The Poetry of Pure Art of the 1960s Russian literature of the 1950s and 1960s includes several well-known even today poets who make up the pleiad of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet. Not for worldly excitement. Not for selfishness, not for battles, We were born for inspiration, For the sounds of sweet prayers. This is the poet's program, a call to go to the shrine of poetry, not to reckon with the demands of the crowd, with the demands of utilitarianism. Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads. Dear free Go where the free mind leads you, Improving the fruits of your favorite thoughts. It is in you yourself, you yourself are your highest court, Not demanding rewards for a noble feat. Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin will define the freedom of creativity and the individual world of the poet in the first period of his life. creative activity. These poetic slogans formed the basis of the creativity of all the poets of pure art listed above. Just as realists, prose writers Turgenev, Dostoevsky, Tolstoy and others grow out of Pushkin's later works. Similarly, on the other hand, Pushkin's romanticism paved the way for the flowering of pure poetry and brought with it a significant group of romantic poets. Thus, the idea of ​​serving pure poetry was not a new phenomenon that arose only in the period of the 50s. Its roots were in the poetic legacy of the past. Moreover, it must be said that the special attraction of later poets to this idea in the 50s is explained by several other new historical literary factors that arose in these years. This is the development of the idea of ​​utilitarianism in literature. Russian public life was subjected to the strongest breakage at the turn of the 50s-60s. And the new historical situations that appeared after the reform in the life of Russian society imperiously require a reassessment of many values, a massive revision and re-accounting of everything that has accumulated from the past in all areas of life. The need for a new assessment, a new analysis, along the new [........] of the path traveled appeared before the people involved in literature. In addition, along with the developing liberalism in the minds of the leading representatives in Russian social thought of that time, the government reaction was also intensifying, imposing unlimited absolutism on everything, that assessment of social value among liberals and a large mass of the Russian public took place under the exceptional sign of the social significance of those or other phenomena, including their literary works. Public criticism appears and flourishes, denying any idealism and individualism in creativity, demanding the social utility of literary works and demanding service to the collective. Contrasting idealism with literary rationalism. The desire to clean up the world's dream. The former understanding of the appointment of the poet as a free priest of free art is opposed by a new understanding of the significance of the poet as a bearer of civic duty, as a champion of goodness against all social evils. Hence the need for civic motives and the intensification of civic sorrow, the denunciation of social untruth, the imposition of certain real social tasks on literary works. Moreover, along with increasing social criticism, they appear as a result of new trends and as a new literary phenomenon, new poetry appears, like Nekrasov's poetry, completely absorbed in the idea of ​​serving society, saturated through and through with the spirit of populism. The muse of revenge and sadness, scourging social evil, chooses topics almost exclusively from the life of the lower classes, reflects the difficult life of the peasantry, which is under the yoke of autocratic lack of rights, violence, and in darkness and ignorance. The poet does not create for a select circle of educated readers, but tries to bring poetry closer to the masses. Therefore, the poetic style itself reduces to the level of this mass. Poetry in the person of Nekrasov popularizes the ideology of populism; the desire for public duty brings a bright socio-political coloring to poetry, and tendentiousness is introduced into art. And this trend in art was required and justified not only by public criticism of that time in the person of Chernyshevsky, Dobrolyubov and others. But the same was demanded by all the progressive representatives of the masses of readers. But the strengthening of this populist trend in the literature of the 1950s and 1960s could not carry along with it all the forces of society, and, above all, could not carry away all the poets and writers. Among the latter, groups appear that do not share the idea of ​​utilitarianism and instead put the self-contained value of art at the head of their creative activity. Exalting poetry as a shrine inaccessible to the masses, where only an artist is allowed to comprehend all the secrets of life, where for the artist there is a special closed world, a blissful land, on the bed of which the poet must forget worldly fuss. He must stand above the interests of the crowd and, from the height of creation, impartially contemplate everything earthly with all everyday interests and all worldly vulgarity. In this world, the poet must find rest from the gray reality. If so, then the utilitarian poets are not poets, they are traders in words, they are defilers of the divine temple of pure art. Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Such an understanding of the essence and task of poetry, as noted above, was first proclaimed by Pushkin and it found a lively response from a whole choir of poets of the 50s and 60s. But the appearance of the latter coincided with a natural increase in utilitarianism, and this appearance was not accidental. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. They are sectarian poets who have broken away from the rest of society, Protestants who have gone into the side lanes of pure poetry in the name of free creativity and in the name of preserving their individual image as free priests of art. Therefore, their themes are mostly secular and aristocratically chosen. Poetry for those who understand it. For a select circle of readers. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical models, to ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe. The poetry of sighs and fleeting sensations. And pure poetry as a hymn to eternal beauty, eternal radiance, golden veil, eternally sunny day, starry and moonlit night. And in all the grandeur and beauty of the universe, a person is like a necessary sound in world harmony, and the song that escapes from the lips is the languid sound of a string that echoes like an echo of the world symphony. Moreover, the poetry of pure art as such is represented in different ways in the work of each of these poets. While preserving the general mood, the general motives of creativity and being quite definite representatives of pure art in assessing the essence and goals of the poet, it is still necessary to distinguish between them the difference that is expressed in the methods of creativity, the main images in the chosen topics, and in the same way in the ideological content. creativity. With this approach, it is not difficult to establish a significant difference between such poets as Fet, on the one hand, and Tyutchev, Maikov and Tolstoy, on the other. The poetry of the latter is more saturated with folk content as the ideal of a world Christian state, the founder of which should be the Slavic peoples according to Tyutchev, or Maikov’s conscious attraction and imitation of ancient images, actively polemical tendencies as a champion of pure art L. Tolstoy - all this can be generally noted as moments strengthening the ideological content of the content and as well-known tendentious premises of a speculative order in the work of poets of pure art. These moments should be considered as some deviation from the main property of pure poetry, the source of which in most cases is the world of the subconscious, the world of impressions and the world of the poet-mystic and pantheist that seems to be inspired. And among the poets of the 60s there is such a poet who is the most striking, typical representative of genuine pure poetry, and such is Afanasy Afanasievich Fet, whose work we will dwell on as the most vividly reflecting the image of pure poetry of the 60s. Poetry for Fet, as for all poets of pure art, is valuable in itself, its goals and objectives are defined within poetry itself, and its main goal is not to condescend, but to elevate. His poetry is characterized by exceptional purity and spirituality, but there are no actions in it. Instead of actions, one rushes up, flashing thoughts, sighs of the soul and a lot of impressions [. .......] joys and sorrows. The poet is the only connoisseur of world beauty. The longing of the earth will not overshadow his fantasy. "Mountain Height" "Your fate is on the verges of the world Do not condescend, but elevate. The powerless sigh will not touch you, Longing will not overshadow the earth: At your feet, like incense smoke, Clouds are melting" (July 1886) So far is the poet from everything earthly. His inner world and his penetration into the secrets of the universe are so whole and so subtly penetrating that he regrets his song, which has eternal noble impulses beyond the earthly, but which is destined to be a captive bird in a helpless heart embodied in flesh and blood and attached to the earth. And in the heart, like a captive bird, A wingless song languishes. The poet's muse is ethereal, airy. Her secret beauty, her ethereality and the world of eternal beauty accessible to her is difficult for a poet to express in earthly words. Therefore, passionate desires come out of his mouth. Ah, if it were possible to speak with the soul, since it is impossible to speak with the soul, then the poet finds sadness for the understatement, incomprehensibility of his poetry, he could not express everything that he felt, and many beautiful dreams live like a prisoner in the secret of his soul and are not expressed in the images desired by the poet. Regretting them, the poet expresses a sad, dreary desire that: "The summers drowned his momentary dreams." This desire of the poet will become clear to us when we learn his view of the purpose of the poet. The sky caresses the poet, it is only dear to him. And inspired by unearthly grandeur, he must see beauty in everything. Nothing should cloud the clairvoyant gaze of the poet, the earthly definition of beauty is not the definition of the poet, it represents eternal beauty, the poet must see the reflection of world beauty in everything, including the fleeting and the past. In addition, the poet must see beauty not only in what is understandable to all people, but must feel the power of beauty even where people do not feel it. Even the imperceptible, miserable in nature must also burn with eternal gold in hymns. To the poets "In your chambers my spirit is winged, It sees the truth from the heights of creation. This leaf, which withered and fell, Burns with eternal gold in hymns." The same look is expressed in another verse: Only a bee recognizes the hidden sweetness in a flower, Only an artist senses a trace of beauty in everything. Such beauties bring a person closer to the world, so the goal of poets is to perpetuate beauty. The poet must guess through the veil, through the beautiful shell, even in all passing phenomena, the reflection of the eternally existing being. Only then will the harmonious grandeur of the beauty of nature become clear to him. And for the poet, a quick change of impressions, fleeting moments and transient contradictions are very significant. Therefore, nature answers him through the lips of a cheerful creature, an embodied moment - a butterfly: You are right. One air outline I'm so sweet. All velvet with its live blinking - Only two wings. Do not ask where it came from, where I am in a hurry; Here on a flower I easily sank - And now I breathe. How long, without purpose, without effort - Do I want to breathe? - Just about now - flashing, I will spread my wings - And I'll fly away! This poem very clearly reflects the deep aesthetic nature of Fet's work. And it most realistically expresses the living sense of beauty and the boiling of living life in Fet's poetry. Selfless devotion to one beauty and constant unquenchable [........] passion for everything captivating and beautiful at times turn the poet of the moment into a mystic poet. The element of nature captures and takes his dreams to the world beyond, the other world. Listening to the song of a nightingale on a starry night or contemplating twilight, sunsets, sincerely trying to comprehend the mysteries of life or following a lancet swallow over an evening pond, he often rushes off with his fantasy to a forbidden alien element: Nature's feast [.......]. Here we rushed and [.......]. And it’s scary that [.......] You can’t grab an alien element. Prayer wing And again the same boldness, And the same dark stream Isn't inspiration like that, And the human self? Am I not a vessel, meager, I dare to the forbidden path, The elements are alien, transcendent, Trying to scoop at least a drop. This desire for an alien element pervades the lyrics of nature in Fet's work, so that mystical love for her should be considered as one of the main points of his poetry. Moreover, the mystical perception of nature turns all its beauty into mysterious music, into a symbol of the infinite, into an endlessly flickering magical ghost. This gives rise to a feature of the techniques often observed in Fet's work, which consists in reproducing mainly one's impressions and sensations received from the environment, and not reproducing individual real paintings. Fet often conveys not the sound itself, but its quivering echo. Describes not the moonshine, but the reflection of light on the surface of the water. This technique, inherent in symbolic poetry, is for the first time in Russian literature most fully represented in the poetry of Fet. Therefore, the description of nature in his mouth turns into solid music, into refined gentle lyrics. And especially intimate and airy are his spring and summer songs and songs dedicated to distant mysteriously twinkling stars, with which the poet’s thoughts merge in mystical trembling with a living fabric of fantasy, so often break away from real life and merge in their impulses with [ ...... .] elements. But being so mysteriously in love with nature, Fet did not look for the riddle of the spirit in nature itself. Beauty in nature is only a reflection of the secret beauty of being, a reflection of the ever-existing spirit. The lyrics of nature for him as a necessary cult of beauty and therefore perceives all its phenomena from a purely aesthetic point of view. Calmly contemplating the nature of the entire region, the poet has no demands on it in the name of principles that lie outside it. He takes nature as it is, finds in himself a great closeness to it and, describing it, does not resort to any artificial personifications, false spiritualizations, but has only one simple-hearted desire to reproduce nature without a tendency to improve, correct, etc. Therefore, it is very often his depiction of nature is especially simple. Many beautiful moments of nature are recorded by him as separate independent images and integral themes and strung one on top of the other in order to give musical melody to his poems in playful overflows and harmonious symbolism of his emotional experiences and thoughts that excite him. Art. A storm in the evening sky, An angry sea noise, A storm on the sea and thoughts, Many painful thoughts, A storm on the sea and thoughts, A chorus of growing thoughts. Black cloud after cloud, The angry noise of the sea. Fet's love lyrics also stem from the cult of beauty, but there is no ebullient passion in it, born of the desire for earthly pleasures, but rather poeticized moments of fleeting memories and an artistically reproduced alternation of light and shadows, sighs and moments of the past. Therefore, Fet's love songs are far from ordinary sensuality, there are much more sublime, incorporeal impulses in them, full of hints and understatements. The lyrics of love, like the lyrics of nature, are light and sincere, it fills the reader's soul not with the desire for passion, but like musical tunes that give rise to a lot of side thoughts, moods and impressions. They are the essence of sparks of living life, with their flickering luring and taking away to the unknown gave dreams and fantasies. Every lyric of Fet, in addition to the above properties, is fraught with a deep religious and philosophical meaning. As mentioned above in passing, although Fet, mystically in love with nature, exalted its beauty in his poetry, he nevertheless sought and saw his ideal not in nature itself, but in the otherworldly mystery of the universe. Beauty in nature is only a means for communicating the fantasy of the poet's thought directed into the distance with the supersensible incomprehensible world. The desire for this latter, the desire to comprehend and merge with it is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance... Poetry for Fet is a sacred act and at the moment of creation he is like a priest who makes a sacrifice on altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [ .......], the thrill of a touched heart, kneeling before eternal beauty: "... I am still humble Forgotten, thrown into the shadows, I stand on my knees And, touched by beauty, I lit the evening fires. Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. He is everywhere and everywhere at all moments of poetic contemplation, inhaling the last, the desire to comprehend and merge with him is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance... Lifting the sacred banner with his gum. I go - And the living crowd set off after me, And everyone stretched along the forest clearing, And I am blessed and proud singing the shrine. I sing - and the childish fear is unknown to my thoughts: Let the beasts answer me singing, - With a shrine over my forehead and a song on my lips, With difficulty, but I will reach the coveted door! Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [.......], the thrill of a touched heart kneeling before eternal beauty: "... I am still humble Forgotten, thrown into the shadows, I stand on my knees And, touched by beauty, I lit the evening fires. Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil". Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness. There, finally, I find everything that my soul was looking for, I waited, hoped, in my declining years I will find. And from the bosom of a quiet earthly ideal, I will move to the bosom of eternity with a smile. Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. Everywhere and everywhere, with all the moments of poetic contemplation, inspired dreams, he knew how to remain an independent, consistent and selfless singer of beauty, a singer of the ideas of an eternally existing being, an inspired priest from pure poetry. Therefore, the religious and mystical stream, which emanated from the philosophical worldview of the poet, and the impressionistically designed verbal strokes, which sounded with special musicality and amazing insight into the innermost secrets of everything that the poet’s gaze is turned to in the world around him, which is especially clearly expressed in his poetry, stemming from the philosophical worldview of the poet, rightly attracted the attention of later representatives of pure art, namely a whole generation of symbolist poets who accepted Fet as their ancestor, as a forerunner, and who very often repeated with tenderness the sigh that once escaped Fet's lips: "Oh, if it were possible to speak with the soul." And if, calling for historical continuity in the development of well-known literary phenomena, we say that Fet goes back to Pushkin along the line of pure poetry, then with the same confidence we can say that the later Russian symbolists go back to Fet in the same way. Mukhtar Auezov

05.12.2012

2012-12-05 08:06:07

14527

The poetry of pure art

60s

Russian literature of the 1950s and 1960s includes several well-known poets today who constitute a galaxy of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet.

Not for worldly excitement.

Not for self-interest, not for battles,

We are born to inspire

For the sounds of sweet prayers.

This is the poet's program, a call to go to the shrine of poetry, not to reckon with the demands of the crowd, with the demands of utilitarianism. Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads.

Dear free

Go where your free mind takes you,

Improving the fruits of your favorite thoughts.

He is in you, you are your own supreme court,

Not demanding rewards for a noble feat.

Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity.

These poetic slogans formed the basis of the creativity of all the poets of pure art listed above. Just as realists, prose writers Turgenev, Dostoevsky, Tolstoy and others grow out of Pushkin's later works. Similarly, on the other hand, Pushkin's romanticism paved the way for the flowering of pure poetry and brought with it a significant group of romantic poets. Thus, the idea of ​​serving pure poetry was not a new phenomenon that arose only in the period of the 50s. Its roots were in the poetic legacy of the past. Moreover, it must be said that the special attraction of later poets to this idea in the 50s is explained by several other new historical literary factors that arose in these years. This is the development of the idea of ​​utilitarianism in literature. Russian public life was subjected to the strongest breakdown at the turn of the 50s-60s. And the new historical situations that appeared after the reform in the life of Russian society imperiously require a reassessment of many values, a massive revision and re-accounting of everything that has accumulated from the past in all areas of life. The need for a new assessment, a new analysis, along the new [........] of the path traveled appeared before the people involved in literature. In addition, along with the developing liberalism in the minds of the leading representatives in Russian social thought of that time, the government reaction was also intensifying, imposing unlimited absolutism on everything, that assessment of social value among liberals and a large mass of the Russian public took place under the exceptional sign of the social significance of those or other phenomena, including their literary works. Public criticism appears and flourishes, denying any idealism and individualism in creativity, demanding the social utility of literary works and demanding service to the collective. Contrasting idealism with literary rationalism. The desire to clean up the world's dream.

The former understanding of the appointment of the poet as a free priest of free art is opposed by a new understanding of the significance of the poet as a bearer of civic duty, as a champion of goodness against all social evils. Hence the need for civic motives and the intensification of civic sorrow, the denunciation of social untruth, the imposition of certain real social tasks on literary works. Moreover, along with increasing social criticism, they appear as a result of new trends and as a new literary phenomenon, new poetry appears, like Nekrasov's poetry, completely absorbed in the idea of ​​serving society, saturated through and through with the spirit of populism. The muse of revenge and sadness, scourging social evil, chooses topics almost exclusively from the life of the lower classes, reflects the difficult life of the peasantry, which is under the yoke of autocratic lack of rights, violence, and in darkness and ignorance. The poet does not create for a select circle of educated readers, but tries to bring poetry closer to the masses. Therefore, the poetic style itself reduces to the level of this mass. Poetry in the person of Nekrasov popularizes the ideology of populism; the desire for public duty brings a bright socio-political coloring to poetry, and tendentiousness is introduced into art. And this trend in art was required and justified not only by public criticism of that time in the person of Chernyshevsky, Dobrolyubov and others. But the same was demanded by all the progressive representatives of the masses of readers.

But the strengthening of this populist trend in the literature of the 1950s and 1960s could not carry along with it all the forces of society, and, above all, could not carry away all the poets and writers. Among the latter, groups appear that do not share the idea of ​​utilitarianism and instead put the self-contained value of art at the head of their creative activity. Exalting poetry as a shrine inaccessible to the masses, where only an artist is allowed to comprehend all the secrets of life, where for the artist there is a special closed world, a blissful land, on the bed of which the poet must forget worldly fuss. He must stand above the interests of the crowd and, from the height of creation, impartially contemplate everything earthly with all everyday interests and all worldly vulgarity. In this world, the poet must find rest from the gray reality. If so, then the utilitarian poets are not poets, they are traders in words, they are defilers of the divine temple of pure art. Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Such an understanding of the essence and task of poetry, as noted above, was first proclaimed by Pushkin and it found a lively response from a whole choir of poets of the 50s and 60s. But the appearance of the latter coincided with a natural increase in utilitarianism, and this appearance was not accidental. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. They are sectarian poets who have broken away from the rest of society, Protestants who have gone into the side lanes of pure poetry in the name of free creativity and in the name of preserving their individual image as free priests of art. Therefore, their themes are mostly secular and aristocratically chosen. Poetry for those who understand it. For a select circle of readers. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe. The poetry of sighs and fleeting sensations. And pure poetry as a hymn to eternal beauty, eternal radiance, golden veil, eternally sunny day, starry and moonlit night. And in all the grandeur and beauty of the universe, a person is like a necessary sound in world harmony, and the song that escapes from the lips is the languid sound of a string that echoes like an echo of the world symphony. Moreover, the poetry of pure art as such is represented in different ways in the work of each of these poets. While preserving the general mood, the general motives of creativity and being quite definite representatives of pure art in assessing the essence and goals of the poet, it is still necessary to distinguish between them the difference that is expressed in the methods of creativity, the main images in the chosen topics, and in the same way in the ideological content. creativity. With this approach, it is not difficult to establish a significant difference between such poets as Fet, on the one hand, and Tyutchev, Maikov and Tolstoy, on the other. The poetry of the latter is more saturated with folk content as the ideal of a world Christian state, the founder of which should be the Slavic peoples according to Tyutchev, or Maikov’s conscious attraction and imitation of ancient images, actively polemical tendencies as a champion of pure art L. Tolstoy - all this can be generally noted as moments strengthening the ideological content of the content and as well-known tendentious premises of a speculative order in the work of poets of pure art. These moments should be considered as some deviation from the main property of pure poetry, the source of which in most cases is the world of the subconscious, the world of impressions and the world of the poet-mystic and pantheist that seems to be inspired. And among the poets of the 60s there is such a poet who is the most striking, typical representative of genuine pure poetry, and such is Afanasy Afanasievich Fet, whose work we will dwell on as the most vividly reflecting the image of pure poetry of the 60s. Poetry for Fet, as for all poets of pure art, is valuable in itself, its goals and objectives are defined within poetry itself, and its main goal is not to condescend, but to elevate. His poetry is characterized by exceptional purity and spirituality, but there are no actions in it. Instead of actions, one rushes up, flashing thoughts, sighs of the soul and a lot of impressions [........] of joy and sadness. The poet is the only connoisseur of world beauty. The longing of the earth will not overshadow his fantasy.

"Mountain height"

"Your fate is on the edges of the world

Do not descend, but elevate.

Powerless sigh will not touch you,

Do not darken the earth longing:

At your feet, like incense smoke,

Whilst the clouds are melting" (July 1886)

So far is the poet from everything earthly. His inner world and his penetration into the secrets of the universe are so whole and so subtly penetrating that he regrets his song, which has eternal noble impulses beyond the earthly, but which is destined to be a captive bird in a helpless heart embodied in flesh and blood and attached to the earth.

And in the heart, like a captive bird,

A wingless song languishes.

The poet's muse is ethereal, airy. Her secret beauty, her ethereality and the world of eternal beauty accessible to her is difficult for a poet to express in earthly words. Therefore, passionate desires come out of his mouth. Ah, if it were possible to speak with the soul, since it is impossible to speak with the soul, then the poet finds sadness for the understatement, incomprehensibility of his poetry, he could not express everything that he felt, and many beautiful dreams live like a prisoner in the secret of his soul and are not expressed in the images desired by the poet. Regretting them, the poet expresses a sad, dreary desire that: "The summers drowned his momentary dreams." This desire of the poet will become clear to us when we learn his view of the purpose of the poet. The sky caresses the poet, it is only dear to him. And inspired by unearthly grandeur, he must see beauty in everything. Nothing should cloud the clairvoyant gaze of the poet, the earthly definition of beauty is not the definition of the poet, it represents eternal beauty, the poet must see the reflection of world beauty in everything, including the fleeting and the past. In addition, the poet must see beauty not only in what is understandable to all people, but must feel the power of beauty even where people do not feel it. Even the imperceptible, miserable in nature must also burn with eternal gold in hymns.

St. poets

"In your halls my spirit is winged,

He sees the truth from the heights of creation.

This leaf that withered and fell off,

Golden eternal burns in hymns.

The same view is expressed in another verse:

Only a bee recognizes hidden sweetness in a flower,

Only an artist senses beauty in everything.

Such beauties bring a person closer to the world, so the goal of poets is to perpetuate beauty. The poet must guess through the veil, through the beautiful shell, even in all passing phenomena, the reflection of the eternally existing being. Only then will the harmonious grandeur of the beauty of nature become clear to him. And for the poet, a quick change of impressions, fleeting moments and transient contradictions are very significant. Therefore, nature answers him through the lips of a cheerful creature, an embodied moment - a butterfly:

You're right. One aerial outline

I'm so sweet

All velvet with its live blinking - Only two wings.

Do not ask where it came from, where I am in a hurry;

Here on a flower I easily sank - And now I breathe.

How long, without purpose, without effort - Do I want to breathe? -

Right now - flashing, spreading my wings -

This poem very clearly reflects the deep aesthetic nature of Fet's work. And it most realistically expresses the living sense of beauty and the boiling of living life in Fet's poetry.

Selfless devotion to one beauty and constant unquenchable [........] passion for everything captivating and beautiful at times turn the poet of the moment into a mystic poet. The element of nature captures and takes his dreams to the world beyond, the other world. Listening to the song of a nightingale on a starry night or contemplating twilight, sunsets, sincerely trying to comprehend the mysteries of life or following a lancet swallow over an evening pond, he often rushes off with his fantasy to a forbidden alien element:

Nature holiday [.......].

Here we rushed and [.......].

And it's scary to [.......]

You can't grab a foreign element.

prayer wing

And again the same boldness

And the same dark stream

Isn't that inspiration

And the human me?

Am I not a vessel, meager,

I dare to the forbidden path,

Elements alien, transcendent,

Trying to grab at least a drop.

This desire for an alien element pervades the lyrics of nature in Fet's work, so that mystical love for her should be considered as one of the main points of his poetry. Moreover, the mystical perception of nature turns all its beauty into mysterious music, into a symbol of the infinite, into an endlessly flickering magical ghost. This gives rise to a feature of the techniques often observed in Fet's work, which consists in reproducing mainly one's impressions and sensations received from the environment, and not reproducing individual real paintings. Fet often conveys not the sound itself, but its quivering echo. Describes not the moonshine, but the reflection of light on the surface of the water. This technique, inherent in symbolic poetry, is for the first time in Russian literature most fully represented in the poetry of Fet. Therefore, the description of nature in his mouth turns into solid music, into refined gentle lyrics. And especially intimate and airy are his spring and summer songs and songs dedicated to distant mysteriously twinkling stars, with which the poet’s thoughts merge in mystical trembling with a living fabric of fantasy, so often break away from real life and merge in their impulses with [ ...... .] elements. But being so mysteriously in love with nature, Fet did not look for the riddle of the spirit in nature itself. Beauty in nature is only a reflection of the secret beauty of being, a reflection of the ever-existing spirit. The lyrics of nature for him as a necessary cult of beauty and therefore perceives all its phenomena from a purely aesthetic point of view. Calmly contemplating the nature of the entire region, the poet has no demands on it in the name of principles that lie outside it. He takes nature as it is, finds in himself a great closeness to it and, describing it, does not resort to any artificial personifications, false spiritualizations, but has only one simple-hearted desire to reproduce nature without a tendency to improve, correct, etc. Therefore, it is very often his depiction of nature is especially simple. Many beautiful moments of nature are recorded by him as separate independent images and integral themes and strung one on top of the other in order to give musical melody to his poems in playful overflows and harmonious symbolism of his emotional experiences and thoughts that excite him. Art.

Storm in the evening sky

An angry sea noise

Storm on the sea and thoughts

Many painful thoughts

Storm on the sea and thoughts

Chorus of growing thoughts.

Black cloud after cloud

Sea angry noise.

Fet's love lyrics also stem from the cult of beauty, but there is no ebullient passion in it, born of the desire for earthly pleasures, but rather poeticized moments of fleeting memories and an artistically reproduced alternation of light and shadows, sighs and moments of the past. Therefore, Fet's love songs are far from ordinary sensuality, there are much more sublime, incorporeal impulses in them, full of hints and understatements. The lyrics of love, like the lyrics of nature, are light and sincere, it fills the reader's soul not with the desire for passion, but like musical tunes that give rise to a lot of side thoughts, moods and impressions.

They are the essence of sparks of living life, with their flickering luring and taking away to the unknown gave dreams and fantasies.

Every lyric of Fet, in addition to the above properties, is fraught with a deep religious and philosophical meaning. As mentioned above in passing, although Fet, mystically in love with nature, exalted its beauty in his poetry, he nevertheless sought and saw his ideal not in nature itself, but in the otherworldly mystery of the universe. Beauty in nature is only a means for communicating the fantasy of the poet's thought directed into the distance with the supersensible incomprehensible world. The desire for this latter, the desire to comprehend and merge with it is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance...

Lifting the sacred banner with his gum.

I'm going - And the living crowd moved after me,

And they all stretched along the forest clearing,

And I am blessed and proud of the shrine singing.

I sing - and children's fear is unknown to thoughts:

Let the animals answer me with a howl, -

With a shrine above the brow and a song on the lips,

With difficulty, but I will reach the desired door!

Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [ .......], the thrill of a touched heart, kneeling before eternal beauty:

"...I am still humble,

Forgotten, thrown into the shadows,

I stand on my knees

And, touched by beauty,

Turn on the evening lights."

Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil".

Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness.

There, at last, I am everything that the soul was looking for,

I waited, hoped, in my declining years I would find it.

And from the bosom of a quiet earthly ideal,

I will pass to the bosom of eternity with a smile.

Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. He is everywhere and everywhere at all moments of poetic contemplation, inhaling the last, the desire to comprehend and merge with him is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance...

Lifting the sacred banner with his gum.

I'm going - And the living crowd moved after me,

And they all stretched along the forest clearing,

And I am blessed and proud of the shrine singing.

I sing - and children's fear is unknown to thoughts:

Let the animals answer me with a howl, -

With a shrine above the brow and a song on the lips,

With difficulty, but I will reach the desired door!

Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [.......], the thrill of a touched heart, kneeling before eternal beauty:

"...I am still humble,

Forgotten, thrown into the shadows,

I stand on my knees

And, touched by beauty,

Turn on the evening lights."

Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil".

Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness.

There, at last, I am everything that the soul was looking for,

I waited, hoped, in my declining years I would find it.

And from the bosom of a quiet earthly ideal,

I will pass to the bosom of eternity with a smile.

Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. Everywhere and everywhere, with all the moments of poetic contemplation, inspired dreams, he knew how to remain an independent, consistent and selfless singer of beauty, a singer of the ideas of an eternally existing being, an inspired priest from pure poetry. Therefore, the religious and mystical stream, which emanated from the philosophical worldview of the poet, and the impressionistically designed verbal strokes, which sounded with special musicality and amazing insight into the innermost secrets of everything that the poet’s gaze is turned to in the world around him, which is especially clearly expressed in his poetry, stemming from the philosophical worldview of the poet, rightly attracted the attention of later representatives of pure art, namely a whole generation of symbolist poets who accepted Fet as their ancestor, as a forerunner, and who very often repeated with tenderness the sigh that once escaped Fet's lips: "Oh, if it were possible to speak with the soul." And if, calling for historical continuity in the development of well-known literary phenomena, we say that Fet goes back to Pushkin along the line of pure poetry, then with the same confidence we can say that the later Russian symbolists go back to Fet in the same way.

Madeniet

Uly Adamdar Omipi: Shara Zhienkulova

“Zhandy zhіbiter, teren sezimge bөleitin kelisti өpnek onyn tal boyinan anyk seziledi. Saxnanyn epkeci de, sani de - Shapa! Onyn sezim sergitetin shynayy onepi, kaytalanbaytyn koltanbasy meili ...

"Pure art" (or "art for art's sake", or "aesthetic criticism"), a trend in Russian literature and criticism of the 50s-60s of the nineteenth century, which is characterized by in-depth attention to the spiritual and aesthetic features of literature as an art form, which has a Divine source of Goodness, Love and Beauty. Traditionally, this direction is associated with the names of A. V. Druzhinin, V. P. Botkin, P. V. Annenkov, S. S. Dudyshkin. Of the poets, the position of "pure art" was shared by A. A. Fet, A. N. Maikov, N. F. Shcherbina. The head of the school was A. V. Druzhinin. In their literary assessments, critics developed not only the concepts of beauty, the aesthetic proper, but also categories of a moral-philosophical, and sometimes social order. The phrase "pure art" had another meaning - "pure" in the sense of perfect, ideal, absolutely artistic. Pure is, first of all, spiritually filled, strong art in terms of ways of self-expression. The position of the supporters of "pure art" was not to tear art away from life, but to to protect his truly creative principles, poetic originality and the purity of his ideals. They did not strive for isolation from public life (it is impossible for anyone to achieve this), but for creative freedom in the name of affirming the principles of the perfect ideal of art, “pure”, that is, independent of petty needs and political predilections. For example, Botkin spoke of art as art, investing in this expression the whole complex of concepts related to creativity free from social order and perfect in its level of creativity. The aesthetic is only a component, albeit an extremely important one, in the system of ideas about genuine art. Annenkov more often than Botkin spoke with critical articles. He owns over two dozen voluminous articles and reviews, the fundamental work "Materials for the biography of Alexander Sergeevich Pushkin" and, perhaps, the richest in memoirs of the 19th century. "Literary Memoirs". An important point in Annenkov's aesthetic views was the question of the artistry of art. Annenkov does not deny the "influence" of art on society, but considers this possible under the condition of genuine artistry. And the expression "pure" here does not mean the isolation of art from the vital demands of social life, but the perfection of its quality, and - not only in terms of form, but also in content. Druzhinin based his judgments about art on three most important points from the point of view of his aesthetic system: 1) Art - highest degree manifestations of the human spirit, which has a Divine source, in which the “ideal” and “real” are combined in a very complex and specific way; 2) Art deals with the generally significant, revealing it, however, through the "inner" world of an individual and even "particular" through beauty, beautiful (if there is an ideal) images; 3) While stimulating a person's aspirations for the ideal, art and literature cannot, however, subordinate themselves to social pragmatism to such an extent that they lose their main advantage - to remain a source of moral transformation, a means of familiarizing a person with the highest and eternal values ​​​​of spiritual being.

2. The main themes of the poetry of "pure art"

Russian literature of the 1950s and 1960s includes several well-known poets today who constitute a galaxy of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet.

Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads. Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity.

Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. Therefore, their themes are mostly secular and aristocratically chosen. Poetry of the Chosen Circle of the Reader. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe.

At the same time, for all these poets, complete indifference to the revolutionary and liberal tendencies that dominated the then social life was typical. It is deeply natural that in their works we will not find any of the popular in the 40-50s. topics - the denunciation of the feudal-police regime in its various aspects, the fight against serfdom, the defense of the emancipation of women, the problem of superfluous people, etc., do not interest these poets, busy with the so-called. "eternal" themes - admiring nature, the image of love, imitation of the ancients, etc.

These poets had their own teachers in world poetry; in modern poetry, they were predominantly German romantics, close to them in their political and aesthetic passeism. To no lesser extent, the poets of "pure art" were close to ancient literature, the work of Anacreon, Horace, Tibullus, Ovid.

Analysis of the poem by F.I. Tyutchev "Oh, how deadly we love ..."

“Oh, how deadly we love ...” (1851) - 3rd verse of the “Denisiev” cycle, that is, a cycle of love lyrics, consisting of fifteen poems dedicated to Elena Alexandrovna Denisiev. This poem (it consists of ten stanzas) most fully expresses Tyutchev's idea of ​​\u200b\u200blove as a "fatal meeting", as a "terrible sentence of fate." “In the violent blindness of passions,” a loved one destroys the joy and charm of love: “We most certainly destroy everything, / What is dear to our heart!”

F. I. Tyutchev poses here the complex problem of the guilt of a person who has violated the laws of light in the name of love - the laws of falsehood and lies. The psychological analysis of F. I. Tyutchev in late lyrics is inseparable from ethics, from the writer's requirements for himself and others. In the "Denisiev" cycle, he surrenders to his own feeling, and at the same time checks, analyzes it - what is the truth, what is the lie, what is the error and even the crime. This often manifests itself in the lyrical statement itself: in a certain lack of confidence in oneself and one's rightness. The guilt of “his” is already defined in the first line: “how murderously we love,” although in the most general and abstract sense. Something is clarified by the "violent blindness of passions" and their destructiveness.

“She” is a victim, but not only and not so much of the selfish and blind passion of her beloved, as of the ethical “lawlessness” of her love from the point of view of secular morality; F. I. Tyutchev’s defender of this legalized morality is the crowd: “The crowd, surging, trampled into the mud / That which bloomed in her soul. / And what about a long torment, / Like ashes, did she manage to save? / Pain, the evil pain of bitterness, / Pain without consolation and without tears! These ten quatrains are consonant with the story of Anna Karenina, which Leo Tolstoy unfolds into an extensive novel narrative.

Thus, in the “struggle of unequal two hearts”, the woman’s heart turns out to be more tender, and therefore it is precisely it that must inevitably “wither” and wither, die in the “fateful duel”. Public morality also penetrates into personal relationships. According to the laws of society, he is strong, she is weak, and he is unable to give up his advantages. He is fighting with himself, but also with her. This is the "fatal" meaning of their relationship, their selfless love. “In the Denisiev cycle,” writes N. Berkovsky, “love is unhappy in its very happiness, the heroes love and in love itself remain enemies.”

At the end, Tyutchev repeats the first quatrain. Repeats it with redoubled bitterness, blaming again herself for the fact that his love became for her a life of renunciation and suffering. He repeats with a pause, as if taking a break from the feelings that have come up so quickly. Tyutchev recalls for the last time the roses of her cheeks, the smile of her lips and the sparkle of her eyes, her magical look and speech, her childishly lively laughter; for the last time draws a line to what happened. At the same time, by repeating the first quatrain, Tyutchev shows that everything repeats itself: each of his new loves goes through similar difficulties, and this is a vicious circle in his life and in no way can he break this circle.

Tyutchev writes in pentameter trochaic and cross-rhyme, which affects the smoothness of the poem, and hence the smoothness of the author's thoughts. Tyutchev also does not forget about the odic tradition of the 18th century: he uses archaisms (cheeks, eyes, joy, renunciation, gaze), in the very first line there is an interjection “O”, which has always been an integral part of odes, a certain prophetic pathos is felt: Tyutchev seems to says that all this awaits any "inaccurately" falling in love with a person.

Be that as it may, the "last love" of F. I. Tyutchev, like all his work, enriched Russian poetry with verses of extraordinary lyrical power and spiritual revelation.

Analysis of the poem by F.I. Tyutchev "Silentium!"

Hardly any other work by Fyodor Ivanovich Tyutchev (1803-1873) has been subjected to so many conflicting interpretations as his brilliant poem "Silentium!" (“Silence!”) (no later than 1830). The poem "Silentium!" was written in 1830 in iambic tetrameter. The poem consists of 18 lines, divided into three six-verse lines, each of which is relatively independent both in semantic and intonation-syntactic terms. The connection of these three parts is only in the development of the lyrical theme. From the formal means, as a beginning fastening these three parts, one can note homogeneous end rhymes - precise, strong, masculine, shock - and the last lines rhymed by them in each of the three six-line lines. The main thing that connects all three parts into an artistic whole is intonation, oratorical, didactic, persuading, inviting and commanding. “Be quiet, hide and hide,” the indisputable command of the first line is repeated three more times, in all three six-verses. The first stanza is an energetic persuasion, an order, a strong-willed pressure.

In the second stanza, the energy of pressure, dictate weakens, it gives way to the intonation of conviction, the meaning of which is to clarify the decisive instructions of the first stanza: why should feelings and dreams be hidden in the depths of the soul? There is a chain of evidence: “How can the heart express itself? / How can another understand you? / Will he understand what you live for? / Thought uttered is a lie. We are talking about communication skills, about the ability of one person to convey to another not his thoughts - it's easier - but the life of his soul, his consciousness and subconscious, his spirit - something that does not come down to reason, but much wider and thinner. Feeling, formed into a thought by a word, will obviously be incomplete, and therefore false. Insufficient, false will be the understanding of you by others. Trying to tell the life of your soul, your feelings, you will only spoil everything, not reaching the goal; you will only alarm yourself, violate the integrity and peace of your inner life: “Blowing up, you disturb the keys, - / Eat them - and be silent.”

The first line of the third stanza contains a warning about the danger that the very possibility of contact between two incompatible spheres - inner and outer life - carries in itself: "Only know how to live in yourself ...". It is possible: "There is the whole world in your soul / Mysterious magical thoughts; / They will be deafened by external noise, / The daylight will disperse the rays. “Mysteriously magical thoughts” return the thought to the first stanza, since they are similar to “feelings and dreams”, which, like living beings, “both get up and go in” - that is, these are not thoughts, these are dreams, sensations, shades of spiritual states that together make up the living life of the heart and soul. They can be "deafened" by "external noise", dispersed by "daytime" "rays" - all the turmoil of the "daytime" worldly fuss. Therefore, it is necessary to protect them in the depths of the soul; only there they retain their harmony, order, consonant "singing": "Pay attention to their singing - and be silent!"

21. Romantic image and realistic detail in Fet's poetry.

Fet (1820-1892) is called one of the finest lyric poets of world literature, he was the creator of his own, completely original aesthetic system. This system is based entirely on certain tradition of romantic poetry and find reinforcement not only in the poet's articles, but also in the so-called poetic manifestos, and, above all, those that develop a range of motives that go back to the current "poetry of allusions". The aesthetics of Fet does not know the category of the inexpressible. The inexpressible is only a theme of Fet's poetry, but by no means a property of her style.. It is not enough for a poet to unconsciously be under the spell of a sense of the beauty of the surrounding world. In the artistic world of Fet, art, love, nature, philosophy, God are all different manifestations of the same creative force - beauty. Since the 1860s, the idea of ​​harmony between man and nature has gradually lost its paramount importance in Fet's poetry. Her artistic world takes on a tragic shape. To a large extent, this is facilitated by the external circumstances of life. The man in Fet's late poetry is languishing in unraveling the higher mysteries of being - life and death, love and suffering, spirit and body. He recognizes himself as a hostage to the evil will of being: he always longs for life and doubts its value, he is forever afraid of death and boils in its healing and necessity, the image of the lyrical “I” is increasingly turning to eternity, to the expanses of the universe. One of the most important forces helping the lyrical hero of Fet's late lyrics to overcome death is love. It is she who grants the hero resurrection and new life. Gospel motifs and images penetrate the love cycle. Fet's poetry is the highest rise and at the same time the completion of the classical tradition of romantic poetry of the 19th century. In Russia.

A. Fet was fond of German philosophy; the views of idealist philosophers, especially Schopenhauer, had a strong influence on the worldview of the novice poet, which was reflected in the romantic idea of ​​\u200b\u200bdouble world, which found expression in Fet's lyrics.

Fet's work is characterized by the desire to escape from everyday reality into the "bright realm of dreams." The main content of his poetry is love and nature. His poems are distinguished by the subtlety of the poetic mood and great artistic skill. A feature of Fet's poetics is that the conversation about the most important is limited to a transparent hint. The most striking example is the poem "Whisper, timid breathing ..."

Fet is a representative of the so-called pure poetry. In this regard, throughout his life he argued with N. A. Nekrasov, a representative of social poetry.

With landscape lyrics by A.A. Feta is inextricably linked with the theme of love. Fet's love lyrics are distinguished by emotional richness, joy and tragic notes coexist in it, a feeling of inspiration and a feeling of hopelessness. the center of the world for lyrical hero is the beloved. (“Whisper, timid breathing”, “Don’t wake her up at dawn”, “I still love, I’m still languishing ...”, etc.). The prototype of the lyrical heroine Fet was the daughter of a Serbian landowner Maria Lazic. The memory of the tragically departed beloved Fet kept all his life. She is present in his love lyrics as a beautiful romantic image-memory, a bright "angel of meekness and sadness." The lyrical heroine saves the poet from the hustle and bustle of life (“Like a genius, you, unexpected, slender, / Light flew down from heaven to me, / Humbled my restless mind ...”).

The emotional state of the lyrical "I" of Fet's poems also has neither a clear external (social, cultural) nor internal biography and can hardly be designated by the usual term lyrical hero.

Whatever Fet writes about - dominant state his lyrical "I" will always be delight and admiration for the inexhaustibility of the world and man, the ability to feel and experience what he sees as if for the first time, with a fresh, just born feeling. (poem "I'm waiting", 1842) You might think that the hero is waiting for his beloved, however emotional condition Fet's lyrical "I" is always wider than the reason that caused it. And now, before the eyes of the reader, the tremulous expectation of a close meeting develops into a quivering enjoyment of the beautiful moments of being. As a result, the impression of deliberate fragmentation, abruptness of the plot of the poem is created.

A. A. Fet acutely feels the beauty and harmony of nature in its transience and variability. In his landscape lyrics there are a lot of the smallest details of the real life of nature, which correspond to the most diverse manifestations of the emotional experiences of the lyrical hero. For example, in the poem "Another May Night" the charm of a spring night gives rise to a state of excitement, expectation, languor, involuntary expression of feelings in the hero:

What a night! All the stars to one

Warmly and meekly look into the soul again,

And in the air behind the song of the nightingale

Anxiety and love spread.

In each stanza of this poem, two opposite concepts are dialectically combined, which are in a state of eternal struggle, each time causing a new mood. So, at the beginning of the poem, the cold north, the "realm of ice" is not only opposed to warm spring, but also gives rise to it. And then two poles reappear: on one, warmth and meekness, and on the other, “anxiety and love,” that is, a state of anxiety, expectation, vague forebodings.

An even more complex associative contrast between natural phenomena and human perception of it is reflected in the poem "A bonfire blazes like a bright sun in the forest." A real, visible picture is drawn here, in which bright colors are extremely contrasting: red blazing fire and black coal. But, in addition to this striking contrast, there is another, more complex one in the poem. On a dark night, the landscape is bright and colorful:

A bonfire blazes with the bright sun in the forest,

And, shrinking, the juniper cracks,

Like drunken giants, a crowded choir,

Flushed, the spruce tree staggers.

Perhaps the most Fetovsky poem, reflecting his creative individuality, is "Whisper, timid breathing ..." It struck the poet's contemporaries and still continues to delight and fascinate new generations of readers with its psychological saturation with the maximum laconism of expressive means. It completely lacks eventfulness, reinforced by a verbless enumeration of overly personal impressions. However, every expression here has become a picture; in the absence of action, there is an internal movement. And it lies in the semantic compositional development of the lyrical theme. First, these are the first discreet details of the night world:

Whispering, timid breathing, Nightingale's trills, / Silver and swaying / Sleepy stream ...

Then more distant large details, more generalized and indefinite, foggy and vague, fall into the poet's field of vision:

Night light, night shadows, / Shadows without end, / A series of magical changes / A sweet face.

In the final lines, both concrete and generalized images of nature merge, forming a huge whole - the sky, embraced by the dawn. And the internal state of a person is also included in this three-dimensional picture of the world as an organic part of it:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

That is, here there is an evolution of human and natural plans, although the analytical element is completely absent, only the fixation of the poet's feelings. There is no specific portrait of the heroine, only vague, elusive signs of her appearance in the subjective perception of the author. Thus, the movement, the dynamics of the elusive, whimsical feeling conveys complex world personality, causing a feeling of organic fusion of natural and human life.

The poetry of the eighties is characterized by a combination of two principles: the outbreak of "neo-romanticism", the revival of high poetic vocabulary, the enormous growth of Pushkin's influence, the final recognition of Fet, on the one hand, and on the other, the clear influence of realistic Russian prose, primarily Tolstoy and Dostoevsky (especially of course, the skill of psychological analysis). The influence of prose is enhanced by the special property of this poetry, its rationalistic, exploratory character, a direct legacy of the enlightenment of the sixties.

Along with a general attraction to the fact, to an in-depth psychological analysis, these poets have a markedly emphasized attraction to realistically accurate detail introduced into the verse. With the sharp mutual attraction of the two poles - realistic, even naturalistic, and ideal, romantic - the realistic detail itself appears in a conventionally poetic atmosphere, surrounded by familiar romantic clichés. This detail, with its naturalism and fantasticness, is correlated not so much with the achievements of the previous realistic era of poetry, but with the aesthetic concepts of the coming era of decadence and modernism. A random detail that violates the proportions of the whole and parts is a characteristic stylistic sign of this transitional era: the desire to find and capture beauty not in eternal beauty, consecrated by time and art, but in random and instantaneous.

"Pure art" (or "art for art's sake", or "aesthetic criticism"), a trend in Russian literature and criticism of the 50s-60s of the nineteenth century, which is characterized by in-depth attention to the spiritual and aesthetic features of literature as an art form, which has a Divine source of Goodness, Love and Beauty. Traditionally, this direction is associated with the names of A. V. Druzhinin, V. P. Botkin, P. V. Annenkov, S. S. Dudyshkin. Of the poets, the position of "pure art" was shared by A. A. Fet, A. N. Maikov, N. F. Shcherbina. The head of the school was A. V. Druzhinin. In their literary assessments, critics developed not only the concepts of beauty, the aesthetic proper, but also categories of a moral-philosophical, and sometimes social order. The phrase "pure art" had another meaning - "pure" in the sense of perfect, ideal, absolutely artistic. Pure is, first of all, spiritually filled, strong art in terms of ways of self-expression. The position of the supporters of "pure art" was not to tear art away from life, but to to protect his truly creative principles, poetic originality and the purity of his ideals. They did not strive for isolation from public life (it is impossible for anyone to achieve this), but for creative freedom in the name of affirming the principles of the perfect ideal of art, “pure”, that is, independent of petty needs and political predilections. For example, Botkin spoke of art as art, investing in this expression the whole complex of concepts related to creativity free from social order and perfect in its level of creativity. The aesthetic is only a component, albeit an extremely important one, in the system of ideas about genuine art. Annenkov more often than Botkin spoke with critical articles. He owns over two dozen voluminous articles and reviews, the fundamental work "Materials for the biography of Alexander Sergeevich Pushkin" and, perhaps, the richest in memoirs of the 19th century. "Literary Memoirs". An important point in Annenkov's aesthetic views was the question of the artistry of art. Annenkov does not deny the "influence" of art on society, but considers this possible under the condition of genuine artistry. And the expression "pure" here does not mean the isolation of art from the vital demands of social life, but the perfection of its quality, and - not only in terms of form, but also in content. Druzhinin based his judgments about art on three most important points from the point of view of his aesthetic system: 1) Art is the highest degree of manifestation of the human spirit, which has a Divine source, in which the “ideal” and “real” are combined in a very complex and specific way; 2) Art deals with the generally significant, revealing it, however, through the "inner" world of an individual and even "particular" through beauty, beautiful (if there is an ideal) images; 3) While stimulating a person's aspirations for the ideal, art and literature cannot, however, subordinate themselves to social pragmatism to such an extent that they lose their main advantage - to remain a source of moral transformation, a means of familiarizing a person with the highest and eternal values ​​​​of spiritual being.

2. The main themes of the poetry of "pure art"

Russian literature of the 1950s and 1960s includes several well-known poets today who constitute a galaxy of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet.

Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads. Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity.

Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. Therefore, their themes are mostly secular and aristocratically chosen. Poetry of the Chosen Circle of the Reader. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe.

At the same time, for all these poets, complete indifference to the revolutionary and liberal tendencies that dominated the then social life was typical. It is deeply natural that in their works we will not find any of the popular in the 40-50s. topics - the denunciation of the feudal-police regime in its various aspects, the fight against serfdom, the defense of the emancipation of women, the problem of superfluous people, etc., do not interest these poets, busy with the so-called. "eternal" themes - admiring nature, the image of love, imitation of the ancients, etc.

These poets had their own teachers in world poetry; in modern poetry, they were predominantly German romantics, close to them in their political and aesthetic passeism. To no lesser extent, the poets of "pure art" were close to ancient literature, the work of Anacreon, Horace, Tibullus, Ovid.

Analysis of the poem by F.I. Tyutchev "Oh, how deadly we love ..."

“Oh, how deadly we love ...” (1851) - 3rd verse of the “Denisiev” cycle, that is, a cycle of love lyrics, consisting of fifteen poems dedicated to Elena Alexandrovna Denisiev. This poem (it consists of ten stanzas) most fully expresses Tyutchev's idea of ​​\u200b\u200blove as a "fatal meeting", as a "terrible sentence of fate." “In the violent blindness of passions,” a loved one destroys the joy and charm of love: “We most certainly destroy everything, / What is dear to our heart!”

F. I. Tyutchev poses here the complex problem of the guilt of a person who has violated the laws of light in the name of love - the laws of falsehood and lies. The psychological analysis of F. I. Tyutchev in late lyrics is inseparable from ethics, from the writer's requirements for himself and others. In the "Denisiev" cycle, he surrenders to his own feeling, and at the same time checks, analyzes it - what is the truth, what is the lie, what is the error and even the crime. This often manifests itself in the lyrical statement itself: in a certain lack of confidence in oneself and one's rightness. The guilt of “his” is already defined in the first line: “how murderously we love,” although in the most general and abstract sense. Something is clarified by the "violent blindness of passions" and their destructiveness.

“She” is a victim, but not only and not so much of the selfish and blind passion of her beloved, as of the ethical “lawlessness” of her love from the point of view of secular morality; F. I. Tyutchev’s defender of this legalized morality is the crowd: “The crowd, surging, trampled into the mud / That which bloomed in her soul. / And what about a long torment, / Like ashes, did she manage to save? / Pain, the evil pain of bitterness, / Pain without consolation and without tears! These ten quatrains are consonant with the story of Anna Karenina, which Leo Tolstoy unfolds into an extensive novel narrative.

Thus, in the “struggle of unequal two hearts”, the woman’s heart turns out to be more tender, and therefore it is precisely it that must inevitably “wither” and wither, die in the “fateful duel”. Public morality also penetrates into personal relationships. According to the laws of society, he is strong, she is weak, and he is unable to give up his advantages. He is fighting with himself, but also with her. This is the "fatal" meaning of their relationship, their selfless love. “In the Denisiev cycle,” writes N. Berkovsky, “love is unhappy in its very happiness, the heroes love and in love itself remain enemies.”

At the end, Tyutchev repeats the first quatrain. She repeats it with redoubled bitterness, once again blaming herself for the fact that his love has become for her a life of renunciation and suffering. He repeats with a pause, as if taking a break from the feelings that have come up so quickly. Tyutchev recalls for the last time the roses of her cheeks, the smile of her lips and the sparkle of her eyes, her magical look and speech, her childishly lively laughter; for the last time draws a line to what happened. At the same time, by repeating the first quatrain, Tyutchev shows that everything repeats itself: each of his new loves goes through similar difficulties, and this is a vicious circle in his life and in no way can he break this circle.

Tyutchev writes in pentameter trochaic and cross-rhyme, which affects the smoothness of the poem, and hence the smoothness of the author's thoughts. Tyutchev also does not forget about the odic tradition of the 18th century: he uses archaisms (cheeks, eyes, joy, renunciation, gaze), in the very first line there is an interjection “O”, which has always been an integral part of odes, a certain prophetic pathos is felt: Tyutchev seems to says that all this awaits any "inaccurately" falling in love with a person.

Be that as it may, the "last love" of F. I. Tyutchev, like all his work, enriched Russian poetry with verses of extraordinary lyrical power and spiritual revelation.

Analysis of the poem by F.I. Tyutchev "Silentium!"

Hardly any other work by Fyodor Ivanovich Tyutchev (1803-1873) has been subjected to so many conflicting interpretations as his brilliant poem "Silentium!" (“Silence!”) (no later than 1830). The poem "Silentium!" was written in 1830 in iambic tetrameter. The poem consists of 18 lines, divided into three six-verse lines, each of which is relatively independent both in semantic and intonation-syntactic terms. The connection of these three parts is only in the development of the lyrical theme. From the formal means, as a beginning fastening these three parts, one can note homogeneous end rhymes - precise, strong, masculine, shock - and the last lines rhymed by them in each of the three six-line lines. The main thing that connects all three parts into an artistic whole is intonation, oratorical, didactic, persuading, inviting and commanding. “Be quiet, hide and hide,” the indisputable command of the first line is repeated three more times, in all three six-verses. The first stanza is an energetic persuasion, an order, a strong-willed pressure.

In the second stanza, the energy of pressure, dictate weakens, it gives way to the intonation of conviction, the meaning of which is to clarify the decisive instructions of the first stanza: why should feelings and dreams be hidden in the depths of the soul? There is a chain of evidence: “How can the heart express itself? / How can another understand you? / Will he understand what you live for? / Thought uttered is a lie. We are talking about communication skills, about the ability of one person to convey to another not his thoughts - it's easier - but the life of his soul, his consciousness and subconscious, his spirit - something that does not come down to reason, but much wider and thinner. Feeling, formed into a thought by a word, will obviously be incomplete, and therefore false. Insufficient, false will be the understanding of you by others. Trying to tell the life of your soul, your feelings, you will only spoil everything, not reaching the goal; you will only alarm yourself, violate the integrity and peace of your inner life: “Blowing up, you disturb the keys, - / Eat them - and be silent.”

The first line of the third stanza contains a warning about the danger that the very possibility of contact between two incompatible spheres - inner and outer life - carries in itself: "Only know how to live in yourself ...". This is possible: “There is a whole world in your soul / Mysterious magical thoughts; / They will be deafened by external noise, / The daylight will disperse the rays. “Mysteriously magical thoughts” return the thought to the first stanza, since they are similar to “feelings and dreams”, which, like living beings, “both get up and go in” - that is, these are not thoughts, these are dreams, sensations, shades of spiritual states that together make up the living life of the heart and soul. They can be "deafened" by "external noise", dispersed by "daytime" "rays" - all the turmoil of the "daytime" worldly fuss. Therefore, it is necessary to protect them in the depths of the soul; only there they retain their harmony, order, consonant "singing": "Pay attention to their singing - and be silent!"

21. Romantic image and realistic detail in Fet's poetry.

certain tradition of romantic poetry"poetry of allusions".The inexpressible is only a theme of Fet's poetry, but by no means a property of her style. In the artistic world of Fet, art, love, nature, philosophy, God - all these are different manifestations of the same creative force - beauty.

A. Fet was fond of German philosophy; the views of idealist philosophers, especially Schopenhauer, had a strong influence on the worldview of the novice poet, which was reflected in the romantic idea of ​​\u200b\u200bdouble world, which found expression in Fet's lyrics.

Fet's work is characterized by the desire to escape from everyday reality into the "bright realm of dreams." The main content of his poetry is love and nature. His poems are distinguished by the subtlety of the poetic mood and great artistic skill. A feature of Fet's poetics is that the conversation about the most important is limited to a transparent hint. The most striking example is the poem "Whisper, timid breathing ..."

Fet is a representative of the so-called pure poetry. In this regard, throughout his life he argued with N. A. Nekrasov, a representative of social poetry.

With landscape lyrics by A.A. Feta is inextricably linked with the theme of love. Fet's love lyrics are distinguished by emotional richness, joy and tragic notes coexist in it, a feeling of inspiration and a feeling of hopelessness. The center of the world for the lyrical hero is the beloved. (“Whisper, timid breathing”, “Don’t wake her up at dawn”, “I still love, I’m still languishing ...”, etc.). The prototype of the lyrical heroine Fet was the daughter of a Serbian landowner Maria Lazic. The memory of the tragically departed beloved Fet kept all his life. She is present in his love lyrics as a beautiful romantic memory image, a bright "angel of meekness and sadness." The lyrical heroine saves the poet from the hustle and bustle of life (“Like a genius, you, unexpected, slender, / Light flew down from heaven to me, / Humbled my restless mind ...”).

The emotional state of the lyrical "I" of Fet's poems also has neither a clear external (social, cultural) nor internal biography and can hardly be designated by the usual term lyrical hero.

Whatever Fet writes about, the dominant state of his lyrical "I" will always be delight and admiration for the inexhaustibility of the world and man, the ability to feel and experience what he sees as if for the first time, with a fresh, just born feeling. (poem "I'm waiting", 1842) You might think that the hero is waiting for his beloved, but the emotional state of the lyrical "I" in Fet is always wider than the reason that caused him. And now, before the eyes of the reader, the tremulous expectation of a close meeting develops into a quivering enjoyment of the beautiful moments of being. As a result, the impression of deliberate fragmentation, abruptness of the plot of the poem is created.

A. A. Fet acutely feels the beauty and harmony of nature in its transience and variability. In his landscape lyrics there are a lot of the smallest details of the real life of nature, which correspond to the most diverse manifestations of the emotional experiences of the lyrical hero. For example, in the poem “Another May Night,” the charm of a spring night gives rise to a state of excitement, expectation, languor, and involuntary expression of feelings in the hero:

What a night! All the stars to one

Warmly and meekly look into the soul again,

And in the air behind the song of the nightingale

Anxiety and love spread.

In each stanza of this poem, two opposite concepts are dialectically combined, which are in a state of eternal struggle, each time causing a new mood. So, at the beginning of the poem, the cold north, the "realm of ice" is not only opposed to warm spring, but also gives rise to it. And then two poles reappear: on one, warmth and meekness, and on the other, “anxiety and love,” that is, a state of anxiety, expectation, vague forebodings.

An even more complex associative contrast between natural phenomena and human perception of it is reflected in the poem “A bonfire blazes in the forest with a bright sun”. A real, visible picture is drawn here, in which bright colors are extremely contrasting: red blazing fire and black coal. But, in addition to this striking contrast, there is another, more complex one in the poem. On a dark night, the landscape is bright and colorful:

A bonfire blazes with the bright sun in the forest,

And, shrinking, the juniper cracks,

Like drunken giants, a crowded choir,

Flushed, the spruce tree staggers.

Perhaps the most Fetov's poem, reflecting his creative individuality, is "Whisper, timid breathing ..." It struck the poet's contemporaries and still continues to delight and fascinate new generations of readers with its psychological saturation with the maximum laconism of expressive means. It completely lacks eventfulness, reinforced by a verbless enumeration of overly personal impressions. However, every expression here has become a picture; in the absence of action, there is an internal movement. And it lies in the semantic compositional development of the lyrical theme. First, these are the first discreet details of the night world:

Whispering, timid breathing, Nightingale's trills, / Silver and swaying / Sleepy stream ...

Then more distant large details, more generalized and indefinite, foggy and vague, fall into the poet's field of vision:

Night light, night shadows, / Shadows without end, / A series of magical changes / A sweet face.

In the final lines, both concrete and generalized images of nature merge, forming a huge whole - the sky, embraced by the dawn. And the internal state of a person is also included in this three-dimensional picture of the world as an organic part of it:

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!..

That is, here there is an evolution of human and natural plans, although the analytical element is completely absent, only the fixation of the poet's feelings. There is no specific portrait of the heroine, only vague, elusive signs of her appearance in the subjective perception of the author. Thus, the movement, the dynamics of an elusive, whimsical feeling conveys the complex world of the individual, causing a feeling of an organic fusion of natural and human life.

The poetry of the eighties is characterized by a combination of two principles: the outbreak of "neo-romanticism", the revival of high poetic vocabulary, the enormous growth of Pushkin's influence, the final recognition of Fet, on the one hand, and on the other, the clear influence of realistic Russian prose, primarily Tolstoy and Dostoevsky (especially of course, the skill of psychological analysis). The influence of prose is enhanced by the special property of this poetry, its rationalistic, exploratory character, a direct legacy of the enlightenment of the sixties.

Along with a general attraction to the fact, to an in-depth psychological analysis, these poets have a markedly emphasized attraction to realistically accurate detail introduced into the verse. With the sharp mutual attraction of the two poles - realistic, even naturalistic, and ideal, romantic - the realistic detail itself appears in a conventionally poetic atmosphere, surrounded by familiar romantic clichés. This detail, with its naturalism and fantasticness, is correlated not so much with the achievements of the previous realistic era of poetry, but with the aesthetic concepts of the coming era of decadence and modernism. A random detail that violates the proportions of the whole and parts is a characteristic stylistic sign of this transitional era: the desire to find and capture beauty not in eternal beauty, consecrated by time and art, but in random and instantaneous.

In the middle of the XIX century in Russian culture, two
different attitudes towards art in general.
The revolutionary democrats expected from art above all
civic orientation: direct participation in public
political struggle, reflecting the most painful
questions of time. Everything that was outside the sphere of public
interests, was considered vulgar, including "pure" poetry.
An extreme point of view on the purpose of art was expressed by
Nekrasov in the well-known formulation: “You may not be a poet,
but you have to be a citizen.
In contrast to the theory of the art of public service
developed the theory of "pure art". According to this theory, art
must be free ("pure") from public life:
the poet needs to create pure sublime images that reflect
the world of intimate experiences. The short formula of "pure art":
"art for art's sake". F Tyutchev and A. Fet - poets of "pure
arts."

The theory of "pure art", in the poetry of A. A. Fet, F. I. Tyutchev

The definition of "pure art" developed in Russian criticism as a negative one in the 1940s and 1950s. It was also impossible to talk about Zhukovsky and Batyushkov like that. One could feel the great content of their poetry, the positive virtues of its form. Later, due to a misunderstanding and in connection with the importunate emphasis on Zhukovsky's ideological "conservatism", this pejorative definition spread to him as a poet as well.

In the 40-50s, the poetic work of A.A. Feta, F.I. Tyutchev as a kind of reaction to the democratic orientations that came from Nekrasov and Belinsky.

Both poets - Fet and Tyutchev - were outside the strengthening trend in literature, laying its new pedigree. Their undertakings were picked up by A.N. Maikov, Ya.P. Polonsky, A.K. Tolstoy. The poets of this group sincerely believed that poetry should talk about the eternal freely, without coercion. They did not recognize any theory over themselves

Uniting on some general principles, the poets of "pure art", however, differed in many respects among themselves.

A.A. Fet turned out to be a difficult phenomenon of Russian poetry to explain both for modern criticism and for subsequent literary criticism. The democratic public condemned his departure from topical social issues, for an excessively chamber character his poetry. The subtleties of his observations and poetic and artistic skill were not captured.

It is also complex and contradictory in the following respect: there was an extremely large gap between Fet, a subtle lyricist, and Shenshin, a man.

Fet allowed himself to flaunt with paradoxes: "A work of art that makes sense does not exist for me." "In our business, the true nonsense is the true truth." "My muse babbles nothing but absurdities." That's why D.I. Pisarev paid him the same and completely in his articles crossed out at least some significance of Fet the poet.

The severe enemy of "moth poetry" M.E. Saltykov-Shchedrin wrote that most of Fet's poems "breathe with the most sincere freshness", she "wins the hearts of readers", romances based on Fet's poems "are sung by almost all of Russia." And again, with sober accuracy, it is said about the uneven quality of the poems, about the fact that Fet’s world is “small, monotonous and limited”, although few can compare with him in “fragrant freshness”.

Dobrolyubov, speaking of Fet as a master of "capturing fleeting impressions", in essence, already posed the problem of Fet's impressionism, which has not yet been satisfactorily clarified by any of the scientists.

There are three positions in Fet's explanation.

First: we want to know only the “good” Fet, the greatest lyricist, and nothing else Fet and Shenshin, a poet and businessman, and although Shenshin often interfered with Fet, these interferences must be ignored as purely empirical circumstances, as misunderstandings of private life, everyday bustle not worthy of attention. And, finally, the third position: there are dialectical connections between Fet and Shenshin, between the fragrant lyricist and the militant conservative. We should be interested in the dialectic of connections between Fet’s life and beliefs, on the one hand, and his “pure” lyrics, on the other. True dialectics should not be sought in ugly connections - the relationship between Fet and Shenshin, the greatest lyricist with a self-serving landowner - this path is false and unproductive . Connections can only exist between Fetov's poetic world and the boundless world of human life, the life of nature, society. The real truth of Fet was formulated by him in one of the articles of 1867: “Only man and only he alone in the whole universe feels the need to ask: what is the nature surrounding him? where does all this come from? what is he himself? where? where? why? And the higher a person is, the more powerful his moral nature, the more sincerely these questions arise in him.

Fet preaches not narrowness, but observation. Of course, there is not only this in the world, but this is also there. Everything exists for man. The inner man is the measure of all things. He has the right to choose. Let's quote another poem Good and evil"

Fet is not asked by the "cosmic" problems of human existence. The world of Fet is absolutely this-worldly, it does not concern anything mystical, the fate of the universe. In earthly life, in a person, his own sphere of fleeting impressions and feelings is selected. With this “impressionism”, Fet could please modernists, symbolists in late XIX century.

The Poetry of Pure Art of the 1960s Russian literature of the 1950s and 1960s includes several well-known even today poets who make up the pleiad of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet. Not for worldly excitement. Not for selfishness, not for battles, We were born for inspiration, For the sounds of sweet prayers. This is the poet's program, a call to go to the shrine of poetry, not to reckon with the demands of the crowd, with the demands of utilitarianism. Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads. Dear free Go where the free mind leads you, Improving the fruits of your favorite thoughts. It is in you yourself, you yourself are your highest court, Not demanding rewards for a noble feat. Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity. These poetic slogans formed the basis of the creativity of all the poets of pure art listed above. Just as realists, prose writers Turgenev, Dostoevsky, Tolstoy and others grow out of Pushkin's later works. Similarly, on the other hand, Pushkin's romanticism paved the way for the flowering of pure poetry and brought with it a significant group of romantic poets. Thus, the idea of ​​serving pure poetry was not a new phenomenon that arose only in the period of the 50s. Its roots were in the poetic legacy of the past. Moreover, it must be said that the special attraction of later poets to this idea in the 50s is explained by several other new historical literary factors that arose in these years. This is the development of the idea of ​​utilitarianism in literature. Russian public life was subjected to the strongest breakdown at the turn of the 50s-60s. And the new historical situations that appeared after the reform in the life of Russian society imperiously require a reassessment of many values, a massive revision and re-accounting of everything that has accumulated from the past in all areas of life. The need for a new assessment, a new analysis, along the new [........] of the path traveled appeared before the people involved in literature. In addition, along with the developing liberalism in the minds of the leading representatives in Russian social thought of that time, the government reaction was also intensifying, imposing unlimited absolutism on everything, that assessment of social value among liberals and a large mass of the Russian public took place under the exceptional sign of the social significance of those or other phenomena, including their literary works. Public criticism appears and flourishes, denying any idealism and individualism in creativity, demanding the social utility of literary works and demanding service to the collective. Contrasting idealism with literary rationalism. The desire to clean up the world's dream. The former understanding of the appointment of the poet as a free priest of free art is opposed by a new understanding of the significance of the poet as a bearer of civic duty, as a champion of goodness against all social evils. Hence the need for civic motives and the intensification of civic sorrow, the denunciation of social untruth, the imposition of certain real social tasks on literary works. Moreover, along with increasing social criticism, they appear as a result of new trends and as a new literary phenomenon, new poetry appears, like Nekrasov's poetry, completely absorbed in the idea of ​​serving society, saturated through and through with the spirit of populism. The muse of revenge and sadness, scourging social evil, chooses topics almost exclusively from the life of the lower classes, reflects the difficult life of the peasantry, which is under the yoke of autocratic lack of rights, violence, and in darkness and ignorance. The poet does not create for a select circle of educated readers, but tries to bring poetry closer to the masses. Therefore, the poetic style itself reduces to the level of this mass. Poetry in the person of Nekrasov popularizes the ideology of populism; the desire for public duty brings a bright socio-political coloring to poetry, and tendentiousness is introduced into art. And this trend in art was required and justified not only by public criticism of that time in the person of Chernyshevsky, Dobrolyubov and others. But the same was demanded by all the progressive representatives of the masses of readers. But the strengthening of this populist trend in the literature of the 1950s and 1960s could not carry along with it all the forces of society, and, above all, could not carry away all the poets and writers. Among the latter, groups appear that do not share the idea of ​​utilitarianism and instead put the self-contained value of art at the head of their creative activity. Exalting poetry as a shrine inaccessible to the masses, where only an artist is allowed to comprehend all the secrets of life, where for the artist there is a special closed world, a blissful land, on the bed of which the poet must forget worldly fuss. He must stand above the interests of the crowd and, from the height of creation, impartially contemplate everything earthly with all everyday interests and all worldly vulgarity. In this world, the poet must find rest from the gray reality. If so, then the utilitarian poets are not poets, they are traders in words, they are defilers of the divine temple of pure art. Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Such an understanding of the essence and task of poetry, as noted above, was first proclaimed by Pushkin and it found a lively response from a whole choir of poets of the 50s and 60s. But the appearance of the latter coincided with a natural increase in utilitarianism, and this appearance was not accidental. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. They are sectarian poets who have broken away from the rest of society, Protestants who have gone into the side lanes of pure poetry in the name of free creativity and in the name of preserving their individual image as free priests of art. Therefore, their themes are mostly secular and aristocratically chosen. Poetry for those who understand it. For a select circle of readers. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe. The poetry of sighs and fleeting sensations. And pure poetry as a hymn to eternal beauty, eternal radiance, golden veil, eternally sunny day, starry and moonlit night. And in all the grandeur and beauty of the universe, a person is like a necessary sound in world harmony, and the song that escapes from the lips is the languid sound of a string that echoes like an echo of the world symphony. Moreover, the poetry of pure art as such is represented in different ways in the work of each of these poets. While preserving the general mood, the general motives of creativity and being quite definite representatives of pure art in assessing the essence and goals of the poet, it is still necessary to distinguish between them the difference that is expressed in the methods of creativity, the main images in the chosen topics, and in the same way in the ideological content. creativity. With this approach, it is not difficult to establish a significant difference between such poets as Fet, on the one hand, and Tyutchev, Maikov and Tolstoy, on the other. The poetry of the latter is more saturated with folk content as the ideal of a world Christian state, the founder of which should be the Slavic peoples according to Tyutchev, or Maikov’s conscious attraction and imitation of ancient images, actively polemical tendencies as a champion of pure art L. Tolstoy - all this can be generally noted as moments strengthening the ideological content of the content and as well-known tendentious premises of a speculative order in the work of poets of pure art. These moments should be considered as some deviation from the main property of pure poetry, the source of which in most cases is the world of the subconscious, the world of impressions and the world of the poet-mystic and pantheist that seems to be inspired. And among the poets of the 60s there is such a poet who is the most striking, typical representative of genuine pure poetry, and such is Afanasy Afanasievich Fet, whose work we will dwell on as the most vividly reflecting the image of pure poetry of the 60s. Poetry for Fet, as for all poets of pure art, is valuable in itself, its goals and objectives are defined within poetry itself, and its main goal is not to condescend, but to elevate. His poetry is characterized by exceptional purity and spirituality, but there are no actions in it. Instead of actions, one rushes up, flashing thoughts, sighs of the soul and a lot of impressions [........] of joy and sadness. The poet is the only connoisseur of world beauty. The longing of the earth will not overshadow his fantasy. "Mountain Height" "Your fate is on the verges of the world Do not condescend, but elevate. The powerless sigh will not touch you, Longing will not overshadow the earth: At your feet, like incense smoke, Clouds are melting" (July 1886) So far is the poet from everything earthly. His inner world and his penetration into the secrets of the universe are so whole and so subtly penetrating that he regrets his song, which has eternal noble impulses beyond the earthly, but which is destined to be a captive bird in a helpless heart embodied in flesh and blood and attached to the earth. And in the heart, like a captive bird, A wingless song languishes. The poet's muse is ethereal, airy. Her secret beauty, her ethereality and the world of eternal beauty accessible to her is difficult for a poet to express in earthly words. Therefore, passionate desires come out of his mouth. Ah, if it were possible to speak with the soul, since it is impossible to speak with the soul, then the poet finds sadness for the understatement, incomprehensibility of his poetry, he could not express everything that he felt, and many beautiful dreams live like a prisoner in the secret of his soul and are not expressed in the images desired by the poet. Regretting them, the poet expresses a sad, dreary desire that: "The summers drowned his momentary dreams." This desire of the poet will become clear to us when we learn his view of the purpose of the poet. The sky caresses the poet, it is only dear to him. And inspired by unearthly grandeur, he must see beauty in everything. Nothing should cloud the clairvoyant gaze of the poet, the earthly definition of beauty is not the definition of the poet, it represents eternal beauty, the poet must see the reflection of world beauty in everything, including the fleeting and the past. In addition, the poet must see beauty not only in what is understandable to all people, but must feel the power of beauty even where people do not feel it. Even the imperceptible, miserable in nature must also burn with eternal gold in hymns. To the poets "In your chambers my spirit is winged, It sees the truth from the heights of creation. This leaf, which withered and fell, Burns with eternal gold in hymns." The same look is expressed in another verse: Only a bee recognizes the hidden sweetness in a flower, Only an artist senses a trace of beauty in everything. Such beauties bring a person closer to the world, so the goal of poets is to perpetuate beauty. The poet must guess through the veil, through the beautiful shell, even in all passing phenomena, the reflection of the eternally existing being. Only then will the harmonious grandeur of the beauty of nature become clear to him. And for the poet, a quick change of impressions, fleeting moments and transient contradictions are very significant. Therefore, nature answers him through the lips of a cheerful creature, an embodied moment - a butterfly: You are right. One air outline I'm so sweet. All velvet with its live blinking - Only two wings. Do not ask where it came from, where I am in a hurry; Here on a flower I easily sank - And now I breathe. How long, without purpose, without effort - Do I want to breathe? - Just about now - flashing, I will spread my wings - And I'll fly away! This poem very clearly reflects the deep aesthetic nature of Fet's work. And it most realistically expresses the living sense of beauty and the boiling of living life in Fet's poetry. Selfless devotion to one beauty and constant unquenchable [........] passion for everything captivating and beautiful at times turn the poet of the moment into a mystic poet. The element of nature captures and takes his dreams to the world beyond, the other world. Listening to the song of a nightingale on a starry night or contemplating twilight, sunsets, sincerely trying to comprehend the mysteries of life or following a lancet swallow over an evening pond, he often rushes off with his fantasy to a forbidden alien element: Nature's feast [.......]. Here we rushed and [.......]. And it’s scary that [.......] You can’t grab an alien element. Prayer wing And again the same boldness, And the same dark stream Isn't inspiration like that, And the human self? Am I not a vessel, meager, I dare to the forbidden path, The elements are alien, transcendent, Trying to scoop at least a drop. This desire for an alien element pervades the lyrics of nature in Fet's work, so that mystical love for her should be considered as one of the main points of his poetry. Moreover, the mystical perception of nature turns all its beauty into mysterious music, into a symbol of the infinite, into an endlessly flickering magical ghost. This gives rise to a feature of the techniques often observed in Fet's work, which consists in reproducing mainly one's impressions and sensations received from the environment, and not reproducing individual real paintings. Fet often conveys not the sound itself, but its quivering echo. Describes not the moonshine, but the reflection of light on the surface of the water. This technique, inherent in symbolic poetry, is for the first time in Russian literature most fully represented in the poetry of Fet. Therefore, the description of nature in his mouth turns into solid music, into refined gentle lyrics. And especially intimate and airy are his spring and summer songs and songs dedicated to distant mysteriously twinkling stars, with which the poet’s thoughts merge in mystical trembling with a living fabric of fantasy, so often break away from real life and merge in their impulses with [ ...... .] elements. But being so mysteriously in love with nature, Fet did not look for the riddle of the spirit in nature itself. Beauty in nature is only a reflection of the secret beauty of being, a reflection of the ever-existing spirit. The lyrics of nature for him as a necessary cult of beauty and therefore perceives all its phenomena from a purely aesthetic point of view. Calmly contemplating the nature of the entire region, the poet has no demands on it in the name of principles that lie outside it. He takes nature as it is, finds in himself a great closeness to it and, describing it, does not resort to any artificial personifications, false spiritualizations, but has only one simple-hearted desire to reproduce nature without a tendency to improve, correct, etc. Therefore, it is very often his depiction of nature is especially simple. Many beautiful moments of nature are recorded by him as separate independent images and integral themes and strung one on top of the other in order to give musical melody to his poems in playful overflows and harmonious symbolism of his emotional experiences and thoughts that excite him. Art. A storm in the evening sky, An angry sea noise, A storm on the sea and thoughts, Many painful thoughts, A storm on the sea and thoughts, A chorus of growing thoughts. Black cloud after cloud, The angry noise of the sea. Fet's love lyrics also stem from the cult of beauty, but there is no ebullient passion in it, born of the desire for earthly pleasures, but rather poeticized moments of fleeting memories and an artistically reproduced alternation of light and shadows, sighs and moments of the past. Therefore, Fet's love songs are far from ordinary sensuality, there are much more sublime, incorporeal impulses in them, full of hints and understatements. The lyrics of love, like the lyrics of nature, are light and sincere, it fills the reader's soul not with the desire for passion, but like musical tunes that give rise to a lot of side thoughts, moods and impressions. They are the essence of sparks of living life, with their flickering luring and taking away to the unknown gave dreams and fantasies. Every lyric of Fet, in addition to the above properties, is fraught with a deep religious and philosophical meaning. As mentioned above in passing, although Fet, mystically in love with nature, exalted its beauty in his poetry, he nevertheless sought and saw his ideal not in nature itself, but in the otherworldly mystery of the universe. Beauty in nature is only a means for communicating the fantasy of the poet's thought directed into the distance with the supersensible incomprehensible world. The desire for this latter, the desire to comprehend and merge with it is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance... Poetry for Fet is a sacred act and at the moment of creation he is like a priest who makes a sacrifice on altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [. ......], [ .......], the trembling of a touched heart, kneeling before eternal beauty: "... I am still humble, Forgotten, thrown into the shadows, I stand on my knees And, touched by beauty, Turn on the evening lights." Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. He is everywhere and everywhere at all moments of poetic contemplation, inhaling the last, the desire to comprehend and merge with him is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance... Lifting the sacred banner with his gum. I go - And the living crowd set off after me, And everyone stretched along the forest clearing, And I am blessed and proud singing the shrine. I sing - and the childish fear is unknown to my thoughts: Let the beasts answer me singing, - With a shrine over my forehead and a song on my lips, With difficulty, but I will reach the coveted door! Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [.......], the thrill of a touched heart kneeling before eternal beauty: "... I am still humble Forgotten, thrown into the shadows, I stand on my knees And, touched by beauty, I lit the evening fires. Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil". Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness. There, finally, I find everything that my soul was looking for, I waited, hoped, in my declining years I will find. And from the bosom of a quiet earthly ideal, I will move to the bosom of eternity with a smile. Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. Everywhere and everywhere, with all the moments of poetic contemplation, inspired dreams, he knew how to remain an independent, consistent and selfless singer of beauty, a singer of the ideas of an eternally existing being, an inspired priest from pure poetry. Therefore, the religious and mystical stream, which emanated from the philosophical worldview of the poet, and the impressionistically designed verbal strokes, which sounded with special musicality and amazing insight into the innermost secrets of everything that the poet’s gaze is turned to in the world around him, which is especially clearly expressed in his poetry, stemming from the philosophical worldview of the poet, rightly attracted the attention of later representatives of pure art, namely a whole generation of symbolist poets who accepted Fet as their ancestor, as a forerunner, and who very often repeated with tenderness the sigh that once escaped Fet's lips: "Oh, if it were possible to speak with the soul." And if, calling for historical continuity in the development of well-known literary phenomena, we say that Fet goes back to Pushkin along the line of pure poetry, then with the same confidence we can say that the later Russian symbolists go back to Fet in the same way. Mukhtar Auezov

05.12.2012

2012-12-05 08:06:07

14527

The poetry of pure art

60s

Russian literature of the 1950s and 1960s includes several well-known poets today who constitute a galaxy of priests of pure art. These include Tyutchev, Alexei Tolstoy, Polonsky, Maikov and Fet. All these poets in the past of Russian literature go back to Pushkin, who in most of his youthful poems was a theoretician of pure art and pointed out for the first time in Russian literature the significance of the poet.

Not for worldly excitement.

Not for self-interest, not for battles,

We are born to inspire

For the sounds of sweet prayers.

This is the poet's program, a call to go to the shrine of poetry, not to reckon with the demands of the crowd, with the demands of utilitarianism. Poetry is an end in itself for the poet, it is necessary to calmly contemplate, withdrawing from the vain world, and delve into the exceptional world of individual experiences. The poet is free, independent of external conditions. Its purpose is to go where the free mind leads.

Dear free

Go where your free mind takes you,

Improving the fruits of your favorite thoughts.

He is in you, you are your own supreme court,

Not demanding rewards for a noble feat.

Free creativity is the feat of a poet. And for this noble feat, earthly praise is not needed. They do not determine the value of poetry. There is a higher court, and it only has to be said, to evaluate poetry, like a sweet sound, like a prayer. And this supreme court is within the poet himself. This is how Pushkin defines the freedom of creativity and the individual world of the poet in the first period of his creative activity.

These poetic slogans formed the basis of the creativity of all the poets of pure art listed above. Just as realists, prose writers Turgenev, Dostoevsky, Tolstoy and others grow out of Pushkin's later works. Similarly, on the other hand, Pushkin's romanticism paved the way for the flowering of pure poetry and brought with it a significant group of romantic poets. Thus, the idea of ​​serving pure poetry was not a new phenomenon that arose only in the period of the 50s. Its roots were in the poetic legacy of the past. Moreover, it must be said that the special attraction of later poets to this idea in the 50s is explained by several other new historical literary factors that arose in these years. This is the development of the idea of ​​utilitarianism in literature. Russian public life was subjected to the strongest breakdown at the turn of the 50s-60s. And the new historical situations that appeared after the reform in the life of Russian society imperiously require a reassessment of many values, a massive revision and re-accounting of everything that has accumulated from the past in all areas of life. The need for a new assessment, a new analysis, along the new [........] of the path traveled appeared before the people involved in literature. In addition, along with the developing liberalism in the minds of the leading representatives in Russian social thought of that time, the government reaction was also intensifying, imposing unlimited absolutism on everything, that assessment of social value among liberals and a large mass of the Russian public took place under the exceptional sign of the social significance of those or other phenomena, including their literary works. Public criticism appears and flourishes, denying any idealism and individualism in creativity, demanding the social utility of literary works and demanding service to the collective. Contrasting idealism with literary rationalism. The desire to clean up the world's dream.

The former understanding of the appointment of the poet as a free priest of free art is opposed by a new understanding of the significance of the poet as a bearer of civic duty, as a champion of goodness against all social evils. Hence the need for civic motives and the intensification of civic sorrow, the denunciation of social untruth, the imposition of certain real social tasks on literary works. Moreover, along with increasing social criticism, they appear as a result of new trends and as a new literary phenomenon, new poetry appears, like Nekrasov's poetry, completely absorbed in the idea of ​​serving society, saturated through and through with the spirit of populism. The muse of revenge and sadness, scourging social evil, chooses topics almost exclusively from the life of the lower classes, reflects the difficult life of the peasantry, which is under the yoke of autocratic lack of rights, violence, and in darkness and ignorance. The poet does not create for a select circle of educated readers, but tries to bring poetry closer to the masses. Therefore, the poetic style itself reduces to the level of this mass. Poetry in the person of Nekrasov popularizes the ideology of populism; the desire for public duty brings a bright socio-political coloring to poetry, and tendentiousness is introduced into art. And this trend in art was required and justified not only by public criticism of that time in the person of Chernyshevsky, Dobrolyubov and others. But the same was demanded by all the progressive representatives of the masses of readers.

But the strengthening of this populist trend in the literature of the 1950s and 1960s could not carry along with it all the forces of society, and, above all, could not carry away all the poets and writers. Among the latter, groups appear that do not share the idea of ​​utilitarianism and instead put the self-contained value of art at the head of their creative activity. Exalting poetry as a shrine inaccessible to the masses, where only an artist is allowed to comprehend all the secrets of life, where for the artist there is a special closed world, a blissful land, on the bed of which the poet must forget worldly fuss. He must stand above the interests of the crowd and, from the height of creation, impartially contemplate everything earthly with all everyday interests and all worldly vulgarity. In this world, the poet must find rest from the gray reality. If so, then the utilitarian poets are not poets, they are traders in words, they are defilers of the divine temple of pure art. Pure poetry is lofty, sacred, earthly interests are alien to it, both with all the approvals, laudatory hymns, and censures, instructions and demands that are useful to them. Such an understanding of the essence and task of poetry, as noted above, was first proclaimed by Pushkin and it found a lively response from a whole choir of poets of the 50s and 60s. But the appearance of the latter coincided with a natural increase in utilitarianism, and this appearance was not accidental. Poets - supporters of pure art - consciously went against the intensified flow of their time. This was a conscious reaction against the demands of civic duty and against all social demands. They are sectarian poets who have broken away from the rest of society, Protestants who have gone into the side lanes of pure poetry in the name of free creativity and in the name of preserving their individual image as free priests of art. Therefore, their themes are mostly secular and aristocratically chosen. Poetry for those who understand it. For a select circle of readers. Hence the prevailing lyrics of love, the lyrics of nature, a keen interest and attraction to classical samples, to the ancient world (Maikov A.T.); poetry of world chaos and world spirit Tyutchev; striving upward, poetry of the moment, direct impression of the visible world, mystical love for nature and the mystery of the universe. The poetry of sighs and fleeting sensations. And pure poetry as a hymn to eternal beauty, eternal radiance, golden veil, eternally sunny day, starry and moonlit night. And in all the grandeur and beauty of the universe, a person is like a necessary sound in world harmony, and the song that escapes from the lips is the languid sound of a string that echoes like an echo of the world symphony. Moreover, the poetry of pure art as such is represented in different ways in the work of each of these poets. While preserving the general mood, the general motives of creativity and being quite definite representatives of pure art in assessing the essence and goals of the poet, it is still necessary to distinguish between them the difference that is expressed in the methods of creativity, the main images in the chosen topics, and in the same way in the ideological content. creativity. With this approach, it is not difficult to establish a significant difference between such poets as Fet, on the one hand, and Tyutchev, Maikov and Tolstoy, on the other. The poetry of the latter is more saturated with folk content as the ideal of a world Christian state, the founder of which should be the Slavic peoples according to Tyutchev, or Maikov’s conscious attraction and imitation of ancient images, actively polemical tendencies as a champion of pure art L. Tolstoy - all this can be generally noted as moments strengthening the ideological content of the content and as well-known tendentious premises of a speculative order in the work of poets of pure art. These moments should be considered as some deviation from the main property of pure poetry, the source of which in most cases is the world of the subconscious, the world of impressions and the world of the poet-mystic and pantheist that seems to be inspired. And among the poets of the 60s there is such a poet who is the most striking, typical representative of genuine pure poetry, and such is Afanasy Afanasievich Fet, whose work we will dwell on as the most vividly reflecting the image of pure poetry of the 60s. Poetry for Fet, as for all poets of pure art, is valuable in itself, its goals and objectives are defined within poetry itself, and its main goal is not to condescend, but to elevate. His poetry is characterized by exceptional purity and spirituality, but there are no actions in it. Instead of actions, one rushes up, flashing thoughts, sighs of the soul and a lot of impressions [........] of joy and sadness. The poet is the only connoisseur of world beauty. The longing of the earth will not overshadow his fantasy.

"Mountain height"

"Your fate is on the edges of the world

Do not descend, but elevate.

Powerless sigh will not touch you,

Do not darken the earth longing:

At your feet, like incense smoke,

Whilst the clouds are melting" (July 1886)

So far is the poet from everything earthly. His inner world and his penetration into the secrets of the universe are so whole and so subtly penetrating that he regrets his song, which has eternal noble impulses beyond the earthly, but which is destined to be a captive bird in a helpless heart embodied in flesh and blood and attached to the earth.

And in the heart, like a captive bird,

A wingless song languishes.

The poet's muse is ethereal, airy. Her secret beauty, her ethereality and the world of eternal beauty accessible to her is difficult for a poet to express in earthly words. Therefore, passionate desires come out of his mouth. Ah, if it were possible to speak with the soul, since it is impossible to speak with the soul, then the poet finds sadness for the understatement, incomprehensibility of his poetry, he could not express everything that he felt, and many beautiful dreams live like a prisoner in the secret of his soul and are not expressed in the images desired by the poet. Regretting them, the poet expresses a sad, dreary desire that: "The summers drowned his momentary dreams." This desire of the poet will become clear to us when we learn his view of the purpose of the poet. The sky caresses the poet, it is only dear to him. And inspired by unearthly grandeur, he must see beauty in everything. Nothing should cloud the clairvoyant gaze of the poet, the earthly definition of beauty is not the definition of the poet, it represents eternal beauty, the poet must see the reflection of world beauty in everything, including the fleeting and the past. In addition, the poet must see beauty not only in what is understandable to all people, but must feel the power of beauty even where people do not feel it. Even the imperceptible, miserable in nature must also burn with eternal gold in hymns.

St. poets

"In your halls my spirit is winged,

He sees the truth from the heights of creation.

This leaf that withered and fell off,

Golden eternal burns in hymns.

The same view is expressed in another verse:

Only a bee recognizes hidden sweetness in a flower,

Only an artist senses beauty in everything.

Such beauties bring a person closer to the world, so the goal of poets is to perpetuate beauty. The poet must guess through the veil, through the beautiful shell, even in all passing phenomena, the reflection of the eternally existing being. Only then will the harmonious grandeur of the beauty of nature become clear to him. And for the poet, a quick change of impressions, fleeting moments and transient contradictions are very significant. Therefore, nature answers him through the lips of a cheerful creature, an embodied moment - a butterfly:

You're right. One aerial outline

I'm so sweet

All velvet with its live blinking - Only two wings.

Do not ask where it came from, where I am in a hurry;

Here on a flower I easily sank - And now I breathe.

How long, without purpose, without effort - Do I want to breathe? -

Right now - flashing, spreading my wings -

This poem very clearly reflects the deep aesthetic nature of Fet's work. And it most realistically expresses the living sense of beauty and the boiling of living life in Fet's poetry.

Selfless devotion to one beauty and constant unquenchable [........] passion for everything captivating and beautiful at times turn the poet of the moment into a mystic poet. The element of nature captures and takes his dreams to the world beyond, the other world. Listening to the song of a nightingale on a starry night or contemplating twilight, sunsets, sincerely trying to comprehend the mysteries of life or following a lancet swallow over an evening pond, he often rushes off with his fantasy to a forbidden alien element:

Nature holiday [.......].

Here we rushed and [.......].

And it's scary to [.......]

You can't grab a foreign element.

prayer wing

And again the same boldness

And the same dark stream

Isn't that inspiration

And the human me?

Am I not a vessel, meager,

I dare to the forbidden path,

Elements alien, transcendent,

Trying to grab at least a drop.

This desire for an alien element pervades the lyrics of nature in Fet's work, so that mystical love for her should be considered as one of the main points of his poetry. Moreover, the mystical perception of nature turns all its beauty into mysterious music, into a symbol of the infinite, into an endlessly flickering magical ghost. This gives rise to a feature of the techniques often observed in Fet's work, which consists in reproducing mainly one's impressions and sensations received from the environment, and not reproducing individual real paintings. Fet often conveys not the sound itself, but its quivering echo. Describes not the moonshine, but the reflection of light on the surface of the water. This technique, inherent in symbolic poetry, is for the first time in Russian literature most fully represented in the poetry of Fet. Therefore, the description of nature in his mouth turns into solid music, into refined gentle lyrics. And especially intimate and airy are his spring and summer songs and songs dedicated to distant mysteriously twinkling stars, with which the poet’s thoughts merge in mystical trembling with a living fabric of fantasy, so often break away from real life and merge in their impulses with [ ...... .] elements. But being so mysteriously in love with nature, Fet did not look for the riddle of the spirit in nature itself. Beauty in nature is only a reflection of the secret beauty of being, a reflection of the ever-existing spirit. The lyrics of nature for him as a necessary cult of beauty and therefore perceives all its phenomena from a purely aesthetic point of view. Calmly contemplating the nature of the entire region, the poet has no demands on it in the name of principles that lie outside it. He takes nature as it is, finds in himself a great closeness to it and, describing it, does not resort to any artificial personifications, false spiritualizations, but has only one simple-hearted desire to reproduce nature without a tendency to improve, correct, etc. Therefore, it is very often his depiction of nature is especially simple. Many beautiful moments of nature are recorded by him as separate independent images and integral themes and strung one on top of the other in order to give musical melody to his poems in playful overflows and harmonious symbolism of his emotional experiences and thoughts that excite him. Art.

Storm in the evening sky

An angry sea noise

Storm on the sea and thoughts

Many painful thoughts

Storm on the sea and thoughts

Chorus of growing thoughts.

Black cloud after cloud

Sea angry noise.

Fet's love lyrics also stem from the cult of beauty, but there is no ebullient passion in it, born of the desire for earthly pleasures, but rather poeticized moments of fleeting memories and an artistically reproduced alternation of light and shadows, sighs and moments of the past. Therefore, Fet's love songs are far from ordinary sensuality, there are much more sublime, incorporeal impulses in them, full of hints and understatements. The lyrics of love, like the lyrics of nature, are light and sincere, it fills the reader's soul not with the desire for passion, but like musical tunes that give rise to a lot of side thoughts, moods and impressions.

They are the essence of sparks of living life, with their flickering luring and taking away to the unknown gave dreams and fantasies.

Every lyric of Fet, in addition to the above properties, is fraught with a deep religious and philosophical meaning. As mentioned above in passing, although Fet, mystically in love with nature, exalted its beauty in his poetry, he nevertheless sought and saw his ideal not in nature itself, but in the otherworldly mystery of the universe. Beauty in nature is only a means for communicating the fantasy of the poet's thought directed into the distance with the supersensible incomprehensible world. The desire for this latter, the desire to comprehend and merge with it is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance...

Lifting the sacred banner with his gum.

I'm going - And the living crowd moved after me,

And they all stretched along the forest clearing,

And I am blessed and proud of the shrine singing.

I sing - and children's fear is unknown to thoughts:

Let the animals answer me with a howl, -

With a shrine above the brow and a song on the lips,

With difficulty, but I will reach the desired door!

Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [ .......], the thrill of a touched heart, kneeling before eternal beauty:

"...I am still humble,

Forgotten, thrown into the shadows,

I stand on my knees

And, touched by beauty,

Turn on the evening lights."

Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil".

Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness.

There, at last, I am everything that the soul was looking for,

I waited, hoped, in my declining years I would find it.

And from the bosom of a quiet earthly ideal,

I will pass to the bosom of eternity with a smile.

Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. He is everywhere and everywhere at all moments of poetic contemplation, inhaling the last, the desire to comprehend and merge with him is the philosophical ideal of the poet. In these impulses, he is closed, lonely, he is alone as a leader and a priest, leading a dumb toliu to the coveted door. He is deeply religious, full of reverent awe before [.......], and his song is a gift of providence, an unearthly prayer leading to clairvoyance...

Lifting the sacred banner with his gum.

I'm going - And the living crowd moved after me,

And they all stretched along the forest clearing,

And I am blessed and proud of the shrine singing.

I sing - and children's fear is unknown to thoughts:

Let the animals answer me with a howl, -

With a shrine above the brow and a song on the lips,

With difficulty, but I will reach the desired door!

Poetry for Fet is a sacred act, and at the moment of creation, he is like a priest bringing a sacrifice to the altar. His work is not the fruit of an idle fantasy, but the performance of a religious rite [.......], [.......], the thrill of a touched heart, kneeling before eternal beauty:

"...I am still humble,

Forgotten, thrown into the shadows,

I stand on my knees

And, touched by beauty,

Turn on the evening lights."

Alien to the idea of ​​serving society and having purely abstract foundations of the universe, Fet also rejects from his everyday definition of morality with established concepts of good and evil. For him, in the immortal world, the most immortal is the individual world of man, the human with its inspirations and insights about the essence of things. And inspiration feeds on beauty and sings where it finds it. Whether it will be in dark or bright areas in good and evil, completely independent of their moral content. Therefore, one can also sing the beauty of evil or vice. Because our definition of evil is not an indisputable, unconditional definition. Pure evil as such is impossible, it is absolute non-existence. And everything that is embodied in the human "I" is on an equal footing with the Divine creation. And from the unstained heights of inspiration or pure speculation, the concepts of good and evil must fall away like grave dust. The knowledge of good and evil is necessary for the earthly will, doomed by earthly hardships. For the artist, only beauty is needed in it, because he must be equally free and independent in both areas. The artist must not be enslaved to man. All the desires of his soul must be free and harmonious. Such is the sharply expressed individualism of the poet, who denies all conventions within human society and opposes to these conventions the free, independent "I" of the artist. This view of the poet is most clearly expressed in verse. "Good and evil".

Singing everywhere only beauty, Fet's poetry seemed to reflect the boundless thirst for life and it would seem that the anthem of death is completely alien to her. But the poet, mystic and pantheist, also sang of death with the same inspiration as he sang of beauty before. Death is not terrible for him, because he believes without hesitation in the continuation of life beyond the grave, believes in the eternal immortality of the soul, which, with death, will be freed from earthly torments and, freed from the body, will easily and freely merge with universal immortality. Therefore, death is only a welcome step for the poet to move from the earthly womb to the bosom of eternity. It is necessary to end earthly life, to die, to disappear, as one of the aesthetic properties of the individual. Thus, philosophically coolly reconciled to the thought of death, he intends to meet it with a smile, as a necessary happiness.

There, at last, I am everything that the soul was looking for,

I waited, hoped, in my declining years I would find it.

And from the bosom of a quiet earthly ideal,

I will pass to the bosom of eternity with a smile.

Such is Fet's poetry, the essence of which, at the slightest thoughtful reading, very clearly emerges before the reader not only from all poetry as a whole, but even from every slightest fragment, a small fragment of his poems. Fet was a genuine, integral representative of pure poetry. Everywhere and everywhere, with all the moments of poetic contemplation, inspired dreams, he knew how to remain an independent, consistent and selfless singer of beauty, a singer of the ideas of an eternally existing being, an inspired priest from pure poetry. Therefore, the religious and mystical stream, which emanated from the philosophical worldview of the poet, and the impressionistically designed verbal strokes, which sounded with special musicality and amazing insight into the innermost secrets of everything that the poet’s gaze is turned to in the world around him, which is especially clearly expressed in his poetry, stemming from the philosophical worldview of the poet, rightly attracted the attention of later representatives of pure art, namely a whole generation of symbolist poets who accepted Fet as their ancestor, as a forerunner, and who very often repeated with tenderness the sigh that once escaped Fet's lips: "Oh, if it were possible to speak with the soul." And if, calling for historical continuity in the development of well-known literary phenomena, we say that Fet goes back to Pushkin along the line of pure poetry, then with the same confidence we can say that the later Russian symbolists go back to Fet in the same way.

42

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