Features of creativity feta briefly the most important. Research work "Features of artistic images in the work of A

Fet's poems are not words

about beauty, and beauty itself,

given life in verse.

V. Kozhinov.

Possessing the lyrical, par excellence, talent of A.A. Fet left us original poetic creations: the collections "Lyrical Pantheon" (1840), "Poems" edited by Grigoriev (1850), "Poems" edited by Turgenev (1856), "Evening Lights" (1883, 1885, 1888, 1891) and translations. But there is no doubt that the poet had no disposition to works of a voluminous nature, to a poem, to a drama, to epic forms.

Fet's confession is interesting in this connection. Talking in his memoirs about the impression that the comedy he wrote on I.S. Turgenev, the poet writes: after reading the comedy, “Turgenev looked me in the eyes and said: - do not write anything dramatic. You don't have this vein at all” Fet A. My memories 1848-1889 part 1. M., 1890. S. 1 ..

In the poetic world of Fet, there is no obvious evolution, biographical details, and the lyrical subject (a conditional lyrical hero) is “a person in general, the first person devoid of specific signs. He admires beauty, enjoys nature, loves and remembers. The image of his beloved is also generalized and fragmentary. A woman in Fetov's world is not a subject, but an object of love, a kind of incorporeal image, a moving beautiful shadow ”Sukhikh I. Russian literature. XIX century. Afanasy Afanasyevich Fet. // Star. 2006. No. 4. P. 231. In his works, Fet tends to depict the present moment, he is a poet of the “instant”, therefore fragmentation is a striking feature of his poems. N.N. Strakhov wrote: “He is a singer and spokesman for individual moods of the soul, or even momentary, quickly passing impressions. He does not expound to us any feeling in its various phases, he does not depict any passion with its definite forms in the fullness of its development; he captures only one moment of feeling or passion, he is all in the present, in that quick moment that captured him and made him pour out wonderful sounds. Literary criticism: Collection of articles. - SPb., 2000. P. 424 ..

Very important concepts for Fetov's artistic world are ideal and beauty. In the article “On Tyutchev’s Poems,” Fet remarks: “Let the subject of the song be personal impressions: hatred, sadness, love, etc., but the further the poet moves them away from himself as an object, the more vigilantly he sees the shades own feeling, the purer will be his ideal. Here he states: “only one side of objects is dear to the artist: their beauty, just as their outlines and numbers are dear to the mathematician. Beauty is poured throughout the universe and, like all the gifts of nature, affects even those who are not aware of it, just as the air nourishes the one who, perhaps, does not imply its existence.

Anthological poems played an important role in shaping Fet's aesthetics. “Contemplation of the beautiful according to Fet, like any true art, returns a person to the Golden Age, which still does not know the tragedy of discord and suffering of the Iron Age, the tragedy of the alienation of man and nature, the alienation of people: I visited that promised land, / Where the golden age once shone , / Where crowned with roses and myrtle, / Under the shade of fragrant trees / A gentle man blissed” Fet as the heir to anthological traditions. // Questions of Literature. 1981. No. 7. S. 176 - 177..

Fet in a number of "anthological" poems showed a tendency to an accurate, objective description of the external forms of observed phenomena, that is, he turned to the means of epic narration. However, anthological poetry did not have any influence on the character and direction of Russian poetry. It is necessary to note the noticeable presence in his anthological poems of a subjective mood that destroys the strict objective contemplation of this world.

However, the imitation of ancient poetry from the side of the external beauty of plastic forms, in an effort to draw with a word the exact outlines of the subject, and from the side of content, Fet did not have of great importance in the totality of his work. For Fet, anthological poems were a "touchstone", a moment of artistic development, in which the poet's deep interest and love for ancient art found expression.

Fet's anthological poems and his numerous translations from the Roman classics make it possible to trace the role of ancient art in the development of Fet's creative forces, especially in nurturing a sense of classical proportion and harmony, vigilance in relation to plastic beauty.

Modern researchers see feature Fet's poetry is not in balance in the spirit of classical antiquity, but they note the poet's focus on reproducing a living impression, a spiritual response to the phenomena of reality.

“Fet’s poetic feeling is in such simple, homely clothes that a very attentive eye is needed to notice it, especially since the scope of his thoughts is very limited, the content is not distinguished by either versatility or thoughtfulness. Of all the complex and diverse aspects of the inner human life in the soul of Fet, only love finds a response, and that for the most part in the form of a sensual sensation, that is, in its most primitive, naive manifestation" Russian aesthetics and criticism of the 40-50s of the XIX century. M., 1932. S. 479.

Fet is predominantly a poet of impressions of nature. The most essential side of his talent is an unusually subtle, poetic sense of nature. V lyric poem If it has nature as its subject, the main thing lies not in the picture of nature itself, but in the poetic feeling that nature awakens in us. Fet's sense of nature is naive, bright. It can only be compared with the feeling of first love. In the most ordinary phenomena of nature, he knows how to notice the subtlest fleeting shades.

B.Ya. Bukhshtab very accurately conveys the innovative essence of personification in Fet: “The outside world is, as it were, colored by the moods of the lyrical hero, enlivened, animated by them. Associated with this is anthropomorphism, the characteristic humanization of nature in Fet's poetry. This is not the anthropomorphism that is always inherent in poetry as a way of metaphorical depiction. But when Tyutchev's trees rave and sing, the shadow frowns, the azure laughs - these predicates can no longer be understood as metaphors. Fet goes further than Tyutchev in this. Human feelings are attributed to natural phenomena without a direct connection with the properties of these phenomena. Lyrical emotion, as it were, spills into nature, infecting it with feelings of the lyrical "I", uniting the world with the mood of the poet" B. Ya. Bukhshtab. Introductory article, compilation and notes // Fet A.A. Poems and poems. L., 1986. S. 28.

“It can be added that in a number of examples, the “feelings” and “behavior” of nature act as active subjects, and man passively perceives this effect” Ibid. P.28..

Fet is a representative of "pure art". His early poetry is characterized by objectivity, concreteness, visibility, detailed images, and plasticity. The main theme of love takes on a sensual character. Fet's poetry is based on the aesthetics of beauty, on the principles of harmony, measure, balance. Joyful life-affirmation takes the form of moderate Horatian epicureanism.

It must be said that Fet's poetic talent is more like the talent of an improviser. His works remain as they were in the first minutes. "A strict artistic sense of form, which does not allow a single vague feature, not a single inaccurate word, not a single shaky comparison, rarely visits him" Russian aesthetics and criticism of the 40s - 50s of the XIX century. M., 1982. S. 484 ..

Fet initially considered completed those poems that he changed under the influence of criticism from friends. There is generally little critical tact in Fet, he is too condescending to his works.

Fet's syntax often contradicts grammatical and logical norms. For the first time, he introduces verbless poems into Russian poetry (“Whisper”, “Storm”). In terms of the richness of rhythm, the variety of strophic construction, Fet occupies one of the first places in Russian poetry.

Fet was illuminated by the very poetic vigilance that he wrote about in an article about Tyutchev: “Where the ordinary eye does not suspect beauty, the artist sees it, distracts from all the other qualities of the object, puts a purely human stigma on it and exposes it to universal understanding. » Russian word, 1959, No. 2 - S. 67. S. 66.

A distinctive feature of Fet's poetry is its musicality. N.N.Strakhov said: “Fet's verse has magical musicality and, moreover, is constantly varied; for every mood of the soul, the poet has a melody, and in terms of the richness of the melody, no one can equal him” Strakhov N.N. Literary criticism: Collection of articles. - St. Petersburg, 2000. P. 425. Great P.I. Tchaikovsky wrote about him in one letter: “Fet is a completely exceptional phenomenon ... Like Beethoven, he was given the power to touch such strings of the soul that are inaccessible to artists, even if they are strong, but limited by the limit of words. This is not just a poet, but rather a poet-musician, as if avoiding such topics that can easily be expressed in words. New research on Fet. V.V. Rozanov. About writing and writers. M., 1995. S. 617 .. The semantic role of the sound of Fet's poetics is formulated by him in his following quatrain: “Share your living dreams, / Speak to my soul; / What you can’t express with words, Sound on your soul.”

Fet subjected to psychological analysis complex, difficult to convey in words the states of the spiritual world of a person, about which no one had written before him. N.N. Strakhov wrote: “Fet's poems always have perfect freshness; they are never worn out, they do not resemble any other poems, either their own or others'; they are fresh and pure, like a freshly blossomed flower; it seems that they are not written, but are born as a whole” Strakhov N.N. Literary criticism: Collection of articles. - SPb., 2000. P.426. In the poetics of Fet, like Tolstoy, we will never find hackneyed phrases and definitions. He reveals what only he saw and no one before him. Ilya Tolstoy writes in his memoirs: “Father said about Fet that his main merit is that he thinks independently, with his own thoughts and images not borrowed from anywhere, and he considered him, along with Tyutchev, among our best poets” Tolstoy I. My memories. M., 2000. S. 202..

Nekrasov wrote: “A person who understands poetry ... in no Russian author after A.S. Pushkin will not draw as much poetic pleasure as Mr. Fet will give him ”Nekrasov N.A. Complete Works and Letters. T.9. M., 1950. S. 279.

“Fet's verse has the highest harmony and completeness,” notes V. Kozhinov. Kozhinov V. How poetry is written. M., 2001. P.187.

“In the works of Fet there is a sound that was not heard before in Russian poetry - this is the sound of a bright, festive feeling of life. Whether in the pictures of nature, or in the movements of one's own heart, one constantly feels that life resonates in them from its bright, clear side, in some kind of detachment from all worldly anxieties, resonates with the fact that it has an integral, harmonious, delightful, just what it is - the highest bliss. Everyone is probably familiar with these fleeting moments of an unconsciously joyful feeling of life. Fet grasps them on the fly and makes them feel in his poetry. In almost all of his works, this bright, sparkling stream sparkles, raising our ordinary, everyday life to some kind of free, festive tone, taking the soul into a bright, blissful sphere. M., 1992. S.501..

On November 23, 1820, in the village of Novoselki, located near Mtsensk, the great Russian poet Afanasy Afanasyevich Fet was born in the family of Caroline Charlotte Fet and Afanasy Neofitovich Shenshin. His parents got married without an Orthodox ceremony abroad (the poet's mother was a Lutheran), because of which the marriage, legalized in Germany, was declared invalid in Russia.

Deprivation of the title of nobility

Later, when the wedding was performed according to the Orthodox rite, Afanasy Afanasyevich already lived under his mother's surname - Fet, being considered her illegitimate child. The boy was deprived, except for his father's name, and title of nobility, Russian citizenship and inheritance rights. For a young man for many years, the most important life goal was to regain the Shenshin surname and all the rights associated with it. It was only in his old age that he was able to achieve this by regaining his hereditary nobility.

Education

The future poet in 1838 entered the boarding school of Professor Pogodin in Moscow, and in August of the same year he was enrolled in the verbal department at Moscow University. In the family of his classmate and friend, he lived his student years. The friendship of young people contributed to the formation of their common ideals and views on art.

First attempts at pen

Afanasy Afanasyevich begins to compose poetry, and in 1840 a poetic collection entitled "Lyrical Pantheon" published at his own expense was published. In these poems, echoes of the poetic work of Yevgeny Baratynsky were clearly heard, and since 1842 Afanasy Afanasyevich has been constantly published in the journal Otechestvennye Zapiski. Already in 1843, Vissarion Grigorievich Belinsky wrote that of all the poets living in Moscow, Fet was “the most gifted,” and puts this author’s poems on a par with the works of Mikhail Yuryevich Lermontov.

The need for a military career

Fet strove for literary activity with all his heart, but the instability of the material and social situation forced the poet to change his fate. Afanasy Afanasyevich in 1845 entered as a non-commissioned officer in one of the regiments located in the Kherson province in order to be able to receive hereditary nobility (the right to which was given by a senior officer rank). Cut off from the literary environment and metropolitan life, he almost ceases to be published, also because, due to the fall in demand for poetry, magazines do not show interest in his poems.

A tragic event in Fet's personal life

In the Kherson years, a tragic event happened that predetermined the poet's personal life: his beloved, Maria Lazich, a dowry girl, whom he did not dare to marry because of his poverty, died in a fire. After Fet's refusal, a strange incident happened to her: a candle caught fire on Maria's dress, she ran into the garden, but could not cope with putting out the clothes and suffocated in the smoke. This could be suspected of a girl's attempt to commit suicide, and in Fet's poems, echoes of this tragedy will sound for a long time (for example, the poem "When you read the painful lines ...", 1887).

Admission to L Abe Guards Lancers Regiment

In 1853, a sharp turn took place in the fate of the poet: he managed to enter the guard, in the Ulansky regiment stationed near St. Petersburg. Now Afanasy Afanasyevich gets the opportunity to visit the capital, resumes his literary activity, begins to regularly publish poems in Sovremennik, Russkiy vestnik, Otechestvennye zapiski, and Library for Reading. He becomes close to Ivan Turgenev, Nikolai Nekrasov, Vasily Botkin, Alexander Druzhinin - the editors of Sovremennik. The name Fet, by that time already half-forgotten, reappears in reviews, articles, the chronicle of the magazine, and since 1854 his poems have been published. Ivan Sergeevich Turgenev became the poet's mentor and even prepared a new edition of his works in 1856.

The fate of the poet in 1856-1877

Fet was unlucky in the service: each time the rules for obtaining hereditary nobility were tightened. In 1856, he left the military career without having achieved his main goal. In Paris, in 1857, Afanasy Afanasyevich married the daughter of a wealthy merchant, Maria Petrovna Botkina, and acquired an estate in the Mtsensk district. At that time he wrote almost no poetry. Being a supporter of conservative views, Fet took a sharply negative view of the abolition of serfdom in Russia and, starting in 1862, began to regularly publish essays in the Russian Bulletin, denouncing the post-reform order from the position of a landowner-landowner. In 1867-1877 he served as a justice of the peace. In 1873, Afanasy Afanasyevich finally received hereditary nobility.

Fet's fate in the 1880s

The poet returned to literature only in the 1880s, having moved to Moscow and became rich. In 1881, his old dream was realized - he created a translation of his favorite philosopher, "The World as Will and Representation", created by him. In 1883, a translation of all the works of the poet Horace, begun by Fet in his student years, was published. The period from 1883 to 1991 includes the publication of four issues of the poetry collection "Evening Lights".

Fet's lyrics: general characteristics

The poetry of Afanasy Afanasyevich, romantic in its origins, is, as it were, a link between the work of Vasily Zhukovsky and Alexander Blok. The later poems of the poet gravitated towards the Tyutchev tradition. Fet's main lyrics are love and landscape.

In the 1950s and 1960s, during the formation of Afanasy Afanasyevich as a poet, Nekrasov and his supporters almost completely dominated the literary environment - apologists for poetry glorifying social, civic ideals. Therefore, Afanasy Afanasyevich with his work, one might say, spoke somewhat untimely. Features of Fet's lyrics did not allow him to join Nekrasov and his group. After all, according to representatives of civil poetry, poetry must necessarily be topical, performing a propaganda and ideological task.

Philosophical motives

Feta permeates all his work, reflected in both landscape and love poetry. Although Afanasy Afanasyevich was even friends with many poets of the Nekrasov circle, he argued that art should not be interested in anything other than beauty. Only in love, nature and art itself (painting, music, sculpture) did he find everlasting harmony. The philosophical lyrics of Fet sought to get as far away from reality as possible, contemplating beauty that was not involved in the vanity and bitterness of everyday life. This led to the adoption in the 1940s by Afanasy Afanasyevich of romantic philosophy, and in the 1960s - the so-called theory of pure art.

The prevailing mood in his works is intoxication with nature, beauty, art, memories, delight. These are the features of Fet's lyrics. Often the poet has the motive of flying away from the earth following the moonlight or enchanting music.

Metaphors and epithets

Everything that belongs to the category of the sublime and beautiful is endowed with wings, first of all, a love feeling and a song. Fet's lyrics often use such metaphors as "winged dream", "winged song", "winged hour", " winged words sound", "winged with delight", etc.

Epithets in his works usually describe not the object itself, but the impression of the lyrical hero from what he saw. Therefore, they can be inexplicable logically and unexpected. For example, a violin might be labeled "melting". Fet's characteristic epithets are "dead dreams", "incense speeches", "silver dreams", "weeping herbs", "widowed azure", etc.

Often the picture is drawn with the help of visual associations. The poem "Singer" is a vivid example of this. It shows the desire to embody the sensations created by the melody of the song into specific images and sensations, of which Fet's lyrics consist.

These verses are very unusual. So, "the distance rings", and the smile of love "meekly shines", "the voice burns" and fades in the distance, like a "dawn beyond the sea", in order to splash pearls again with a "loud tide". At that time, Russian poetry did not know such complex bold images. They established themselves much later, only with the advent of the symbolists.

Speaking about the creative manner of Fet, they also mention impressionism, which is based on the direct fixation of the impressions of reality.

Nature in the poet's work

Fet's landscape lyrics are a source of divine beauty in eternal renewal and diversity. Many critics mentioned that nature was described by this author as if from the window of a landowner's estate or from the perspective of a park, as if specifically to arouse admiration. Fet's landscape lyrics are a universal expression of the beauty of the world untouched by man.

Nature for Afanasy Afanasyevich is a part of his own "I", a background for his experiences and feelings, a source of inspiration. Fet's lyrics seem to blur the line between external and inner world. Therefore, human properties in his poems can be attributed to darkness, air, even color.

Very often, nature in Fet's lyrics is a night landscape, since it is at night, when the bustle of the day calms down, that it is easiest to enjoy the all-embracing, indestructible beauty. At this time of day, the poet does not have glimpses of the chaos that fascinated and frightened Tyutchev. Majestic harmony, hidden by day, reigns. Not the wind and darkness, but the stars and the moon come first. By the stars, Fet reads the "fiery book" of eternity (the poem "Among the Stars").

The themes of Fet's lyrics are not limited to the description of nature. A special section of his work is poetry dedicated to love.

Fet's love lyrics

Love for the poet is a whole sea of ​​​​feelings: timid longing, and enjoyment of spiritual intimacy, and the apotheosis of passion, and the happiness of two souls. The poetic memory of this author knew no bounds, which allowed him to write poems dedicated to his first love even in his declining years, as if he was still under the impression of such a desired recent date.

Most often, the poet described the birth of a feeling, its most enlightened, romantic and reverent moments: the first contact of hands, long glances, the first evening walk in the garden, contemplation of the beauty of nature that gives rise to spiritual intimacy. The lyrical hero says that no less than happiness itself, he cherishes the steps to it.

landscape and love lyrics Feta constitute an inseparable unity. Heightened perception of nature is often caused by love experiences. A vivid example of this is the miniature "Whisper, timid breathing ..." (1850). The fact that there are no verbs in the poem is not only an original technique, but also a whole philosophy. There is no action because in fact only one moment or a whole series of moments, motionless and self-sufficient, is described. The image of the beloved, described in detail, seems to dissolve in the general range of feelings of the poet. There is no complete portrait of the heroine here - it must be supplemented and recreated by the reader's imagination.

Love in Fet's lyrics is often complemented by other motives. So, in the poem "The night was shining. The garden was full of moon ..." three feelings are united in a single impulse: admiration for music, intoxicating night and inspired singing, which develops into love for the singer. The whole soul of the poet dissolves in music and at the same time in the soul of the singing heroine, who is the living embodiment of this feeling.

This poem is difficult to classify unambiguously as love lyrics or poems about art. It would be more accurate to define it as a hymn to beauty, combining the liveliness of experience, its charm with deep philosophical overtones. This worldview is called aestheticism.

Afanasy Afanasyevich, carried away on the wings of inspiration beyond the limits of earthly existence, feels himself a master, equal to the gods, overcoming the limitations of man with the power of his poetic genius.

Conclusion

The whole life and work of this poet is the search for beauty in love, nature, even death. Could he find her? This question can only be answered by someone who really understood the creative heritage of this author: he heard the music of his works, saw landscape paintings, felt the beauty of poetic lines and learned to find harmony in the world around him.

We examined the main motives of Fet's lyrics, characteristics creativity of this great writer. So, for example, like any poet, Afanasy Afanasyevich writes about the eternal theme of life and death. Neither death nor life frightens him equally ("Poems about death"). By physical death, the poet experiences only cold indifference, and Afanasy Afanasyevich Fet justifies earthly existence only by creative fire, commensurate in his view with "the whole universe." Both ancient motives (for example, "Diana"), and Christian ones ("Ave Maria", "Madonna") sound in verses.

You can find more detailed information about Fet's work in school textbooks on Russian literature, in which the lyrics of Afanasy Afanasyevich are considered in some detail.

The great Russian lyricist A. Fet was born on December 5, 1820. But biographers doubt not only exact date his birth. The mysterious facts of their true origin tormented Fet until the end of his life. In addition to the absence of a father as such, the situation with real name. All this envelops the life and work of Fet with a certain mystery.

Fet's parents

According to the official version, the Russian nobleman Afanasy Neofitovich Shenshin, while undergoing treatment in the German city of Darmstadt, settled in the house of Oberkriegskommissar Karl Becker. Some time later, a retired army officer becomes interested in the daughter of the owner, Charlotte. However, Charlotte at that time was no longer free and was married to a petty German official, Karl Fet, who also lived in Becker's house.

Despite these circumstances, and even the fact that Charlotte has a daughter from Fet, a stormy romance begins. The feelings of the lovers were so strong that Charlotte decided to escape with Shenshin to Russia. In the autumn of 1820, Charlotte, leaving her husband and daughter, leaves Germany.

Mother's protracted divorce

An essay on the life and work of Fet is impossible without a story about the relationship of his parents. Being already in Russia, Charlotte dreams of an official divorce from Karl Fet. But divorce in those days was a rather lengthy process. Some biographers claim that because of this, the wedding ceremony between Shenshin and Charlotte took place two years after the birth of little Athanasius, their common son. According to one version, Shenshin allegedly bribed the priest in order to give the boy his last name.

Probably, it was this fact that influenced the whole life of the poet. For violations of this kind Russian Empire were treated quite harshly. However, all sources confirm the fact of the wedding of Shenshin and Charlotte, who later took the name of Shenshin.

From nobles to beggars

Getting acquainted with the biography of the lyricist, one involuntarily wonders what influenced the life and work of Fet. It's hard to know every little detail. But the main milestones are quite accessible to us. Little Athanasius until the age of 14 considered himself a hereditary Russian nobleman. But then, thanks to the hard work of judicial officials, the secret of the child's origin was revealed. In 1834, an investigation was initiated into this case, as a result of which, by a decree of the Oryol provincial government future poet was deprived of the right to be called Shenshin.

It is clear that ridicule of recent comrades immediately began, which the boy experienced rather painfully. In part, this was precisely what served as the development of Fet's mental illness, which haunted him to death. However, it was much more important that in this situation he not only did not have the right to inherit, but in general, judging by the documents presented from the archives of that time, he was a person without a confirmed nationality. At one point, a hereditary Russian nobleman with a rich inheritance turned into a beggar, no one except his mother right person, without a surname, and the loss was so great that Fet himself considered this event to have disfigured his life to his deathbed.

Foreigner Fet

One can imagine what the poet's mother went through, begging the judge's chicane for at least some information about the origin of her son. But it was all in vain. The woman went the other way.

Remembering her German roots, she appealed to the pity of her ex-German husband. History is silent about how Elena Petrovna achieved the desired result. But he was. Relatives sent official confirmation that Athanasius is the son of Fet.

So the poet got at least a surname, Fet's life and work received a new impetus in development. However, in all circulars, he still continued to be called "foreigner Fet." The natural conclusion from this was the complete disinheritance. After all, now the foreigner had nothing in common with the nobleman Shenshin. It was at that moment that the idea seized him by any means to regain the lost Russian name and title.

First steps in poetry

Athanasius enters the Faculty of Literature at Moscow University and is referred to in university forms in the same way - “foreigner Fet”. There he meets the future poet and critic. Historians believe that Fet's life and work changed precisely at that moment: it is believed that Grigoriev discovered the poetic gift of Athanasius.

Soon Feta comes out - "Lyrical Pantheon". The poet wrote it while still a university student. Readers highly appreciated the gift of the young man - they did not care what class the author belongs to. And even the harsh critic Belinsky repeatedly emphasized in his articles the poetic gift of the young lyricist. Belinsky's reviews, in fact, served Fet as a kind of pass to the world of Russian poetry.

Athanasius began to publish in various publications and a few years later he prepared a new lyric collection.

Military service

However, the joy of creativity could not cure Fet's sick soul. The thought of his true origin haunted the young man. He was ready to do anything to prove it. In the name of a great goal, Fet immediately after graduating from the university enters military service, hoping to earn the nobility in the army. He ends up serving in one of the provincial regiments located in the Kherson province. And immediately the first success - Fet officially receives Russian citizenship.

But the poetic activity does not end, he still continues to write and publish a lot. After some time, the army life of the provincial part makes itself felt: the life and work of Fet (he writes poetry less and less) are becoming gloomier and uninteresting. The craving for poetry is weakening.

Fet in personal correspondence begins to complain to friends about the hardships of his current existence. In addition, judging by some letters, he is experiencing financial difficulties. The poet is even ready to just get rid of the current oppressive physically and morally deplorable situation.

Transfer to St. Petersburg

The life and work of Fet were rather gloomy. Briefly recounting the main events, we note that the poet pulled the soldier's strap for eight long years. And just before receiving the first officer rank in his life, Fet learns about a special decree that raised the length of service and the level of army rank to obtain a noble rank. In other words, the nobility was now granted only to a person who received a higher officer rank than Fet had. This news completely demoralized the poet. He knew that he was unlikely to rise to this rank. The life and work of Fet were again redrawn at the mercy of others.

A woman with whom one could connect her life by calculation was also not on the horizon. Fet continued to serve, falling more and more into a depressed state.

However, luck finally smiled on the poet: he managed to transfer to the Guards Life Lancers Regiment, which was quartered not far from St. Petersburg. This event happened in 1853 and surprisingly coincided with a change in society's attitude towards poetry. Some decline in interest in literature, which appeared in the mid-1840s, has passed.

Now, when Nekrasov became the editor-in-chief of the Sovremennik magazine and gathered under his wing the elite of Russian literature, times clearly contributed to the development of any creative thought. Finally, the long-written second collection of Fet's poems, which the poet himself forgot about, saw the light of day.

poetic recognition

The poems published in the collection made an impression on connoisseurs of poetry. And soon such famous literary critics of the time when V. P. Botkin and A. V. Druzhinin left rather flattering reviews about the works. Moreover, under pressure from Turgenev, they helped Fet publish a new book.

In essence, these were all the same previously written poems of 1850. In 1856, after the release of a new collection, Fet's life and work changed again. In short, Nekrasov himself drew attention to the poet. A lot of flattering words addressed to Afanasy Fet were written by the master of Russian literature. Inspired by such high praises, the poet develops a vigorous activity. It is printed in almost all literary magazines, which undoubtedly contributed to some improvement in the financial situation.

Romantic infatuation

Fet's life and work were gradually filled with light. His most important desire - to receive a title of nobility - was soon to come true. But the next imperial decree again raised the bar for obtaining hereditary nobility. Now, in order to gain the coveted rank, it was already necessary to rise to the rank of colonel. The poet realized that he should continue to pull the hated strap military service just useless.

But as often happens, a person cannot fail to be lucky in absolutely everything. While still in Ukraine, Fet was invited to an appointment with his friends Brzhevsky and met a girl on a neighboring estate, who then did not get out of his head for a long time. It was a gifted musician Elena Lazich, whose talent amazed even the famous composer, who was touring around Ukraine at that time.

As it turned out, Elena was a passionate fan of Fet's poetry, and he, in turn, was amazed at the girl's musical abilities. Of course, without romance it is impossible to imagine the life and work of Fet. Summary his romance with Lazich fits into one phrase: young people had tender feelings for each other. However, Fet is very burdened by his disastrous financial situation and does not dare to take a serious turn of events. The poet tries to explain his problems to Lazich, but she, like all girls in such a situation, poorly understands his torment. Fet directly tells Elena that there will be no wedding.

Tragic death of a loved one

After that, he tries not to see the girl. Leaving for St. Petersburg, Athanasius realizes that he is doomed to eternal spiritual loneliness. According to some historians who study his life and work, Afanasy Fet wrote too pragmatically to friends about marriage, about love, and about Elena Lazich. Most likely, the romantic Fet was simply carried away by Elena, not intending to burden himself with a more serious relationship.

In 1850, while visiting the same Brzhevskys, he did not dare to go to a neighboring estate in order to dot the "i". Fet later regretted it very much. The fact is that Elena soon died tragically. History is silent about whether her terrible death was suicide or not. But the fact remains: the girl was burned alive on the estate.

Fet himself found out about this when he once again visited his friends. This shocked him so much that until the end of his life the poet blamed himself for Elena's death. He was tormented by the fact that he could not find the right words to calm the girl and explain his behavior to her. After the death of Lazich, there were many rumors, but no one has ever proved Fet's involvement in this sad event.

Marriage of convenience

Fairly judging that in the army he is unlikely to achieve his goal - a title of nobility, Fet takes a long vacation. Taking with him all the accumulated fees, the poet rushes on a trip to Europe. In 1857, in Paris, he unexpectedly marries Maria Petrovna Botkina, the daughter of a wealthy tea merchant, who, among other things, was the sister of the literary critic V.P. Botkin. Apparently, this was the same marriage of convenience that the poet had dreamed of for so long. Contemporaries very often asked Fet about the reasons for his marriage, to which he answered with eloquent silence.

In 1858 Fet arrived in Moscow. He is again overcome by thoughts of the scarcity of finances. Apparently, the dowry of his wife does not fully meet his requirements. The poet writes a lot, publishes a lot. Often the quantity of works does not correspond to their quality. This is noticed by close friends and literary critics. Seriously cooled to the work of Fet and the public.

landowner

Around the same time, Leo Tolstoy leaves the bustle of the capital. Settling in Yasnaya Polyana, he tries to regain inspiration. Probably, Fet decided to follow his example and settle in his estate in Stepanovka. It is sometimes said that Fet's life and work ended here. Interesting Facts, however, were also found in this period. Unlike Tolstoy, who really found a second wind in the provinces, Fet is increasingly abandoning literature. He is now passionate about the estate and farming.

It should be noted that as a landowner he really found himself. After some time, Fet multiplies his possessions by buying several more neighboring estates.

Afanasy Shenshin

In 1863, the poet published a small lyric collection. Even despite the small circulation, it remained unsold. But the neighbors-landowners appreciated Fet in a completely different capacity. For about 11 years he served as an elective justice of the peace.

The life and work of Afanasy Afanasyevich Fet were subordinated to the only goal to which he went with amazing persistence - the restoration of his noble rights. In 1873, a royal decree was issued, which puts an end to the poet's forty-year ordeals. He was fully restored in his rights and legalized as a nobleman with the surname Shenshin. Afanasy Afanasyevich confesses to his wife that he does not even want to pronounce the hated surname Fet aloud.

The inconsistency of Fet's life and personality, the time in which he happened to live, was practically not reflected in his lyrics, harmonious, mostly bright, life-affirming. The poet consciously sought to oppose his own failures and trials, the prose of life, which oppresses the human spirit, "the pure and free air of poetry."
Addressing his fellow writers in the poem “To Poets” (1890), Fet wrote:
From the markets of life, colorless and stuffy,
It is so joyful to see subtle colors,
In your rainbows, transparent and airy,
The sky of my native seems to me caresses.
He formulated the original view of poetry as follows: "A poet is a crazy and good-for-nothing person, babbling divine nonsense." This statement expresses the idea of ​​the irrationality of poetry. “What you can’t express in words, with sound on your soul,” is the task of the poet. Creativity Fet in accordance with this installation is extremely musical. He, as a rule, does not seek to create paintings, but speaks of his impression of what he saw, heard, and comprehended. It is no coincidence that Fet is called the forerunner of impressionism (from the French Impression - impression), a trend that was established in the art of the turn of the 19th-20th centuries.
The poem "May Night" (1870) is indicative of the understanding of Fet's creative methodology. It is an original fusion of romanticism and realism. The poet, it seems, speaks of the impossibility of happiness “on a vain earth ... in a wretched environment”, “it is like smoke”, but Fet’s ideal is nevertheless realized in a purely earthly, although sublime and beautiful love, in equally full of life, colors, smells pictures of nature. The poet consistently opposes the social, everyday life to other manifestations of earthly existence, full of aesthetic content.
Nature is not just one of the themes of Fet's lyrics, but the most important source poetic imagery of most of his poems.
In the poem "Evening" (1855), the very process of the transition of nature from day to night is conveyed with amazing subtlety. The entire first stanza is made up of impersonal sentences designed to express the fluidity, transitivity of the moment, the movement in which the world is:
Sounded over a clear river,
Rang out in the faded meadow,
It swept over the mute grove,
It lit up on the other side.
Then the syntax becomes more complete, as if giving the impression that the contours of objects have become clearer in the evening light.
The transitional, borderline states of nature especially attract the poet. They are imprinted as a mold of the secret desires of the human soul, striving for the sublime and loving the earthly. In the poem "Dawn says goodbye to the earth ..." (1858), this human aspect of perception of what is happening in the world is clearly expressed. The position of the lyrical hero is already indicated in the first stanza:
I look at the forest, covered with mist,
And on the fires of its peaks.
It is to him that the admiring exclamations of the next two quatrains belong, he reflects that the trees, striving into the sky after the departing sun's rays:
As if sensing a double life
And she is doubly fanned, -
And they feel their native land,
And they are asking for the sky.
... As the soul of a person - the spiritualized picture of the evening forest created by the poet convinces of this.
Fet does not emphasize the connection of man with nature, it manifests itself as a natural quality of the depicted life, heroes. This, in addition to those analyzed above, is also convinced by the poem “Still fragrant bliss of spring” (1854). Snow-filled ravines, a cart rattling across the frosty morning earth, birds flying by as heralds of spring, “a beauty of the steppe with a blush on her cheeks” are depicted as natural parts of the general picture of life, waiting for the next and forever new arrival of spring.
Syntactic "extreme" also characterizes the structure of the poems "This morning, this joy ..." (1881), "Whisper, timid breathing ..." (1850). Here the poet completely refuses verbs. At the same time, the poems are filled with events, life, movement. In the landscape poem “This morning, this joy...”, the enumeration, the injection of signs of spring may seem “naked”, non-judgmental: “These mountains, these valleys, these midges, these bees, this tongue and whistle.” But everything enumerated is painted in quite definite tones by the first line, as by the first ray of the morning spring sun. And the pronoun repeated 23 times in different versions - “this”, “this”, “this”, “these” - as if connects the disparate pieces of being into a single living and moving picture. Each repetition is like inhaling and exhaling delight before the opening beauty of the transformed spring nature.
In the poem "Whisper, timid breathing ...", in the absence of predicates, the poet creates a consistent story about a love date, an evening meeting (first stanza), a wonderful night spent alone by the lovers (second stanza), parting at dawn (third stanza). Nature gives the poet colors to create a picture of complete bliss and at the same time chaste love. The reception of psychological parallelism is used here by the poet with the highest skill. Love in the image of Fet is precious in every moment, even the tears of parting are one of the manifestations of happiness that overwhelms those who love and splashes out in the final line:
And dawn, dawn!
The poems “Don’t wake her up at dawn”, “I came to you with greetings ...” are also classic examples of Fet’s love lyrics. However, as always with Fet, one can only talk about the dominant theme in the work, but its development includes other themes, motives in the orbit of the artistic image, the figurative world expands, trying to embrace being as a whole.
In "I came to you with greetings ..." (1843), the lyrical hero seeks to attach his beloved to the world that he loves, to which he organically belongs. In the first two stanzas, he appears to her as a messenger of the eternally joyful, beautiful, renewing world of wildlife with every new day. And as an organic part of it, a natural continuation, love, a song about which in question farther.
A characteristic feature of Fet's paintings is generalization, the frequent absence of specifics, the individual face of what is being discussed. His favorite images - the sun, moon, light, forest, air, day, evening, morning, night - are the same for everyone. And in this poem we are talking about the forest, leaves, branches, birds in general. Each reader has the opportunity to fill the images embodied by the poet in an individually unique poetic form with his own visual, sound, sensual content, to concretize them in his imagination at the expense of paintings and details familiar, dear and close only to him.
The same can be said about the beloved, to whom the lyrical hero addresses. Obviously, he does not need to draw her individualized portrait, talk about some personal psychological qualities, because he knows her, and besides, he loves, and this love makes everything around beautiful. The reader, through his own life experience, can touch accessible to all, fragile and wonderful feeling, which so emotionally resulted in the exclamations of the lyrical hero of the poem. Fet combines extreme generalization with an amazing intimacy of experience.
Just as naturally as the sun shines, unintentionally, as love comes, poetry is born, the song that is discussed in the final stanza of the poem. And it doesn't matter what it's about. Joy, happiness, "fun", accessible to everyone, will appear in it - this is more important. The beauty of nature, love, poetry, life is embodied in this poem by Fet in an inseparable and natural unity.
The lyrics of A.A. Fet are rightfully considered one of the most striking and original phenomena of Russian poetry. It seriously influenced the development of poets of subsequent decades, and most importantly, it allows new generations of readers to join the world of the enduring beauty of human feelings, nature, the secret power of the mysterious and beautiful musical word.

The glory of A. A. Fet in Russian literature was his poetry. Moreover, in the reader's mind, he has long been perceived as a central figure in the field of Russian classical lyrics. Central from a chronological point of view: between the elegiac experiences of the romantics of the early 19th century and the Silver Age (in the famous annual reviews of Russian literature, which V. G. Belinsky published in the early 1840s, the name Fet is next to the name of M. Yu. Lermontov; Fet publishes his final collection "Evening Lights" in the era of pre-symbolism). But it is also central in another sense - by the nature of his work: it is in the highest degree corresponds to our ideas about the very phenomenon of lyrics. One could call Fet the most "lyrical lyricist" of the 19th century.

One of the first subtle connoisseurs of Fet's poetry, critic V.P. Botkin, called the lyricism of feeling its main advantage. Another of his contemporarys, the famous writer A. V. Druzhinin, also wrote about this: “Fet senses the poetry of life, like a passionate hunter senses with an unknown instinct the place where he should hunt.”

It is not easy to immediately answer the question of how this lyricism of feeling manifests itself, where does this feeling of Fetov's "sense of poetry" come from, what, in fact, is the originality of his lyrics.

In terms of its subject matter, against the backdrop of the poetry of romanticism, Fet's lyrics, the features and themes of which we will analyze in detail, are quite traditional. These are landscape, love lyrics, anthological poems (written in the spirit of antiquity). And Fet himself in his first (published when he was still a student at Moscow University) collection "Lyrical Pantheon" (1840) openly demonstrated his loyalty to tradition, presenting a kind of "collection" of fashionable romantic genres, imitating Schiller, Byron, Zhukovsky, Lermontov. But it was a student experience. Readers heard Fet's own voice a little later - in his journal publications of the 1840s and, most importantly, in his subsequent collections of poems - 1850.1856. The publisher of the first of them, Fet's friend, the poet Apollon Grigoriev, wrote in his review about Fet's originality as a subjective poet, a poet of indefinite, unsaid, vague feelings, as he put it - "semi-feelings".

Of course, Grigoriev had in mind not the vagueness and obscurity of Fetov's emotions, but the poet's desire to express such subtle shades of feeling that cannot be unambiguously named, characterized, described. Yes, Fet does not gravitate towards descriptive characteristics, towards rationalism, on the contrary, he strives in every possible way to get away from them. The mystery of his poems is largely determined precisely by the fact that they are fundamentally not amenable to interpretation and at the same time give the impression of a surprisingly accurately conveyed state of mind, experience.

Such, for example, is one of the most famous, which has become a textbook poem “ I came to you with greetings...". The lyrical hero, captured by the beauty of a summer morning, seeks to tell his beloved about her - the poem is a monologue uttered in one breath, addressed to her. The most frequently repeated word in it is "tell". It occurs four times over the course of four stanzas - as a refrain that determines the persistent desire, the inner state of the hero. However, there is no coherent story in this monologue. There is also no consistently written picture of the morning; there are a number of small episodes, strokes, details of this picture, as if snatched at random by the enthusiastic look of the hero. But the feeling, the integral and deep experience of this morning is supremely there. It is momentary, but this minute itself is infinitely beautiful; the effect of a stopped moment is born.

In an even more pointed form, we see the same effect in another poem by Fet - “ This morning, this joy...". Here, not even episodes, details, as it was in the previous poem, but individual words alternate, mix in a whirlwind of sensual delight. Moreover, nominative words (naming, denoting) are nouns devoid of definitions:

This morning, this joy

This power of both day and light,

This blue vault

This cry and strings

These flocks, these birds,

This voice of water...

Before us, it seems, is only a simple enumeration, free from verbs, verb forms; experiment poem. The only explanatory word that repeatedly (not four, but twenty-four (!) times) appears in the space of eighteen short lines is “this” (“these”, “this”). Let's agree: an extremely non-pictorial word! It would seem that it is so little suitable for describing such a colorful phenomenon as spring! But when reading Fetov's miniature, a bewitching, magical mood, directly penetrating the soul, arises. And in particular, we note, thanks to the non-pictorial word "this". Repeated many times, it creates the effect of direct vision, our co-presence in the world of spring.

Are the rest of the words only fragmentary, outwardly disordered? They are arranged in logically “wrong” rows, where abstractions (“power”, “joy”) and specific features of the landscape (“blue vault”) coexist, where “flocks” and “birds” are connected by the union “and”, although, obviously, flocks of birds are meant. But even this lack of system is significant: this is how a person, captured by a direct impression and deeply experiencing it, expresses his thoughts.

The keen eye of a researcher-literary critic can reveal deep logic in this seemingly chaotic enumerative series: first, a look directed upwards (sky, birds), then around (willows, birches, mountains, valleys), and finally, turned inward, into one’s feelings (darkness and heat of the bed, night without sleep) (Gasparov). But this is precisely the deep compositional logic, which the reader is not obliged to restore. His job is to survive, to feel the "spring" state of mind.

The feeling of an amazingly beautiful world is inherent in Fet's lyrics, and in many respects it arises due to such an external "accident" in the selection of material. One gets the impression that any traits and details randomly snatched from the surroundings are delightfully beautiful, but then (the reader concludes) the whole world is like that, remaining outside the attention of the poet! Fet achieves this impression. His poetic self-recommendation is eloquent: "Nature is an idle spy." In other words, the beauty of the natural world does not require any effort to reveal it, it is infinitely rich and as if it goes towards man itself.

The figurative world of Fet's lyrics is created in an unconventional way: visual details give the impression of accidentally "catching the eye", which gives reason to call Fet's method impressionistic (B. Ya. Bukhshtab). Wholeness, unity of the Fetov world is given to a greater extent not by visual, but by other types of figurative perception: auditory, olfactory, tactile.

Here is his poem, entitled " bees»:

I will disappear from melancholy and laziness,

Lonely life is not sweet

Heart aching, knees weak,

In every carnation of fragrant lilac,

Singing, a bee crawls in ...

If not for the title, then the beginning of the poem could puzzle with the indistinctness of its subject: what is it about? "Melancholy" and "laziness" in our minds are phenomena quite far from each other; here they are combined into a single complex. “Heart” echoes “longing”, but in contrast to the high elegiac tradition, here the heart “whines” (folklore-song tradition), to which is immediately added the mention of completely sublime, weakening knees ... The “fan” of these motives is focused in end of the stanza, in its 4th and 5th lines. They are prepared compositionally: the enumeration within the first phrase continues, the cross-rhyming sets the reader to expect the fourth line, which rhymes with the 2nd. But the expectation drags on, is delayed by a line that unexpectedly continues the rhyme series with the famous “lilac carnation” - the first visible detail, immediately imprinted in the consciousness of the image. Its appearance is completed in the fifth line by the appearance of the "heroine" of the poem - a bee. But here it is not the outwardly visible, but its sound characteristic that is important: “singing”. This chanting, multiplied by countless bees ("every carnation"!), And creates a single field of the poetic world: a luxurious spring hum-buzz in a riot of flowering lilac bushes. The title is remembered - and the main thing in this poem is determined: a feeling, a state of spring bliss that is difficult to convey in words, “vague spiritual impulses that do not yield even to the shadow of prosaic analysis” (A. V. Druzhinin).

The bird's cry, "tongue", "whistle", "shot" and "trills" created the spring world of the poem "This morning, this joy ...".

And here are examples of olfactory and tactile imagery:

What a night! Transparent air is bound;

Fragrance swirls over the earth.

Oh now I'm happy, I'm excited

Oh, now I'm glad to speak!

"What a night..."

Still alleys are not gloomy shelter,

Between the branches the vault of heaven turns blue,

And I'm going - fragrant cold blows

In the face - I go - and the nightingales sing.

"It's still spring..."

On the hillside it is either damp or hot,

The sighs of the day are in the breath of the night...

"Evening"

Saturated with smells, moisture, warmth, felt in the winds and breaths, the space of Fet's lyrics tangibly materializes - and cements the details of the outside world, turning it into an indivisible whole. Within this unity, nature and the human "I" are merged into one. The feelings of the hero are not so much consonant with the events of the natural world, but are fundamentally inseparable from them. This could be seen in all the texts discussed above; the ultimate (“cosmic”) manifestation of this can be found in the miniature “On a Haystack at Night...”. And here is a poem, also expressive in this regard, which no longer refers to landscape, but to love lyrics:

I'm waiting, anxious

I'm waiting here on the way:

This path through the garden

You promised to come.

A poem about a date, about an upcoming meeting; but the plot about the feelings of the hero unfolds through the demonstration of private details of the natural world: “crying, the mosquito will sing”; “a leaf will fall off smoothly”; "as if a string was broken by a Beetle, flying into a spruce." The hero's hearing is extremely sharpened, the state of intense expectation, peering and listening to the life of nature is experienced by us thanks to the smallest strokes of garden life noticed by him, the hero. They are connected, fused together in the last lines, a kind of "denouement":

Oh, how it smelled like spring!

It's probably you!

For the hero, the breath of spring (spring breeze) is inseparable from the approach of his beloved, and the world is perceived as integral, harmonious and beautiful.

Fet built this image over the long years of his work, consciously and consistently moving away from what he himself called "the hardships of everyday life." In the real biography of Fet, there were more than enough such hardships. In 1889, summing up his creative path in the preface to the collection “Evening Lights” (third edition), he wrote about his constant desire to “turn away” from everyday life, from sorrow that did not contribute to inspiration, “in order to at least for a moment breathe clean and free the air of poetry. And despite the fact that the late Fet has many poems of both a sad-elegiac and philosophical-tragedy character, he entered the literary memory of many generations of readers primarily as the creator of a beautiful world that preserves eternal human values.

He lived with ideas about this world, and therefore strove for the credibility of its appearance. And he succeeded. The special authenticity of Fetov's world - a peculiar effect of presence - arises largely due to the specificity of the images of nature in his poems. As noted long ago, in Fet, unlike, say, Tyutchev, we almost never find generic words that generalize: “tree”, “flower”. Much more often - "spruce", "birch", "willow"; "dahlia", "acacia", "rose", etc. In the exact, loving knowledge of nature and the ability to use it in artistic creativity next to Fet, perhaps, only I. S. Turgenev can be placed. And this, as we have already noted, is nature, inseparable from the spiritual world of the hero. She discovers her beauty - in his perception, and through the same perception his spiritual world is revealed.

Much of what has been noted allows us to talk about the similarity of Fet's lyrics with music. The poet himself drew attention to this; criticism has repeatedly written about the musicality of his lyrics. Particularly authoritative in this regard is the opinion of P.I. Tchaikovsky, who considered Fet a poet "unconditionally brilliant", who "in his best moments goes beyond the limits indicated by poetry, and boldly takes a step into our field."

The concept of musicality, generally speaking, can mean a lot: both the phonetic (sound) design of a poetic text, and the melodiousness of its intonation, and the richness of harmonious sounds, musical motives of the inner poetic world. All these features are inherent in Fet's poetry.

To the greatest extent, we can feel them in poems, where music becomes the subject of the image, a direct “heroine”, defining the whole atmosphere of the poetic world: for example, in one of his most famous poems “ The night shone...». Here the music forms the plot of the poem, but at the same time the poem itself sounds especially harmonious and melodious. This manifests Fet's finest sense of rhythm, verse intonation. Such texts are easy to set to music. And Fet is known as one of the most "romantic" Russian poets.

But we can talk about the musicality of Fet's lyrics in an even deeper, essential aesthetic sense. Music is the most expressive of the arts, directly affecting the sphere of feelings: musical images are formed on the basis of associative thinking. It is to this quality of associativity that Fet appeals.

Meeting repeatedly - now in one, then in another poem - the words most beloved by him "acquire" additional, associative meanings, shades of experiences, thereby enriching themselves semantically, acquiring "expressive halos" (B. Ya. Bukhshtab) - additional meanings.

This is how Fet, for example, the word "garden". Fet's garden is the best, ideal place in the world, where a person meets nature organically. There is harmony there. The garden is a place of thoughts and memories of the hero (here you can see the difference between Fet and A. N. Maikov, who is close to him in spirit, whose garden is the space of human transforming labor); it is in the garden that meetings take place.

The poetic word of the poet we are interested in is predominantly a metaphorical word, and it has many meanings. On the other hand, "roaming" from poem to poem, it links them together, forming a single world of Fet's lyrics. It is no coincidence that the poet gravitated so much towards combining his lyrical works into cycles (“Snow”, “Fortune-telling”, “Melodies”, “Sea”, “Spring” and many others), in which each poem, each image was especially actively enriched thanks to associative links. with neighbors.

These features of Fet's lyrics were noticed, picked up and developed already in the next literary generation - by symbolist poets of the turn of the century.