 364
constant dynamics, in transitional states: from winter to spring, from summer to autumn, from day to night:

The gray shadows mixed,
The color faded, the sound fell asleep -
Life, movements resolved
Into the unsteady twilight, into the distant roar...
(“The gray shadows mixed”, 1835)

This time of day is experienced by the poet as “an hour of unspeakable melancholy.” The lyrical hero’s desire to merge with the world of eternity is manifested: “Everything is in me and I am in everything.” The life of nature fills the inner world of man: turning to the sources of the organic world should regenerate the entire being of the lyrical hero, and everything corruptible and transitory should fade into the background.

The technique of figurative parallelism is also found in Fet. Moreover, most often it is used in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul.

This technique is used very interestingly in the poem “Whisper, Timid Breathing...” (1850), which is built on only nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic specificity. This poem creates a point image that, when viewed closely, gives chaos, “a series of magical changes,” and when viewed at a distance, an accurate picture. Fet, as an impressionist, bases his poetry, and, in particular, the description of love experiences and memories, on the direct recording of his subjective observations and impressions. Condensation, but not mixing of colorful strokes gives the description of love experiences poignancy and creates the utmost clarity of the image of the beloved. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them a special poetry, mystery and warmth.

However, dating and nature are described not just as two parallel worlds - the world of human feelings and natural life. The innovation in the poem is that both nature and the date are shown in a series of fragmentary meetings, which the reader himself must connect into a single picture.

At the end of the poem, the portrait of the beloved and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.

However, in the depiction of nature by Tyutchev and Fet there is also a deep difference, which was due primarily to the difference in the poetic temperaments of these authors.

Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev strives to understand nature, incorporating it into a system of philosophical views, turning it into part of his inner world. This desire to place nature within the framework of human consciousness was dictated by Tyutchev’s passion for personification. Thus, in the poem “Spring Waters” the streams “run and sparkle and shout.”

However, the desire to understand and comprehend nature leads the lyrical hero to the fact that he feels cut off from it; That’s why in many of Tyutchev’s poems the desire to dissolve in nature, to “merge with the beyond” sounds so vividly (“What are you howling about, night wind?”).

In the later poem “The gray shadows mixed ...” this desire appears even more clearly:

Quiet dusk, sleepy dusk,
Lean into the depths of my soul,
Quiet, dark, fragrant,
Fill everything up and console.

Thus, an attempt to unravel the secret of nature leads the lyrical hero to death. The poet writes about this in one of his quatrains:

Nature - sphinx. And the more faithful she is
His temptation destroys a person,
What may happen, no longer
There is no riddle and she never had one.

In his later lyrics, Tyutchev realizes that man is a creation of nature, its invention. He sees nature as chaos, instilling fear in the poet. Reason has no power over it, and therefore in many of Tyutchev’s poems the antithesis of the eternity of the universe and the transience of human existence appears.

The lyrical hero Fet has a completely different relationship with nature. He does not strive to “rise” above nature, to analyze it from the position of reason. The lyrical hero feels like an organic part of nature. Fet's poems convey a sensory perception of the world. It is the immediacy of impressions that distinguishes Fet’s work.

For Fet, nature is the natural environment. In the poem “The night was shining, the garden was full of the moon...” (1877) the unity of human and natural forces is felt most clearly:

The night was shining. The garden was full of moonlight, they lay
Rays at our feet in a living room without lights.

The piano was all open, and the strings in it were trembling,
Just like our hearts follow your song.

The theme of nature for these two poets is connected with the theme of love, thanks to which the character of the lyrical hero is also revealed. One of the main features of Tyutchev’s and Fetov’s lyrics was that they were based on the world of spiritual experiences of a loving person. Love, in the understanding of these poets, is a deep elemental feeling that fills a person’s entire being.

The lyrical hero Tyutchev is characterized by the perception of love as passion. In the poem “I knew the eyes - oh, these eyes!” this is realized in verbal repetitions (“passion night”, “passion depth”). For Tyutchev, moments of love are “wonderful moments” that bring meaning to life (“In my incomprehensible gaze, life is revealed to the bottom...”).

This poet compares life to the “golden time” when “life spoke again” (“K.V.”, 1870). For Tyutchev's lyrical hero, love is a gift sent from above and some kind of magical power. This can be understood from the description of the image of the beloved.

In the poem “I knew the eyes - oh, these eyes!” What is important is not the emotions of the lyrical hero, but the inner world of the beloved. Her portrait is a reflection of spiritual experiences.

He breathed (gaze) sad, deep,
In the shadow of her thick eyelashes,
Like pleasure, tired
And, like suffering, fatal.

The appearance of the lyrical heroine is shown not as really reliable, but as the hero himself perceived it. The specific detail of the portrait is only the eyelashes, while to describe the gaze of the beloved, adjectives are used that convey the feelings of the lyrical hero. Thus, the portrait of the beloved is psychological.

Fet's lyrics were characterized by parallels between natural phenomena and love experiences (“Whisper, timid breathing...”).
In the poem “The night was shining. The garden was full of the moon...” the landscape smoothly transitions into a description of the image of the beloved: “You sang until dawn, exhausted in tears, that you alone are love, that there is no other love.”

Thus, love fills the life of the lyrical hero with meaning: “you are alone - all life”, “you are alone - love”. All worries, in comparison with this feeling, are not so significant:

...there are no insults from fate and burning torment in the heart,
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!

Tyutchev’s love lyrics are characterized by descriptions of events in the past tense (“I knew the eyes, - oh, these eyes!”, “I met you, and everything that was before...”). This means that the poet realizes the feeling of love as long gone, therefore its perception is tragic.

In the poem "K. B." the tragedy of love is expressed in the following. The time of falling in love is compared to autumn:

Like late autumn sometimes
There are days, there are times,
When suddenly it starts to feel like spring
And something will stir within us...

In this context, this time of year is a symbol of the doom and doom of high feelings.

The same feeling fills the poem “Oh, how murderously we love!” (1851), included in the “Denisevsky cycle”. The lyrical hero reflects on what the “fatal duel of two hearts” can lead to:

Oh, how murderously we love!

As in the violent blindness of passions
We are most likely to destroy,
What is dearer to our hearts!..

Tragedy also fills the poem “Last Love” (1854). The lyrical hero here also realizes that love may be disastrous: “Shine, shine, farewell light of the last love, the dawn of evening!” And yet, the feeling of doom does not prevent the lyrical hero from loving: “Let the blood in the veins become scarce, but the tenderness in the heart does not become scarce...” In the last lines, Tyutchev succinctly characterizes the feeling itself: “You are both bliss and hopelessness.”

However, Fet’s love lyrics are also filled not only with a feeling of hope and hope. She is deeply tragic. The feeling of love is very contradictory; This is not only joy, but also torment and suffering.

The poem “Don't wake her up at dawn” is filled with double meaning. At first glance, a serene picture of the lyrical heroine’s morning sleep is shown, but already the second quatrain conveys tension and destroys this serenity: “And her pillow is hot, and her tiring sleep is hot.” The appearance of epithets such as “tiring sleep” does not indicate serenity, but a painful state close to delirium. Next, the reason for this state is explained, the poem is brought to its climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and the last lines completely change the whole picture: “Don’t wake her, don’t wake her, at dawn she sleeps so sweetly.” The ending of the poem contrasts with the middle and returns the reader to the harmony of the first lines.

Thus, the lyrical hero’s perception of love is similar for both poets: despite the tragedy of this feeling, it brings meaning to life. Tyutchev's lyrical hero is characterized by tragic loneliness. In the philosophical poem “Two Voices” (1850), the lyrical hero accepts life as a struggle, a confrontation. And “even though the battle is unequal, the fight is hopeless,” the fight itself is important. This desire for life permeates the entire poem: “Take courage, fight, O brave friends, no matter how cruel the battle is, no matter how stubborn the struggle!” The poem “Cicero” (1830) is imbued with the same mood.

In the poem “ZPegShit” (1830), touching on the theme of the poet and poetry, the lyrical hero understands that he will not always be accepted by society: “How can the heart express itself? How can someone else understand you? What is important here is the world of the hero’s emotional experiences: “Only know how to live within yourself - there is a whole world in your soul.”

The lyrical hero Fet's worldview is not so tragic. In the poem “With one push to drive away a living boat” (1887), the lyrical hero feels himself to be part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s as your own.” The contradiction with the outside world here is only external (oxymoron “unknown, dear”). “Blooming shores” and “other life” are a description of that mysterious ideal world from which inspiration comes to the poet. Rationally, this world is unknowable because it is “unknown”; but, encountering its manifestations in everyday life, the poet intuitively feels a kinship with the “unknown.” The poet's refined sensitivity to the phenomena of the external world cannot but extend to the work of others. The ability for creative empathy is the most important trait of a true poet.

In the poem “The Cat Sings, His Eyes Squinting” (1842), Fet does not depict objects and emotional experiences in their cause-and-effect relationship. For the poet, the task of constructing a lyrical plot, understood as a sequence of mental states of the lyrical “I,” is replaced by the task of recreating the atmosphere. The unity of worldview is conceived not as the completeness of knowledge about the world, but as the totality of the experiences of the lyrical hero:

The cat sings, eyes narrowed,
The boy is dozing on the carpet,
There's a storm playing outside,
The wind whistles in the yard.

Thus, Fet’s lyrical hero and Tyutchev’s lyrical hero perceive reality differently. The lyrical hero Fet has a more optimistic worldview, and the thought of loneliness is not brought to the fore.

So, the lyrical heroes of Fet and Tyutchev have both similar and different features, but the psychology of each is based on a subtle understanding of the natural world, love, as well as an awareness of their fate in the world.

Option 2

The nineteenth century gave humanity priceless spiritual treasures. Among the wonderful writers and poets of this truly golden age, a worthy place belongs to A. A. Fet and F. I. Tyutchev.
F.I. Tyutchev is a lyricist, his poems are full of philosophy and psychology. Singer of nature, master of poetic landscape expressing human feelings. The world of Tyutchev's lyrics is filled with mystery and riddles. The poet’s favorite technique is antithesis: the “valley world” is opposed to the “icy heights”, the dim earth is opposed to the sky shining with a thunderstorm, light is opposed to the shadows. Tyutchev did not limit himself in describing nature. In his poems we see morning in the mountains, the night sea, and a summer evening. Tyutchev tries to capture the mysterious pictures of nature during the transition from one state to another. For example, in the poem “The gray shadows mixed ...” we can see how night is falling; the poet gradually describes to us, first, how the twilight thickens, and then the onset of night. The abundance of verbs and non-union constructions help F.I. Tyutchev make poems dynamic. The poet treats nature as a living being, therefore, in his poems he spiritualizes it:

“Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom
There is love in it, there is language in it...”

The lyrics of A. A. Fet occupy a special place among the masterpieces of Russian literature. And this is not surprising - Afanasy Afanasyevich Fet was an innovator of his time in the field of poetry, possessed a special, unique gift of the finest lyricist. His poetic style of writing, “Fetov’s handwriting”; gave his poetry a unique charm and charm. Fet was an innovator in many ways. He liberated the word, did not chain it within the framework of traditional norms, but created, trying to express his soul and the feelings that filled it. It’s surprising how Fet depicts nature. She is so humanized that we often encounter “grasses in weeping,” “widowed azure,” “the forest has woken up, all woken up, every branch.”

These great poets of the Golden Age are united, first of all, by patriotism and great...

love for Russia. Their poetry is an expression of the rich inner life of the authors, the result of the tireless work of thought, the whole palette of feelings that excited them. Tyutchev and Fet are united by eternal themes: nature, love, beauty. Nature is depicted most vividly in Tyutchev’s works. Since childhood, fairy tale lines have lived in my memory:

"Enchantress Winter"
Bewitched, the forest stands...
Enchanted by a magical dream,
All entangled, all shackled
Light downy chain... "

Fet is one of the most remarkable landscape poets. In his poems, spring descends to the earth as a “bride-queen.” Fet describes nature in detail, not a single stroke escapes his gaze:

"Whisper, timid breathing,
The trill of a nightingale,
Silver and sway
Sleepy stream..."

The best in Tyutchev's lyrics, in my opinion, are poems about love. In the early works, love is joy, delight, “spring in the chest.” In later ones, tragic notes are increasingly heard. Everything the poet wrote about was experienced and felt by him himself. The most touching is the “Denisyevsky cycle”, dedicated to E. A. Denisyeva, the poet’s greatest love. Tyutchev’s favorite is “an unsolved mystery”, “a living charm breathes in it.”
The theme of love is fundamental to all of Fet’s work. This was facilitated by the dramatic circumstances that took place in the days of his early youth. While serving in the Kherson region, Fet met Maria Lazich, a girl from a poor family. They fell in love with each other, but the future poet, who had no means of living, could not marry her. The girl soon died tragically. All his life, until the end of his days, Fet could not forget her. Obviously, the drama of life inside, like an underground spring, fed his lyrics.
In the works of the wonderful Russian poets F. I. Tyutchev and A. A. Fet, what came first was not social conflicts, not political upheavals, but the life of the human soul - love and the bitterness of loss, the path from youthful enthusiasm to old man’s wisdom and generosity, reflections on life and death, about the meaning of creativity, about the infinity of the Universe, about the greatness of nature.

Preparatory questions for the essay:

What are the main themes of the lyrics of Tyutchev and Fet?

Why did both poets refuse to address topical issues in their work?

How was the life tragedy of both poets reflected in their love lyrics?

What are the main differences between Tyutchev’s poetry and Fet’s lyrics?

What role did the poetry of “pure lyricists” play in the history of Russian literature?

Answers

The main themes of the works of Tyutchev and Fet are nature, love, philosophical reflections on the mysteries of existence - that is, eternal themes, not limited to one era or another.

The heyday of the work of Tyutchev and Fet occurred in the 40-60s of the 19th century, when “pure art” was loudly rejected in the name of practical benefit, when the citizenship of poetry was declared, and an emphasis was placed on the transformation of the entire social system of Russia, the result of which should have been equality and freedom and social justice.

All his life, Fet defended the “pure beauty” that free art serves; he was sure that no social transformations could bring freedom and harmony to the world, because they can only exist in art. Tyutchev's political worldview largely coincides with Fetov's. The poet saw in the revolution only the element of destruction; salvation from the crisis that gripped Russia should, according to Tyutchev, be sought in the unity of the Slavs under the auspices of the Russian “all-Slavic” tsar. Such a “Christian empire,” he is convinced, will be able to resist the revolutionary and “anti-Christian” West. However, real historical events did not meet the idealistic aspirations of the poet. Russia lost the Crimean War, and the reform of 1861 revealed acute social conflicts. “The fate of Russia,” wrote Tyutchev, “is likened to a ship that has run aground, which cannot be moved by any efforts of the crew, and only one tidal wave of people’s life is able to lift it and put it into motion.”

Many contemporaries of Tyutchev and Fet, holding different political views, paid tribute to the talent of the lyric poets. Turgenev wrote: “There is no arguing about Tyutchev: whoever does not feel him, thereby proves that he does not feel poetry.” Even condemning Fet for his civic passivity and indifference to social needs, Chernyshevsky called him “the most gifted of our current lyric poets.” Even Nekrasov, who declaratively and straightforwardly affirms the civic nature of lyricism, says that “a person who understands poetry and willingly opens his soul to its sensations will not find in any Russian author, after Pushkin, as much poetic pleasure as Mr. Fet will give him.”

The love lyrics of both great poets are permeated with a powerful dramatic, tragic sound, which is associated with the circumstances of their personal lives. Each of them experienced the death of a beloved woman, which left an unhealed wound in their souls.

“The Denisyev Cycle” by F. I. Tyutchev is dedicated to the love experienced by the poet “in his declining years” for Elena Alexandrovna Denisyeva. This amazing lyrical romance lasted 14 years, ending with Denisyeva’s death from consumption in 1864. But in the eyes of society it was a “lawless”, shameful relationship. Therefore, even after the death of his beloved woman, Tyutchev continued to blame himself for her suffering, for failing to protect her from “human judgment.” Poems about the poet’s last love have no equal in Russian literature in terms of the depth of psychological disclosure of the topic:

Oh, how in our declining years

We love more tenderly and more superstitiously...

Shine, shine, farewell light

Last love, evening love!

The enormous power of influence on the reader of these lines is rooted in their sincerity and artlessness of expressing a deep, hard-won thought about the transience of enormous, unique happiness, which can no longer be returned. Love in Tyutchev’s view is a secret, the highest gift of fate.

Love, love - says the legend -

Union of the soul with the dear soul -

Their union, combination,

And their fatal merger,

And... the fatal duel...

However, such a metamorphosis is still not capable of killing love; moreover, a suffering person does not want to get rid of the torments of love, for it gives him a fullness and acuteness of perception of the world. Tyutchev's "Denisevsky cycle" became a miraculous monument to his young lover, the same age as his daughter. She, like Dante's Beatrice or Petrarch's Laura, gained immortality. Now these poems exist separately from the tragic love story, but they became the pinnacle of world love poetry because they were nourished by life itself.

A. A. Fet's love lyrics are also inseparable from his fate, his personal drama, which explains the fact that in all his poems, sometimes growing stronger and sometimes weaker, a “desperate, sobbing note” sounds. As a non-commissioned officer of the Cuirassier Regiment, Fet met Maria Lazich, the daughter of a poor Kherson landowner. They fell in love with each other, but the future poet did not dare to marry the girl, since he did not have sufficient funds. He wrote about this in March 1849 to a close friend, A. Borisov: “This creature would stand in front of me until the last minute of my consciousness - as the possibility of possible happiness for me and reconciliation with the disgusting reality. But she has nothing, and I have nothing. .." In addition, marriage would have forced Fet to put an end to all his plans. In 1851, Maria died: she was burned by a carelessly thrown match. It was even suggested that it was suicide. In any case, A. Fet could not forget Maria until the end of his days, experiencing a bitter feeling of guilt and remorse. Many of the poet’s poems are dedicated to her: “Old Letters”, “Still Eyes, Crazy Eyes”, “A ray of sun between the linden trees...”, “For a long time I dreamed of the cries of your sobs” and many others. The acute intensity of feeling, the painful energy of experience seems to overcome death. The poet speaks to his beloved as if she were alive, seeking an answer from her, even envying her silence and non-existence:

Those eyes are gone - and I’m not afraid of coffins,

I envy your silence,

And, without judging either stupidity or malice,

Hurry, hurry into your oblivion!

In these poems, filled with passion and despair, the poet’s refusal to come to terms with eternal separation and the death of his beloved is heard. Here even “non-existence” is felt as something positive, as an inextricable connection with her. Overcoming tragedy, Fet turns it into dramatic joy, into harmony, into a constant source of inspiration.

Tyutchev's “landscapes in verse” are inseparable from a person, his state of mind, feelings, mood:

Moth flight invisible

Heard in the night air...

An hour of unspeakable melancholy!..

Everything is in me, and I am in everything!..

The image of nature helps to identify and express the complex, contradictory spiritual life of a person, doomed to eternally strive for merging with nature and never achieve it, because it brings with it death, dissolution in the primordial chaos. Thus, F. Tyutchev organically connects the theme of nature with the philosophical understanding of life.

Fetov’s perception of the landscape conveys the subtlest nuances of human feelings and moods in their bizarre variability:

What a night! Every single star

Warmly and meekly they look into the soul again,

And in the air behind the nightingale's song

Anxiety and love spread.

The spring renewal of nature gives rise in the soul of the lyrical hero to vague premonitions of happiness and excited anticipation of love.

Impartial time put everything in its place and gave everything an objective and correct assessment. Who now, at the beginning of the third millennium, is interested in the ideological political battles of the 60s of the 19th century? Who can seriously be interested in the malicious attacks and reproaches of civil passivity addressed to great poets? All this has become just a subject for the study of history. And the poetry of Tyutchev and Fet is still fresh, amazing, and unique. These poets can be called the forerunners of symbolism. Their poetry excites, excites, makes us freeze with sweet melancholy and pain, because again and again it reveals to us the bottomless secret of the human soul.

Disclosure of this topic involves turning to the lyrical works of F. Tyutchev and A. Fet, reflecting the unique perception of nature, its influence on the spiritual world, thoughts, feelings, moods of each of the authors.

In an effort to fully and deeply disclose the topic, it is necessary to pay attention to the general direction of the creative searches of poets, as well as their individuality and originality.

The lyric poetry of nature became F. Tyutchev's greatest artistic achievement. The landscape is presented by the poet in dynamics and movement. V.N. speaks about this. Kasatkina in the monograph “The Poetic Worldview of F.I. Tyutchev": "Movement in nature is thought of by Tyutchev not only as mechanical movement, but also as interconnection, mutual transition of phenomena, the transition of one quality to another, as a struggle of contradictory manifestations. The poet captured the dialectic of movement in nature.” Moreover, the dialectics of natural phenomena reflects the mysterious movements of the human soul. Concretely visible signs of the external world give rise to a subjective impression.

V.N. Kasatkina emphasizes: “Tyutchev’s nature is a living organism, feeling, sensing, acting, having its own preferences, its own voice and manifesting its own character, just as it happens with people or animals.”

A.A. Fet writes about Tyutchev’s poems: “Due to the nature of his talent, Mr. Tyutchev cannot look at nature without a corresponding bright thought simultaneously arising in his soul. To what extent nature appears spiritualized to him is best expressed by himself.

Not what you think, nature:

Not a cast, not a soulless face -

She has a soul, she has freedom,

It has love, it has language...

Nature is always young for Tyutchev. Autumn and winter do not bring her senile death. The poet expressed in his poems the triumph of Spring as youth. In the 1930s, he dedicated seven poems to spring: “Spring Storm”, “Napoleon’s Tomb”, “Spring Waters”, “Winter is angry for good reason”, “The earth still looks sad, but the air already breathes in spring”, “Spring”, “ No, my passion for you..." “In the poet’s last programmatic poem, where he poetically formulated his relationship to the earth as the relationship of a son to his mother, he created the image of a spring land. For him, spring is a beautiful child, full of life, all manifestations of which are filled with high poetry. The poet loves the young peals of the first thunder in early May, he is delighted by the noisy spring waters - the messengers of a young spring, the spring breath of air:

What is the joy of paradise before you,

It's time for love, it's time for spring,

Blooming bliss of May,

Ruddy light, golden dreams? ..."

“The existence of Mother Earth is full of joy: “The azure of heaven laughs, washed with dew at night,” spring thunder “as if frolicking and playing rumbles in the blue sky,” the heights of the icy mountains play with the azure of the sky, nature smiles at spring, and spring drives away winter with laughter , the days of May, like a “ruddy, bright round dance,” crowd merrily behind the spring.”

Belinsky wrote to Tyutchev: “Your springs have no wrinkles, and, as the great English poet says, the whole earth in this morning hour of the year and life smiles as if it did not contain graves.”

Indeed, Tyutchev’s poetry is optimistic; she affirms a wonderful future, in which a new, happiest tribe will live, for whose freedom the sun “will warm more alive and hotter.” The poet’s entire worldview reflects the love and thirst for life, embodied in the jubilant lines of “Spring Waters” (“The snow is still white in the fields...”) and “Spring Thunderstorm.” Consider the poem “Spring Waters”:

The snow is still white in the fields,

And in the spring the waters are noisy -

They run and wake up the sleepy shore,

They run and shine and shout...

They say all over:

“Spring is coming, spring is coming!

We are messengers of young spring,

She sent us ahead!”

Spring is coming, spring is coming!

And quiet, warm May days

Ruddy, bright round dance

The crowd cheerfully follows her.

The poet perceives spring not only as a wonderful time of year, but also as the victory of life over death, as a hymn to youth and human renewal.

Gennady Nikitin in the article “I love a thunderstorm in early May...” says that the images, paintings, feelings contained in the poem “Spring Waters” “... appear to be authentic and alive, they affect the reader directly and deeply, apparently because they resonate with subconscious. The consistency and unity of meaning, words and music enhance this effect, manifesting itself not as a static, but as a moving, dynamic unity.

...Tyutchev's lyrics are predominantly not colored, but voiced and set in motion. Nature is depicted by him in open and hidden transitions and determines the typology of his poems. In this case, the dynamism of the play is achieved by two techniques that are carried out both in parallel and mixed: firstly, these are verbal repetitions (“running”, “walking”), creating the illusion of water movement and a spring flood of feelings, and secondly, this is a system sound recordings that imitate the gurgling and overflow of streams.

The poem “Spring Waters” is not large in size, but it contains a voluminous and panoramic picture of the awakening of a huge world, its changes over time. “The snow is still white in the fields,” and before our mind’s eye the “ruddy, bright round dance” of the “May days” is already unfolding. The word “round dance” is not accidental here. It is very old, dense and sacred. It is designed to revive our childhood, games, fairy tales and something else, irrational. It includes us in a poetic carnival, in a spontaneous action...”

According to Tamara Silman, “there is almost no “neutral conversational” element in this poem, the whole thing is a figurative embodiment of the spring awakening of nature, and at its three stages: in the form of the remnants of the passing winter..., in the form of a stormy, uncontrollable flood of rivers and streams..., and, finally, in the form of May days foreshadowing the warm summer season...".

This poem became a romance (music by S. Rachmaninov), was divided into epigraphs for various works in prose and verse, part of the line “Spring Messengers” became the title of the famous novel by E. Sheremetyeva.

In the poem “Spring Thunderstorm,” not only man merges with nature, but also nature is animated, humanized: “the first thunder of spring, as if frolicking and playing, rumbles in the blue sky,” “rain pearls hung, and the sun gilded the threads.” The spring action unfolded in the highest spheres and was met with the jubilation of the earth - mountains, forests, mountain streams - and the delight of the poet himself.

“Since childhood, this poem, its images and its sound have merged for us with the image and sound of a spring thunderstorm. The poem has long become the most capacious and poetically accurate expression of a thunderstorm - over a field, a forest, a garden, over the green expanses of the beginning spring in Russia,” we read in Lev Ozerov’s critical article “I love a thunderstorm in early May... (The story of one poem)” - “Sixteen Tyutchev kept the diamond lines of Russian poetry in his soul for a quarter of a century. And isn’t this a miracle of concentrated skill!”

In the process of studying critical materials, we saw that in scientific works there are two opposing views on the poem “Spring Storm”. For example, Lev Ozerov in his work “Tyutchev’s Poetry” says that “in the poet’s poems, inspired by Russian nature, it is not difficult to grasp a deep feeling of the native landscape. But even those poems that do not give signs of a real location are perceived as a landscape of Russia, and not of any other country. “I love thunderstorms at the beginning of May...” - isn’t this about a Russian thunderstorm? Doesn’t the poem “Spring Waters” talk about Russian nature?

Somehow the “ruddy, bright round dance” does not fit with the landscape of Italy or Germany. It is not necessary to mention local names in verses or indicate the place where they were written under the date. Our feeling in this case does not deceive us. Of course, these are poems about Russian nature.”

We find a refutation of this opinion in the above-mentioned article by G. Nikitin: “The poet tells someone not about a specific thunderstorm, not about living contemplation, but about his impression, about the music that left a mark on his soul. This is not a thunderstorm, but a certain myth about it - beautiful and sublime. A certain play of natural forces in which the acoustic principle exceeds the visual, which is facilitated by alliteration and onomatopoeia. The pouring, thundering, booming sounds “g”, “l”, “r” run through the entire poem. Geographical and “national” signs fade into the background. Errors and inaccuracies in the image (“The rain is splashing, the dust is flying”, “The din of birds is not silent in the forest”) have no meaning and are drowned in the general din and noise. Everything is subordinated to the general mood, celebration and play of light and joy. And so that we are not mistaken, the poet gives us a summary:

You will say: flighty Hebe.

Feeding Zeus' eagle.

A thunderous goblet from the sky.

Laughing, she spilled it on the ground.

The statement that these poems are about Russian nature is the same myth...” - and the author does not say another word to support his statement, no argument.

G.V. Chagin, like Lev Ozerov, believes that Tyutchev’s poems are about Russian nature. Here’s what he says about this: “It’s not for nothing that Tyutchev is called the singer of nature. And of course, he fell in love with her not in the living rooms of Munich and Paris, not in the foggy twilight of St. Petersburg, and not even in the patriarchal Moscow full of flowering gardens in the first quarter of the 19th century. From a young age, the beauty of Russian nature entered the poet’s heart precisely from the fields and forests that surrounded his dear Ovstug, from the quiet, shy meadows of the Desna region, and the vast blue skies of his native Bryansk region.

True, Tyutchev wrote his first poems about nature in Germany. His “Spring Storm” was born there and became famous. This is what it looked like in the “German” version, first published in 1829 in Rajic’s journal “Galatea”:

I love the storm in early May:

How fun is spring thunder

From one end to another

Rumbling in the blue sky!

And this is how this first stanza sounds in the “Russian” edition, that is, revised by the poet after returning to his homeland:

I love the storm in early May,

When spring, the first thunder,

As if frolicking and playing,

Rumbling in the blue sky.

“The nature of the revision, especially the second stanza additionally introduced into the text, indicates that this edition arose no earlier than the end of the 1840s: it was at this time that in Tyutchev’s work there was increased attention to the transfer of direct impressions from paintings and natural phenomena,” - wrote K.V. Pigarev in his monograph about the poet. And Tyutchev’s poems, which describe pictures of nature during trips from Moscow to Ovstug, confirm these words:

Reluctantly and timidly

The sun looks over the fields.

Chu, it thundered behind the cloud,

The earth frowned...

In Tyutchev’s cycle of poems about spring there is one, called “Spring”, amazing in the depth and strength of the feeling invested in it, forever new:

No matter how oppressive the hand of fate is,

No matter how much deception torments people,

No matter how the wrinkles roam the brow

And the heart is no matter how full of wounds;

No matter how severe the tests

You were not subordinate, -

What can resist breathing?

And I will meet the first spring!

Spring... she doesn't know about you,

About you, about grief and evil;

Her gaze shines with immortality,

And not a wrinkle on my forehead.

She is only obedient to her laws,

At the appointed hour he flies to you,

Light, blissfully indifferent,

As befits a deity.

Based on this poem, we can say that for the young poet the world is full of secrets, mysteries that can only be comprehended by an inspired singer. And this world, full of secrets and animated, according to Tyutchev, is revealed to man only in short moments, when man is ready to merge with nature, to become a part of it:

And the life of the divine-universal

Although for a moment be involved!

Let's turn to the reading of “Spring” by O.V. Orlov:

“The long poem “Spring” (forty lines! That’s a lot for Tyutchev), written in the late 30s, develops the poet’s favorite philosophical theme: the need to merge with the ocean of nature in order to achieve bliss and contentment. This idea is expressed in the last eight-line of the work. The previous four stanzas prepare the reader for this conclusion. Their main idea: the divine eternity of spring, its immutability and equanimity. She flies to people “bright, blissfully indifferent, // As befits deities.” There are quite a lot of tropes and figures in this poem. The author uses comparisons, exclamations, contrasts (highlighting the detail he needs): “There are many clouds wandering across the sky, // But these clouds are hers.”

However, what qualities of nature are reflected here? It is said about spring that it is bright, blissfully indifferent, fresh. She showers flowers over the ground... What “flowers” ​​are not specified. Former, bygone springs are called only “faded.” Therefore, there is no talk about paints here either. But there is a given, although only in general form, olfactory sign (sometimes significant in Tyutchev): Fragrant tears. The fragrance is completely conditional: only the tears of a deity can smell; in the poem it is Aurora who pours them.

Such a voluminous, forty-line poem does not contain any mention of any color or paint.”

According to Gennady Nikitin, “the most complete embodiment of the theme of the awakening of nature should be recognized as the lines of “Spring” (“No matter how oppressive the hand of fate ...”), when reading which Leo Tolstoy once became so excited that he shed tears. The poem consists of five eight-line lines and, along with poetic abstractions, contains many living warm-blooded signs of spring. The didactic chill gradually melts from stanza to stanza under the pressure of being, the resurrected forces of renewal - “Their life, like a boundless ocean, // All is spilled in the present.” And the instructive teacher’s tone in the final lines can no longer cool down the heated imagination, especially when the author is ready to sacrifice his favorite play of feelings, deception, and pantheism poured out at the beginning of the poem:

Game and sacrifice of private life!

Come, reject the deception of feelings

And rush, cheerful, autocratic,

Into this life-giving ocean!

Come, with its ethereal stream

Wash the suffering chest -

And divine-universal life

At least be involved for a moment!”

Anatoly Gorelov says that “spring for Tyutchev is a stable image of the creative principle of existence; he still enthusiastically accepts its charms, but remembers that it is alien to human grief and evil, for “it is blissfully indifferent, // As befits deities.” And as a continuation of this indifference, there arises, also stable for the poet, the motive of an effective moment, the manifestation of all the forces of the human thirst for life.”

In an essay about Tyutchev, Lev Ozerov made the following, very subtle, remark about Tyutchev’s type of perception of natural phenomena: “Turning to it, Tyutchev solves all the most important political, philosophical, psychological issues. Images of nature create not only the background, but the very basis of all his lyrics.” And further: “He does not decorate nature, he, on the contrary, tears off from it “the veil thrown over the abyss.” And he does this with the same determination with which other Russian writers tore off the masks from social phenomena.”

For Tyutchev, images of nature are not only objects of admiration, but also forms of manifestation of the mysteries of existence. His relationship with nature is active, he wants to tear out its secrets, admiration for its beauty is combined in him with doubts and rebellion.”

In the poem “Winter is angry for a reason...” the poet shows the last battle of the passing winter with spring:

No wonder winter is angry,

Her time has passed -

Spring is knocking on the window

And he drives him out of the yard.

Winter is still busy

And he grumbles about Spring.

She laughs in her eyes

And it just makes more noise...

This fight is depicted as a quarrel between an old witch - winter and a young, cheerful, mischievous girl - spring. According to Gennady Nikitin, this poem is written in the same vein as “Spring Waters,” but the difference is that the latter is “much more complex in constructive terms, ... but the set of visual techniques is the same.”

“The technique of promoting substantivized features, actions, states to the grammatically dominant place in the syntagm is in Tyutchev an essential element that determines the impressionistic character of his lyrics. V. Shor defines the fundamental approach to the depicted world, which is called “impressionistic”: “The object must be reproduced in the same way as it is perceived during a direct sensory encounter with it. Those. with all those random, passing features that were inherent in him at the moment of observation. You need to be able to capture its variability and movement. Any phenomenon must be grasped in an absolutely instantaneous aspect.”

The poetry of Fyodor Ivanovich Tyutchev is full of lyricism, internal tension and drama. The reader sees not just beautiful pictures of nature, but he sees “concentrated life.” Tyutchev, like no one else, knew how to convey the colors, smells, and sounds of the surrounding world.

“Nature is an idle spy” - this is how Fet himself semi-ironically defined his attitude towards one of the main themes of his work. That’s right - as one of the finest masters of landscape lyricism, Fet entered the anthologies and numerous poetry collections of “poets of nature” along with Tyutchev, Maykov, Polonsky.

A. Fet, like F. Tyutchev, reached brilliant artistic heights in landscape lyricism, becoming a recognized singer of nature. Here his amazing visual acuity, loving, reverent attention to the smallest details of his native landscapes, and their unique, individual perception were revealed. L.N. Tolstoy very subtly captured Fetov’s unique quality - the ability to convey natural sensations in their organic unity, when “the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of dawn shimmers into sound.” Fet's sense of nature is universal, for he has the richest capabilities of poetic “hearing” and “vision”. Fet expanded the possibilities of poetic depiction of reality, showing the internal connection between the natural world and the human world, spiritualizing nature, creating landscape paintings that fully reflect the state of the human soul. And this was a new word in Russian poetry.

“Fet strives to record changes in nature. Observations in his poems are constantly grouped and perceived as phenological signs. The landscapes of Feta are not just spring, summer, autumn or winter. Fet depicts more specific, shorter, and thus more specific segments of the seasons.”

“This precision and clarity makes Fet’s landscapes strictly local: as a rule, these are landscapes of the central regions of Russia.

Fet likes to describe precisely definable time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in the poem “Spring Rain”).

S.Ya. is right. Marshak, in his admiration for the “freshness, spontaneity and sharpness of Fet’s perception of nature”, “wonderful lines about spring rain, about the flight of a butterfly”, “soulful landscapes”, is right when he says about Fet’s poems: “His poems entered Russian nature, became an integral part of it."

But then Marshak notes: “His nature is as if on the first day of creation: thickets of trees, a light ribbon of a river, a nightingale’s peace, a sweetly murmuring spring... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and takes on a decorative character.”

Fetov's aestheticism, “admiration for pure beauty,” sometimes leads the poet to deliberate beauty, even banality. One can note the constant use of such epithets as “magical”, “tender”, “sweet”, “wonderful”, “affectionate”, etc. This narrow circle of conventionally poetic epithets is applied to a wide range of phenomena of reality. In general, Fet’s epithets and comparisons sometimes suffer from some sweetness: the girl is a “meek seraph,” her eyes are “like the flowers of a fairy tale,” dahlias are “like living odalisques,” the heavens are “incorruptible like paradise,” etc.”

“Of course, Fet’s poems about nature are strong not only in their specificity and detail. Their charm lies primarily in their emotionality. Fet combines the concreteness of his observations with the freedom of metaphorical transformations of words, with a bold flight of associations.”

“Impressionism at its first stage, to which Fet’s work can only be attributed, enriched the possibilities and refined the techniques of realistic writing. The poet vigilantly peers into the outside world and shows it as it appears to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet says so: “For an artist, the impression that caused the work is more valuable than the thing itself that caused this impression.”

“Fet depicts the outside world in the form that the poet’s mood gave it. For all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing lyrical feelings.”

“Fet values ​​the moment very much. He has long been called the poet of the moment. “... He captures only one moment of feeling or passion, he is all in the present... Each song of Fet refers to one point of being...” noted Nikolai Strakhov. Fet himself wrote:

Only you, poet, have a winged sound

Grabs on the fly and fastens suddenly

And the dark delirium of the soul and the vague smell of herbs;

So, for the boundless, leaving the meager valley,

An eagle flies beyond the clouds of Jupiter,

Carrying an instant sheaf of lightning in faithful paws.

This consolidation of “suddenly” is important for a poet who appreciates and expresses the fullness of organic existence and its involuntary states. Fet is a poet of concentrated, concentrated states.

This method required an unusually keen gaze into reality, the subtlest, most meticulous fidelity to nature, when all the senses were tense: the eye, the ear, the touch. Fet’s nature amazes us with the truth of life,” this is how N.N. described Fet’s landscape lyrics. Strakh. And further: “Fetov’s poetry of immediate, instantaneous, involuntary states lived at the expense of direct pictures of being, real, surrounding. That is why he is a very Russian poet, who very organically absorbed and expressed Russian nature.”

This morning, this joy,

This power of both day and light,

This blue vault

This cry and strings,

These flocks, these birds,

This talk of water...

There is not a single verb in the narrator’s monologue - Fet’s favorite technique, but there is also not a single defining word here, except for the pronominal adjective “this” (“these”, “this”), repeated eighteen times! By refusing epithets, the author seems to admit the powerlessness of words.

The lyrical plot of this short poem is based on the movement of the narrator's eyes from the vault of heaven to the earth, from nature to the human dwelling. First we see the blue of the sky and flocks of birds, then the sounding and blooming spring land - willows and birches covered with delicate foliage (“This fluff is not a leaf...”), mountains and valleys. Finally, words about a person sound (“... the sigh of a night village”). In the last lines, the lyrical hero’s gaze is turned inward, into his feelings (“the darkness and heat of the bed,” “a night without sleep”).

For humans, spring is associated with the dream of love. At this time, creative forces awaken in him, allowing him to “soar” above nature, to recognize and feel the unity of all things.

Fyodor Tyutchev was seventeen years older than Afanasy Fet. The difference in age, the places they visited and lived in, left an imprint on the works of the great Russian lyricists, who were able to express their thoughts and experiences in poetic form like no one else. Mass contemporary readers treated their poetry rather coldly, and only time put everything in its place. These two geniuses are close in their reverent attitude and love. Let's compare Tyutchev and Fet.

The uniqueness of F.I.’s poetry Tyutcheva

Fyodor Ivanovich wrote a little more than four hundred poems during his life. divides them into three periods. We will limit ourselves to the analysis of works that reflect the life of nature with its deep philosophical overtones, and love lyrics. A comparison of Tyutchev and Fet in these areas of poetry shows the difference between the captivating grace of A. Fet’s “pure art” and the fullness of thoughts and genuine, although stingy, expressions of feelings in F. Tyutchev.

Living in Nice after the death of E. Denisyeva, which he took seriously, the poet writes a most bitter poem in which he compares his life with a bird whose wings are broken. She, seeing the bright shine of the south, its serene life, wants and cannot rise. And all of her is “trembling from pain and powerlessness.” In eight lines we see everything: the bright nature of Italy, the brilliance of which does not please, but worries, the unfortunate bird that is no longer destined to fly, and the Man who experiences her pain as his own. A comparison between Tyutchev and Fet, who also experienced a personal drama, is simply impossible here. They speak Russian, but in different languages.

The poem “To a Russian Woman,” which consists of two stanzas, is still relevant today.

Her colorless and useless existence in the endless, deserted, nameless expanses is briefly outlined. The lyrical hero compares her life to a cloud of smoke that gradually disappears in the dim, foggy autumn sky.

What about love? It is just being analyzed. The poem “Summer 1854” at the beginning is permeated with delight, the witchcraft of love, which was given to two “out of the blue.” But he looks at him with “anxious eyes.” Why and where does such joy come from? The rational mind cannot simply accept it. We need to get to the truth. According to the lyrical hero, this is just a demonic seduction...

F. Tyutchev is a subtle psychologist, and no matter what topic he takes on, he will certainly appear before us in all the greatness of a genius.

The musical gift of A. Fet

A comparison of Tyutchev and Fet shows that no matter what picture both poets take on, it will certainly reflect the face of nature or love, often intertwined together. Only A. Fet has more thrill of life, transitions of states. The poet opens up the world and its beauty to us, very accurately reproducing them and improving human nature. “May Night” is a poem that L. Tolstoy immediately learned by heart.

There is a picture of the night sky with melting clouds, and a promise of love and happiness on earth, which turns out to be achievable only in heaven. In general, with all his undeniable musicality, Fet came to a joyful, almost pagan perception of existence.

The relationship between man and nature in two poets

When comparing the lyrics of Tyutchev and Fet, it turns out that for Tyutchev there is no harmony between man and nature. He tries hard to unravel her eternal riddle, which this sphinx may not have. Fet admires her beauty against his will; it flows into him and spills out in the form of enthusiastic works on sheets of paper.

What does love mean to each of them?

Tyutchev believes that love destroys a person. She is devoid of harmony. This element that suddenly comes and destroys an established life. It only brings suffering. A comparison of the poetry of Tyutchev and Fet shows that the latter, even in adulthood, has bright and enthusiastic colors to describe the flaring feeling: “The heart easily surrenders to happiness.”

He remembers and does not forget his youthful love for a minute, but does not turn away from its tragedy in Alter ego and believes that for true love there is a special judgment - he cannot be separated from his beloved.

The world is the creation of the Creator. Both poets try to understand the Creator through nature. But if F. Tyutchev looks at the world with a tragic and philosophical gaze, then A. Fet, like a nightingale, sings a song to its eternal beauty.

The nineteenth century gave humanity priceless spiritual treasures. Among the wonderful writers and poets of this truly golden age, a worthy place belongs to A. A. Fet and F. I. Tyutchev. F.I. Tyutchev is a lyricist, his poems are full of philosophy and psychology. Singer of nature, master of poetic landscape expressing human feelings. The world of Tyutchev's lyrics is filled with mystery and riddles. The poet’s favorite technique is antithesis: the “valley world” is opposed to the “icy heights,” the dim earth is opposed to the sky shining with a thunderstorm, light is opposed to the shadows. Tyutchev did not limit himself in describing nature. In his poems we see morning in the mountains, the night sea, and a summer evening. Tyutchev tries to capture the mysterious pictures of nature during the transition from one state to another. For example, in the poem “The gray shadows mixed...” we can see how night is falling, the poet gradually describes to us first how the twilight thickens, and then the onset of night. The abundance of verbs and non-union constructions help F.I. Tyutchev make poems dynamic. The poet treats nature as a living being, therefore, in his poems he spiritualizes it: “Not what you think, nature: Not a cast, not a soulless face - It has a soul, it has freedom. It has love, it has there is a language...” The lyrics of A. A. Fet occupy a special place among the masterpieces of Russian literature. And this is not surprising - Afanasy Afanasyevich Fet was an innovator of his time in the field of poetry, possessed a special, unique gift as a subtle lyricist. His poetic style of writing, “Fetov’s handwriting”; gave his poetry a unique charm and charm. Fet was an innovator in many ways. He liberated the word, did not chain it within the framework of traditional norms, but created, trying to express his soul and the feelings that filled it. It’s surprising how Fet depicts nature. She is so human that we often encounter “grasses in weeping,” “widowed azure,” “the forest has awakened, all awakened, every branch.” These great poets of the Golden Age are united, first of all, by patriotism and great love for Russia. Their poetry is an expression of the rich inner life of the authors, the result of the tireless work of thought, the whole palette of feelings that excited them. Tyutchev and Fet are united by eternal themes: nature, love, beauty. Nature is depicted most vividly in Tyutchev’s works. Since childhood, fairy-tale lines have lived in my memory: “Bewitched by the Enchantress of Winter, the forest stands... Enchanted by a magical dream, All entangled, all bound by a light downy chain...” Fet is one of the most remarkable poets and landscape painters. In his poems, spring descends to the earth as a “bride-queen.” Fet describes nature in detail, not a single stroke escapes his gaze: “Whispers, timid breathing, The trill of a nightingale, Silver and the swaying of the Sleepy stream...” The best in Tyutchev’s lyrics, in my opinion, are poems about love. In the early works, love is joy, delight, “spring in the chest.” In later ones, tragic notes are increasingly heard. Everything the poet wrote about was experienced and felt by him himself. The most touching is the “Denisyevsky cycle”, dedicated to E. A. Denisyeva, the poet’s greatest love. Tyutchev’s favorite is “an unsolved mystery,” “a living charm breathes in it.” The theme of love is fundamental to all of Fet’s work. This was facilitated by the dramatic circumstances that took place in the days of his early youth. While serving in the Kherson region, Fet met Maria Lazich, a girl from a poor family. They fell in love with each other, but the future poet, who had no means of living, could not marry her. The girl soon died tragically. All his life, until the end of his days, Fet could not forget her. Obviously, the drama of life inside, like an underground spring, fed his lyrics. In the works of the wonderful Russian poets F. I. Tyutchev and A. A. Fet, what came first was not social conflicts, not political upheavals, but the life of the human soul - love and the bitterness of loss, the path from youthful enthusiasm to old man’s wisdom and generosity, reflections on life and death, about the meaning of creativity, about the infinity of the Universe, about the greatness of nature.