The main motifs of the feta lyrics briefly. Fet lyrics, main themes and motifs

He was always worried about the problems of the country, so he raised these issues in his prose, journalistic works and memoirs. In journalism, his angry tirades denounced the reality of the existing world. However, when it came to poems, poetry, everything changed at once.

Features and originality of Fet's lyrics

According to the poet, the lyrics should be beautiful and should not be associated with everyday life and problems. Lyrics should be like music. She should sing of the beauty of the surrounding world, exalt the feelings of beauty. Lines of lyrical poems should be kept away from political dirt and rudeness. The mission of poetry should be the service of beauty and all that is beautiful. This was the peculiarity and originality of Fet's lyrics.

Themes and motifs of Fet's lyrics

When we read Fet's poems, we feel the pleasure of happiness and peace. Fet became a truly master of the lyrical landscape, reflecting human feelings in it and revealing the main themes and motives that excite the writer. In his poems, the writer sang of nature, love, human happiness and eternity. Moreover, all his poetry is romantic. However, in Fet's lyrics, romance is not heavenly, it is quite earthly and comprehensible.

Let's dwell on the main lyrical directions of Fet's poetry separately.

Fet's love lyrics

I really like Fet's poetry. With particular pleasure I read love poems, and the writer has many of them. In his poems, love is depicted in all its angles and in different shades. Here we see happy love, but at the same time, the author shows that it is wonderful feeling can carry in itself not only joy, but also suffering with the torment of experiences. So it really is. After all, love can be reciprocal and unrequited. Love can be sincere, or it can be faked. Feelings can both play and reciprocate.

Fet dedicates a lot of works to his only muse, the woman he loved very much, Maria Lazich. However, the death of his beloved, so unexpected and inexplicable, brings pain to the writer. Despite this, time passed, years flew by, but he still loved the one that fate took away. And only in Fet's poems did his beloved come to life and the lyrical hero could talk with his beloved.

The cycle dedicated to Maria Lazich can be called a masterpiece of love lyrics, where each time the native female image came to life. And even after forty years, he still remembered the woman he had lost, and dedicated poems to her. Maybe that's why his poems about love are not only admiration and admiration for beauty, but also tragic experiences.

Getting acquainted with the love theme of Fet, we understand how extraordinary love can be, which works wonders.

Nature in Fet's lyrics

In addition to love lyrics, the poet devotes his poems to the theme of nature. When I read poems dedicated to nature by the poet, I get the impression that I am looking at a painting. We do not just see a beautiful landscape, but hear the sounds surrounding it. Everything comes to life, because the author endows nature with human images. Therefore, at Fet, the grass is crying, the forest is waking up, the azure has been widowed. Fet was a true singer of nature, thanks to whom we see all the beauty of the world around us with its colors, sounds and mood.

Philosophical lyrics Fet

Being a singer of love and a singer of nature, Fet could not pass by philosophical reflections, because the questions of being worried absolutely everyone. Therefore, Afanasy Fet also has philosophical lyrics, which were mainly formed under the influence of Schopenhauer's philosophy. It was on his works that the writer worked with translations. Schopenhauer's philosophical articles were of interest to Fet and he tried not only to rethink them, but also used them in his poems. So, analyzing the philosophical lyrics, we see the poet's reflections on eternity, on the wisdom of being. Fet also touches upon the issues of freedom of creativity, reflects on the futility of human fuss, on the poverty of human knowledge of the surrounding reality, on the meanness of everyday life. And this is only a small list of philosophical reasoning that the author reveals in his poems that relate to Fet's philosophical lyrics.

Man in Fet's lyrics

Having studied the work of the poet, we can confidently say that his works are based on a special philosophy, where the author wants to convey to readers both invisible and visible connections between man and nature. For these reasons, touching on the theme of nature, the poet tries to convey many shades of human experiences, to convey the state and emotions of the lyrical hero. Take the famous verbless poem

The social situation in Russia in those years implied Active participation literature in civil processes, that is, the civil orientation of poetry and prose. Fet was out of politics.

But if we recall Tyutchev's lyrics, then she considers human existence in its tragedy, while Fet was considered a poet of serene rural joys, gravitating towards contemplation. The landscape of the poet is distinguished by calmness, peace. But maybe it's the outside? Indeed, if you look closely, Fet's lyrics are filled with drama, philosophical depth, which have always distinguished "great" poets from one-day authors. One of the main themes of Fetov is the tragedy of unrequited love. Poems on such a subject reveal the facts of Fet's biography, more precisely, that he survived the death of his beloved woman. Poems related to this topic have rightly been called "monologues to the deceased" (.. You suffered, I still suffer..)

Other poems of the poet are intertwined with this tragic motif, the titles of which speak eloquently about the theme: “Death”, “Life flashed by without a clear trace”, “Simple in the haze of memories ...” The illusion of well-being is created by the poet’s desire to overcome suffering, dissolve them in the joys of everyday life, obtained from pain, in the harmony of the surrounding world.

Fet's view of nature is similar to Tyutchev's: the main thing in it is movement, the direction of the flow of vital energy that energizes people and their poems. The poem "At dawn, don't wake her up" demonstrates just such a moment "reflecting the state of the heroine:

And the brighter the moon shone

And the louder the nightingale whistled,

She became more and more pale

My heart was beating harder and harder.

In consonance with this verse - the appearance of another heroine: "You sang until dawn, exhausted in tears." But the most striking masterpiece of Fet, which depicted an internal spiritual event in a person’s life, is the poem “Whisper, timid breathing ...” In this verse there is a lyrical plot, that is, nothing happens at the event level, but a detailed development of the feelings and states of a soul in love, coloring a night date - namely, it is described in a poem - in bizarre colors. Against the background of night shadows, the silver of a quiet stream shines, and the wonderful night picture is complemented by a change in the appearance of the beloved. The last stanza is metaphorically complex, since it is precisely on it that the emotional climax of the poem falls:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn! ...

"With one push to drive a living rook ...". Its theme is the nature of the poet's inspiration. Creativity is seen as a high rise, a breakthrough, an attempt to achieve the unattainable. Fet directly names his poetic landmarks:

To interrupt a dreary dream with a single sound,

Get drunk suddenly unknown, dear,

Give life a breath, give sweetness to secret torment...

Another super-task of poetry is the consolidation of the world in eternity, a reflection of the random, the elusive (“to feel someone else’s in an instant as your own”). But in order for the images to reach the reader's consciousness, a special musicality is needed, unlike anything else. Fet uses many sound writing techniques (alliteration, assonance)

He walked from the darkness of the death of a loved one to the light of the joy of being, illuminating his path with fire and light in his poems. For this he is called the sunniest poet of Russian literature (everyone knows the lines: “I came to you with greetings, to tell you that the sun has risen”).

he wrote about the simplest - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about minute impressions. His poetry is joyful and bright, it has a sense of light and peace. Even about his ruined love, he writes lightly and calmly, although his feeling is deep and fresh, as in the first minutes.

The theme of nature in his works is closely intertwined with love lyrics, and with the Fet-specific theme of beauty, one and indivisible. In the early poems of the 40s, the theme of nature is not expressed explicitly, the images of nature are general, not detailed:

wonderful picture,

How are you related to me?

white plain,

Full moon...

The poets of the 40s, when describing nature, relied mainly on the techniques characteristic of Heine, i.e. separate impressions were given instead of a coherent description. For example, "The Noisy Midnight Blizzard", where the poet expresses the mood without a psychological analysis of it and without clarifying the plot. The outside world is, as it were, colored by the moods of the lyrical "I". This is how Fet's characteristic humanization of nature appears.

Fet's love for nature, knowledge of it, concretization and subtle observations of it are fully manifested in his poems in the 50s. Natural phenomena become more detailed, more concrete. Fet depicts not a birch in general, as a symbol of the Russian landscape, but a specific birch at the porch of his own house, not in general a road with its infinity and unpredictability, but that particular road that can be seen right now from the threshold of the house.

His observations can be easily grouped or, for example, in the image of the seasons, clearly define the period (late or early autumn)

This can be easily understood, because the description is accurate and clear. Fet likes to describe a precisely defined time of day, signs of this or that weather, the beginning of this or that phenomenon in nature (for example, rain in "Spring Rain"). Similarly, it can be determined that Fet, for the most part, gives a description of the central regions of Russia.

It is the nature of central Russia that is dedicated to the cycle of poems "Snow" and many poems from other cycles. According to Fet, this nature is beautiful, but not everyone is able to catch this dim beauty. He is not afraid to repeatedly repeat declarations of love for this nature, for the play of light and sound in it "to that natural circle, which the poet many times calls a shelter: "I love your sad shelter and the evening of the village is deaf ...".

Fet has always worshiped beauty; the beauty of nature, the beauty of man, the beauty of love - these independent lyrical motifs are sewn together in the artistic world of the poet into a single and indivisible idea of ​​beauty. From everyday life, he goes to “where thunderstorms fly by ...” For Fet, nature is an object of artistic delight, aesthetic pleasure.

"Whisper, timid breathing ..." the poet perfectly conveys instant sensations, and, alternating them, he conveys the state of the heroes, in harmony with nature to the human soul, and the happiness of love:

Whisper, timid breath,

trill nightingale,

Silver and flutter

Sleepy stream....

Fet was able to convey the movements of the soul and nature without verbs, which was undoubtedly an innovation in Russian literature. But does he also have pictures in which verbs become the main pillars, as, for example, in the poem "Evening"?

Sounded over a clear river,

Rang in the faded meadow "

It swept over the mute grove,

Lit up on that shore...

Such a transfer of what is happening speaks of another feature of Fet's landscape lyrics: the main tone is set by subtle impressions of sounds, smells, vague outlines, which are very difficult to convey in words. It is the combination of concrete observations with bold and unusual associations that makes it possible to clearly represent the described picture of nature.

In general, the motif of "reflection in the water" is found quite often in the poet. Probably, a shaky reflection provides more freedom to the artist's imagination than the reflected object itself. Fet depicts the outside world in the form that his mood gave him. With all the truthfulness and concreteness, the description of nature primarily serves as a means of expressing a lyrical feeling.

There is almost no action in his poetry, each of his verses is a whole kind of impressions, thoughts, joys and sorrows. Take at least such of them as “Your Ray, flying far ...”, “Still eyes, crazy eyes ...”, “The sun is a ray between lindens ...”, “I extend my hand to you in silence ... " and etc.

The poet sang beauty where he saw it, and he found it everywhere.

In all descriptions of nature, A. Fet is impeccably faithful to its smallest features, shades, moods. “Whisper, timid breathing...”, “I came to you with greetings...”, “Don’t wake her up at dawn...”, “Dawn says goodbye to the earth...”.

It is no coincidence that Fet's favorite time of day was night. She, like poetry, is a refuge from the hustle and bustle of the day:

At night, somehow I can breathe more freely,

A little more spacious...

The key images of Fet's entire aesthetic system are the words "Divine power" and "high pleasure". poetry is able to transform life, cleanse the soul of a person from everything earthly and superficial

The eternal object of art, according to Fet, is beauty.

The image of love-memories in the lyrics of Fet

Love for Lazich vindictively broke into Fet's lyrics, giving her drama, confessional looseness and removing from her a hint of idyllicness and tenderness.

A tragic shade is given to Fet's love lyrics by the motives of guilt and punishment, which are clearly heard in many poems.

The lyrical hero calls himself an "executioner", thereby emphasizing the awareness of his guilt. But he is an “unfortunate” executioner, because, having destroyed his beloved, he also destroyed himself, his own life. And therefore, in the love lyrics, next to the image of love-memories, the motif of death persistently sounds as the only opportunity not only to atone for one's guilt, but also to reunite with the beloved.

Fet feels himself and his beloved (his “second self”) inseparably merged in another being, really continuing in the world of poetry: “And although I am destined to drag out life without you, we are with you, we cannot be separated.” (“Alter ego.”) The poet constantly feels spiritual closeness with his beloved. About this poem "You suffered, I still suffer ...", "In the silence and darkness of the mysterious night ...". He makes a solemn promise to his beloved: “I will carry your light through earthly life: it is mine - and with it a double being” (“Planningly inviting and in vain ...”).

The poet directly speaks of a "double being", that his earthly life will help him endure only the "immortality" of his beloved, that she is alive in his soul.

Fet was aware of the inaccuracy of his poetic word, its proximity to the living, sometimes seeming not quite correct, but from that especially vivid and expressive speech (I came to you with greetings).

Inaccurate words and, as it were, sloppy, "disheveled" expressions in Fet's poems create not only unexpected, but also vivid, exciting images. One gets the impression that the poet does not seem to deliberately think about the words, they themselves came to him.

Feta has always attracted poetic theme evenings and nights. The poet early developed a special aesthetic attitude to the night, the onset of darkness. At a new stage of creativity, he already began to call entire collections "Evening Lights", in them, as it were, a special, Fetov's philosophy of the night.

In the “night poetry” of Fet, a complex of associations is found: night - abyss - shadows - dream - visions - secret, intimate - love - the unity of the "night soul" of a person with the night element. This image receives a philosophical deepening in his poems, new second meaning; in the content of the poem there is a second symbolic plan. Philosophical and poetic perspective is given to him by the association “night-abyss”. She begins to get closer to human life. The abyss is an air road, the path of human life.

MAY NIGHT

May night promises happiness, a person flies through life for happiness, the night is an abyss, a person flies into the abyss, into eternity.

Further development this association: the night-the existence of man-the essence of being.

Fet represents the night hours revealing the secrets of the universe. The night insight of the poet allows him to look “from time to eternity”, he sees “the living altar of the universe”.

The idea of ​​death is woven into the figurative association of Fet's poems about the night and human existence (the poem "Sleep and Death", written in 1858). Sleep is full of the bustle of the day, death is full of majestic peace. Fet gives preference to death, draws her image as the embodiment of a kind of beauty.

For the Feta philosopher, the night is the basis of world existence, it is the source of life and the keeper of the secret of “double being”, the relationship of man with the universe, she is the knot of all living and spiritual connections.

Athanasius Fet

* * *

My unsound and stubborn verse
In vain I want to express
A rush of the soul, but with a rebellious sound
Deceived, I fly to you with my soul.

I believe that fiery faith
A secret verse will awaken in your soul,
What sadness involuntarily size
She should sympathize for a moment.

Yes, you will understand, you will understand - I know it -
All that the soul has lived through, -
After all, I'll always guess by feeling
Your footprint is everywhere you've ever been.

<<...>> Nothing brings people together like art, in general-poetry in the broadest sense of the word. Such intimate rapprochement is poetry in itself. People become sensitive and feel and understand that for a full explanation of which no words are enough.<<...>>

A. A. Fet. " early years of my life".

* * *

Others inherited from nature
Instinct prophetically blind -
They smell them, hear the waters
And in the dark depths of the earth ...

Beloved by the Great Mother,
A hundred times more enviable is your destiny -
More than once under the visible shell
You have seen her...

F. I. Tyutchev.

A poem dedicated to A. A. Fet

<<...>> Yes-there are connections for life and death. For a minute of feminine participation of this masculinely noble, this proud soul, for a few rare evenings when we were both in the same mood - I thank Providence more, a thousand times more than in my whole life.

He wanted to hide a tear from me, but I saw it.

<<...>> If I saved him for life and art, he saved me even more, for the great faith in human soul . <<...>>

A. A. Grigoriev.

From the story "Leaves from the manuscript

wandering sophist.

* * *

<<...>> He was fed up with everything he lived, everything he lived was disgusting to him.

Meanwhile, he was in the full bloom of young forces, which developed in him freely and widely.

He was good as a husband, but on his lips the charming, serpentine smile of a woman sometimes flickered. Minutes of such a smile were rare, but they did happen. And those were not moments of daydreaming, for daydreaming is the expectation of the best. Not! It was a terrible, incomprehensible, counterintuitive return of the original childhood dreams, pink radiance, with which God's world is surrounded for a barely awakened consciousness. It had the ability to put its self to sleep and, during sleep, throw a discarded shell over it.

He had the ability to deceive himself, to renounce his I am, transferred to objects.

He was an artist in the full sense of the word: the ability to create was present in him to a high degree...<<...>>

With the ability to create, indifference grew in him.

Indifference - to everything except the ability to create - to God's world, how soon the objects of it ceased to be reflected in his creativity, to himself, how soon he ceased to be an artist.

This is how this man realized and accepted his purpose in life... The suffering subsided, subsided in him, although, of course, not suddenly.

This man had to either kill himself, or become what he became ... Broad needs were given to him by fate, but set in motion too early, they had to either stifle him with their fermentation, or fall asleep, as waves fall asleep, forming a flat and smooth surface in which everything around is reflected lightly and clearly.<<...>>

I have not seen a man who would be so choked with melancholy, for whom I would be more afraid of suicide.

I was afraid for him, I often spent my nights at his bedside, trying to dispel this terrible chaotic fermentation of the elements of his soul with anything.<<...>>

He laughed cynically at my thirst for faith, convincing me that I was too smart to believe in anything.<<...>>

But why does the heart ask for power of attorney, why does it eagerly strive to share every holy, beautiful impression? ..<<...>>

Yes! This man is one of the few chosen ones of art - and I have an appointment next to him ...<<...>>

A. A. Grigoriev. "Ophelia" .

A. A. FET’S ANSWERS TO THE QUESTIONS OF THE “RECOGNITION ALBUM” OF L. N. TOLSTOY’S DAUGHTER TATYANA LVOVNA

1. What is your main character trait? - Caring.

2. What is your goal in life? - Usefulness.

3. What is happiness? See the fruits of your efforts.

4. What is the misfortune? - In indifference.

7. What or who would you like to be? - Completely worthy of respect.

8. Where would you like to live? – In a sympathetic circle.

9. What nation would you like to belong to? - To none.

10. What is your favorite activity? - Acquaintance with poets.

11. What is your favorite treat? - Hunting.

12. What is your main habit? - Scold stupidity and drink coffee.

13. How long would you like to live? - Least long.

14. What kind of death would you like to die? - Instant.

15. What do you feel the most compassion for? - To undeserved torment.

16. What virtue do you have the most respect for? - To patience.

17. What vice do you treat with the greatest indulgence? “Stinginess is not stupidity.

18. What do you value most in a man? - Mind.

19. What do you value more in a woman? - Beauty.

20. What is your opinion about today's young people? – That they are generally better educated than us.

21. What is your opinion about today's young girls? - That they have little strength.

22. Do you believe in love from the first meeting? - I believe Shakespeare (Romeo and Julia).

23. Is it possible to love several times in life? - Certainly.

24. Have you been in love and how many times? - Twice.

25. What is your opinion on the women's issue? - What is this idle nonsense.

26. What is your opinion about marriage and married life? – That this is a natural burden that one must be able to bear.

27. What age should one get married and get married? – From 29 to 50 and from 17 to 35.

28. Which is better: to love or to be loved? One without the other is bad.

29. To submit or to be submitted to you? - Without the first, the second is disgusting.

30. Always suspect or often deceive? Both are stupid.

31. Want and not get or have and lose? - First.

32. What historical event evokes the most sympathy in you? - The abolition of the revolution by Napoleon I and the execution of Pugachev.

33. What is your favorite writer (in prose)? - Gr. L. N. Tolstoy.

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 early XIX centuries 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 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. This is a 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 - like a refrain that defines persistent desire, internal state 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 they alternate, mix in a whirlwind of sensual delight, not even episodes, details, as it was in the previous poem, but individual words. 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 enumeration series: first, a look directed upwards (sky, birds), then around (willows, birches, mountains, dales), 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 poet's attention! 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 on its own.

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 defy even 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 way in the preface to the collection "Evening Lights" (third edition), he wrote about his constant desire to "turn away" from the everyday, from sorrow, which did not contribute to inspiration, "in order to at least for a moment breathe in the pure and free 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 specific nature 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, perhaps only I. S. Turgenev can be placed next to Fet. 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.

Fetov's lyrics could be called romantic. But with one important clarification: unlike the romantics, the ideal world for Fet is not a heavenly world, unattainable in earthly existence "the distant land of the native." The idea of ​​the ideal is still clearly dominated by signs of earthly existence. So, in the poem “Oh no, I will not call for the lost joy ...” (1857), the lyrical “I”, trying to rid myself of the “dreary life of the chain”, represents a different existence as a “quiet earthly ideal”. The “earthly ideal” for the lyrical “I” is the quiet charm of nature and the “cherishing union of friends”:

Let the sick soul, tired of the struggle,
Without a roar, the chain of a dreary life will fall,
And let me wake up in the distance, where to the nameless river
Silent steppe runs from the blue hills.

Where a plum argues with a wild apple tree,
Where the cloud creeps a little, airy and bright,
Where the drooping willow slumbers over the water
And in the evening, buzzing, a bee flies to the hive.

Perhaps ... Eyes are always looking into the distance with hope! -
A cherishing union awaits me there,
With hearts as pure as the month of midnight,
With a sensitive soul, like the songs of prophetic muses<...>

The world where the hero finds salvation from the "dreary life of the chain" is nevertheless filled with signs of earthly life - these are blossoming spring trees, bright clouds, the buzzing of bees, a willow growing over the river - endless earthly distance and heavenly space. The anaphora used in the second stanza further emphasizes the unity of the earthly and heavenly worlds, which constitute the ideal towards which the lyrical "I" aspires.

Very clearly, the internal contradiction in the perception of earthly life was reflected in the poem of 1866.

The mountains are covered with glitter in the evening.
Dampness and haze run into the valley.
With a secret prayer I lift my eyes:
- “Will I leave the cold and dusk soon?”

The mood, the experience expressed in this poem is an acute longing for a different, the upper world, which is inspired by the vision of majestic mountains, allows us to recall one of the most famous poems by A.S. Pushkin "Monastery on Kazbek". But the ideals of the poets are distinctly different. If for Pushkin’s lyrical hero the ideal is a “transcendental cell”, in the image of which dreams of a lonely service, a break with the earthly world and an ascent to the heavenly world, perfect, then the ideal of Fetov’s hero is also a world far from “cold and dusk » valleys, but not requiring a break with the world of people. This is human life, but harmoniously merged with the heavenly world and therefore more beautiful, perfect:

I see on that ruddy ledge -
the cozy nests of the roofs have been moved;
Vaughn lit up under the old chestnut tree
Lovely windows, like faithful stars.

The beauty of the world for Fet also consisted in a hidden melody, which, according to the poet, all perfect objects and phenomena possess. The ability to hear and transmit the melodies of the world, the music that permeates the existence of every phenomenon, every thing, every object can be called one of the features of the worldview of the author of "Evening Lights". This feature of Fet's poetry was noted by his contemporaries. “Fet in his best moments,” wrote P.I. Tchaikovsky, - goes beyond the limits indicated by poetry, and boldly takes a step into our field ... This is not just a poet, but rather a poet-musician, as if avoiding even those topics that can easily be expressed in words.

It is known with what sympathy this review was received by Fet, who admitted that he was “always drawn from a certain area of ​​​​words to an indefinite area of ​​​​music”, into which he went, as far as his strength was. Even earlier, in one of the articles devoted to F.I. Tyutchev, he wrote: “Words: poetry is the language of the gods - not an empty hyperbole, but expresses a clear understanding of the essence of the matter. Poetry and music are not only related, but inseparable. "Seeking to recreate the harmonic truth, the artist's soul, - according to Fet, - itself comes into the corresponding musical system." Therefore, the word "sing" to express the creative process seemed to him the most accurate.

Researchers write about the "exceptional susceptibility of the author of "Evening Lights" to the impressions of the musical series." But the point is not only in the melody of Fet's poems, but in the poet's ability to hear the melodies of the world, which are clearly inaccessible to the ear of a mere mortal, not a poet. In an article devoted to the lyrics of F.I. Tyutchev, Fet himself noted "harmonic singing" as a property of beauty, and the ability of only a chosen poet to hear this beauty of the world. “Beauty is poured throughout the universe,” he argued. “But it is not enough for an artist to unconsciously be under the influence of beauty, or even to bask in its rays. Until his eye sees its clear, albeit subtle-sounding forms, where we do not see it or only vaguely feel it, he is not yet a poet ... ". One of Fetov's poems - "Spring and night covered the valley ..." - clearly conveys how this connection arises between the music of the world and the soul of the poet:

Spring and night covered the valley,
The soul flees into sleepless darkness,
And she clearly hears the verb
Elemental life, detached.

And unearthly existence
He speaks with his soul
And blows right at her
With its eternal stream.

As if proving Pushkin's idea of ​​a true poet-prophet as the owner of special vision and special hearing, Fetov's lyrical subject sees the existence of things hidden from the eyes of the uninitiated, hears what is inaccessible to the ear of an ordinary person. In Fet, one can find striking images that in another poet would probably seem like a paradox, perhaps a failure, but they are very organic in the poetic world of Fet: “whisper of the heart”, “and I hear how the heart blooms”, “sonorous heart ardor radiance pours around”, “the language of the night rays”, “anxious murmur of the shadow of the summer night”. The hero hears “the dying call of flowers” ​​(“Feeling the answer inspired by others ...”, 1890), “the sobbing of grasses”, the “bright silence” of twinkling stars (“Today all the stars are so magnificent ...”). The heart and hand of the lyrical subject have the ability to hear (“People are sleeping, - my friend, let's go to the shady garden ...”), the caress has the melody or speech (“The last gentle caress has resounded ...”, “Alien voices ... "). The world is perceived with the help of a melody hidden from everyone, but clearly audible by the lyrical “I”. “Chorus of lights” or “star choir” - these images are found more than once in Fetov’s works, pointing to the secret music that permeates the life of the Universe (“I stood motionless for a long time ...”, 1843; “On a haystack at southern night ... ”, 1857; “Yesterday we parted with you ...”, 1864).

Human feelings, experiences remain in the memory as a melody (“Some sounds are carried / And cling to my headboard. / They are full of languid separation, / Tremble with unprecedented love”). It is interesting that Fet himself, explaining Tyutchev’s lines “trees sing,” wrote: “We will not, like classical commentators, explain this expression by the fact that birds sleeping on trees sing here - this is too rational; No! It is more pleasant for us to understand that the trees sing with their melodic spring forms, sing with harmony, like celestial spheres.

Many years later, in the well-known article “In Memory of Vrubel” (1910), Blok would give his definition of genius and recognize the ability to hear as a distinguishing feature of a brilliant artist, but not the sounds of earthly existence, but mysterious words coming from other worlds. A.A. was fully endowed with this talent. Fet. But, like none of the poets, he had the ability to hear the "harmonic tone" and all earthly phenomena, and it was this hidden melody of things to convey in his lyrics.

Another feature of Fet's worldview can be expressed with the help of the statement of the poet himself in a letter to S.V. Engelhardt: “It is a pity that the new generation,” he wrote, “is looking for poetry in reality, when poetry is only the smell of things, and not the things themselves.” It was the fragrance of the world that Fet subtly felt and conveyed in his poetry. But here, too, one feature, which was first noted by A.K. Tolstoy, who wrote that in Fet's poems "it smells of sweet peas and clover", "the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of morning dawn pours into sound." These words correctly capture the poet's ability to depict the secret life of nature, its eternal variability, without recognizing the clear boundaries between color and sound, smell and color that are familiar to everyday consciousness. So, for example, in Fet’s poetry, “frost shines” (“The night is bright, the frost shines”), sounds have the ability to “burn” (“As if everything is burning and ringing at the same time”) or shine (“the heart’s sonorous ardor radiance pours around "). In the poem dedicated to Chopin ("Chopin", 1882), the melody does not stop, but rather fades away.

The idea of ​​Fet's impressionistic manner of painting the world of natural phenomena has already become traditional. This correct judgment: Fet seeks to convey the life of nature in its eternal variability, he does not stop the "beautiful moment", but shows that in the life of nature there is not even an instantaneous stop. And this internal movement, “burning fluctuations”, inherent, according to Fet himself, to all objects, phenomena of being, also turn out to be a manifestation of the beauty of the world. And therefore, in his poetry, Fet, according to the exact observation of D.D. Good, "<...>even motionless objects, in accordance with their idea of ​​their "inmost essence", sets in motion: makes them oscillate, sway, tremble, tremble.

The originality of Fet's landscape lyrics is clearly conveyed by the 1855 poem "Evening". Already the first stanza imperiously includes man in the mysterious and formidable life of nature, in its dynamics:

Sounded over a clear river,
Rang out in the faded meadow,
It swept over the mute grove,
It lit up on the other side.

The absence of natural phenomena subject to description makes it possible to convey the mystery of natural life; the dominance of verbs - enhances the feeling of its variability. Assonance (o-o-o-o), alliteration (p-r-z) clearly recreate the polyphony of the world: the rumble of distant thunder, echoes to it in the meadows and groves that have subsided in anticipation of a thunderstorm. The feeling of the rapidly changing, full of movement life of nature intensifies even more in the second stanza:

Far, in the twilight, bows
The river runs away to the west;
Burning with golden rims,
Clouds scattered like smoke.

The world, as it were, is seen by the lyrical "I" from a height, his eye embraces the boundless expanses of his native land, the soul rushes after this rapid movement of the river and clouds. Fet is amazingly able to convey not only the visible beauty of the world, but also the movement of air, its vibrations, and allows the reader to feel the warmth or cold of a pre-stormy evening:

On the hillside it's damp, it's hot -
The sighs of the day are in the breath of the night...
But the lightning is already glowing brightly
Blue and green fire.

Perhaps one could say that the theme of Fetov's poems about nature is precisely variability, the mysterious life of nature in perpetual motion. But at the same time, in this variability of all natural phenomena, the poet seeks to see some kind of unity, harmony. This idea of ​​the unity of being determines such a frequent appearance in Fet's lyrics of the image of a mirror or a reflection motif: earth and sky reflect each other, repeat each other. D.D. Blagoy very accurately noticed “Fet’s predilection for reproduction, along with a direct image of the object, its reflected, mobile “double”: the starry sky reflected in the night mirror of the sea<...>, “repeating” landscapes, “overturned” into the unsteady waters of a stream, river, bay”. This motif of reflection, which is stable in Fet’s poetry, can be explained by the idea of ​​the unity of being, which Fet declaratively affirmed in his poems: “And as in a slightly noticeable dewdrop / You recognize the whole face of the sun, / So united in the depths of the cherished / You will find the whole universe.

Subsequently, analyzing Fetov's "Evening Lights", the famous Russian philosopher Vl. Solovyov defines Fetov's conception of the world as follows:<...>Not only is each inseparably present in everything, but everything is inseparably present in each<...>. True poetic contemplation<...>sees the absolute in an individual phenomenon, not only preserving, but also infinitely strengthening its individuality.

This consciousness of the unity of the natural world also determines the inclusiveness of Fetov's landscapes: the poet, as it were, seeks to capture the infinity of space in one moment of world life: the earth - the river, fields, meadows, forests, mountains, and the sky and show harmonious harmony in this boundless life. The gaze of the lyrical "I" instantly runs from the earthly world to the heavenly one, from near to the distance that goes infinitely into infinity. The originality of Fetov's landscape is clearly visible in the poem "Evening", with the unstoppable movement of natural phenomena captured here, which is opposed only by the temporary peace of human life:

Look forward to a clear day tomorrow.
Swifts flash and ring.
purple streak of fire
Transparent illuminated sunset.

Ships slumber in the bay, -
The pennant barely flutters.
The heavens are far away
And the sea distance has gone to them.

So timidly runs a shadow
So secretly the light goes away
What don't you say: the day has passed,
Do not say: the night has come.

Fetov's landscapes seem to be seen from the top of a mountain or from a bird's eye view, they strikingly merge the vision of some insignificant detail of the earthly landscape with a river rapidly running away into the distance, or boundless steppe, or sea distance and even more boundless heavenly space. But the small and the great, the near and the far are united into a single whole, into the harmoniously beautiful life of the universe. This harmony is manifested in the ability of one phenomenon to respond to another phenomenon, as if to mirror its movement, its sound, its aspiration. These movements are often imperceptible to the eye (the evening is blowing, the steppe is breathing), but are included in the general unstoppable movement into the distance and up:

Warm evening blows softly
The steppe breathes fresh life,
And the mounds are green
Runaway chain.

And far between the mounds
dark gray snake
To the fading mists
The native path runs.

To unaccountable fun
Rising to the sky
Throws trill after trill from the sky
Spring bird voices.

Very accurately, the originality of Fetov's landscapes can be conveyed by his own lines: "As if from a wonderful reality / You are carried away into the airy vastness." The desire to paint the constantly changing and at the same time unified life of nature in its aspirations also determines the abundance of anaphoras in Fet's poems, as if connecting all the numerous manifestations of natural and human life with a common mood.

But all endless limitless world, like the sun in a drop of dew, is reflected in the human soul, carefully stored by it. The consonance of the world and the soul is a constant theme of Fetov's lyrics. The soul, like a mirror, reflects the instantaneous variability of the world and changes itself, obeying the inner life of the world. That is why in one of the poems Fet calls the soul "instantaneous":

My horse moves slowly
Through the spring backwaters of the meadows,
And in these creeks the fire
Spring shines clouds

And refreshing mist
Rises from the thawed fields...
Dawn, and happiness, and deceit -
How sweet you are to my soul!

How gently the chest shuddered
Above this golden shadow!
How to get close to these ghosts
I want instant soul!

One more feature of Fetov's landscapes can be noted - their humanization. In one of his poems, the poet writes: "That which is eternal is humane." In the article dedicated to poems F.I. Tyutchev, Fet identified anthropomorphism and beauty. “There,” he wrote, “where the ordinary eye does not suspect beauty, the artist sees it,<...>puts on it a purely human stigma<...>. In this sense, all art is anthropomorphism.<...>. In embodying the ideal, a person inevitably embodies a person. "Humanization" is manifested primarily in the fact that nature, like man, is endowed by the poet with "feeling". In his memoirs, Fet stated: “It is not for nothing that Faust, explaining to Margarita the essence of the universe, says:“ Feeling is everything. This feeling, Fet wrote, is inherent in inanimate objects. Silver turns black, feeling the approach of sulfur; the magnet senses the proximity of iron, etc.” It is the recognition of the ability to feel in natural phenomena that determines the originality of Fet's epithets and metaphors (meek, immaculate night; sad birch; ardent, languid, cheerful, sad and immodest faces of flowers; the face of the night, the face of nature, the faces of lightning, the dissolute shoot of prickly snow, the air is timid , joy of oaks, happiness of a weeping willow, stars pray, heart of a flower).

The expression of the fullness of feelings in Fet is “trembling”, “trembling”, “sigh” and “tears” - words that invariably appear when describing nature or human experiences. The moon is trembling (“My garden”), the stars (“The night is quiet. In the unsteady firmament”). Trembling and trembling - Fet conveys the fullness of feelings, the fullness of life. And it is precisely to the “trembling”, “trembling”, “breathing” of the world that the sensitive soul of a person responds, responding with the same “trembling” and “trembling”. Fet wrote about this consonance of the soul and the world in the poem “To a Friend”:

Understand that the heart only feels
Inexpressible by nothing
That which is imperceptible in appearance
Trembling, breathing harmony,
And in his cherished secret
Keeps the immortal soul.

Inability to "tremble" and "tremble", i.e. to feel strongly, for Fet becomes proof of lifelessness. And therefore, among the few natural phenomena negative for Fet are arrogant pines, which “do not know awe, do not whisper, do not sigh” (“Pines”).

But trembling and trembling is not so much a physical movement as, using the expression of Fet himself, “the harmonic tone of objects”, i.e. captured in physical movement, in forms, inner sounding, hidden sound, melody. This combination of “trembling” and “sounding” of the world is conveyed in many poems, for example, “On a haystack at southern night”:

On a haystack at southern night
I lay face to the firmament,
And the choir shone, lively and friendly,
Spread around, trembling.

Interestingly, in the article “Two Letters on the Significance of Ancient Languages ​​in Our Education,” Fet asked himself how to know the essence of things, say, one of a dozen glasses. The study of form, volume, weight, density, transparency, - he argued, - alas! leave "the secret impenetrable, silent, like death." “But now,” he writes further, “our glass trembled with all its inseparable essence, trembled in the way that only it tends to tremble, due to the combination of all the qualities we studied and unexplored. She is all in this harmonic sound; and one has only to sing and reproduce this sound with free singing, so that the glass instantly trembles and answers us with the same sound. You undoubtedly reproduced its separate sound: all other glasses like it are silent. Alone she trembles and sings. Such is the power of free creativity." And then Fet formulates his understanding of the essence artistic creativity: "It is given to a human artist to fully master the most intimate essence of objects, their quivering harmony, their singing truth."

But for the poet, the ability not only to tremble and tremble, but also to breathe and cry becomes evidence of the fullness of the being of nature. In Fet’s poems, the wind (“The sun will sink its rays into a plumb line ...”), the night (“My day rises like a miserable worker ...”), the dawn (“Today all the stars are so magnificent ...”), the forest ( “The sun will sink with its rays into a plumb line ...”), the sea bay (“Sea Bay”), spring (“At the Crossroads”), the wave sighs (“What a night! How clean the air ...”), frost (“September Rose ”), noon (“The Nightingale and the Rose”), the night village (“This is morning, this joy ...”), the sky (“It has come - and everything around is melting ...”). In his poetry, grasses are crying (“In the moonlight ...”), birches and willows are crying (“Pines”, “Willows and birches”), lilacs are trembling in tears (“Don't ask me what I'm thinking about ...”) , “shine” with tears of delight, roses cry (“I know why you are a sick child ...”, “It’s full of sleep: you have two roses ...”), “the night is crying with dew of happiness” (Do not blame me for being embarrassed. ..”), the sun is crying (“Here the summer days are diminishing ...”), the sky (“Rainy summer”), “tears tremble in the eyes of the stars” (“The stars are praying, twinkling and glowing ...”).