Artistic features of A. Fet's lyrics

Literature lesson in grade 10

Lesson Objectives : form an idea of artistic features lyrics by A.A. Feta; to cultivate interest, love for the poetic word; to give the concept of parody as a literary genre.

Equipment : memo "How to work on the analysis of a poetic work", handouts (cards with texts of poems and questions to them).

Work organization:group work

During the classes

1. Word of the teacher about the work of A. Fet

The poet Afanasy Fet has always been considered "the banner of" pure art "and in fact was one. And although his poems, at first glance, are simple and understandable, he remains an elitist poet, and the meaning of his works is accessible only to an attentive and subtle reader.

A.A. Fet is a poet of nature in a very broad sense. In his poems, nature is humanized and man is natural.

He was called the poet of the moment: the moment in his poems acquires the power and significance of eternity.

Today in the lesson we will take a closer look at the poems of Afanasy Fet, try to comprehend their philosophical meaning and artistic features. We will continue to learn how to analyze a poetic work, we will get new ideas about literary parody. Lesson Objectives: on the example of the poems proposed for analysis, to determine the features of A. Fet's poetics, to improve the ability to compose a coherent detailed monologue answer to a question.

During the classes . Children are divided into 4 (5) groups, each has consultants - strong students. Each group receives a card with tasks. For 15-20 minutes, children work on tasks using reference notebooks. Each group makes a detailed analysis of the poems. The teacher helps students, directs their work

After completing their work, each group presents the class with their collectively composed answer. The rest of the children in the course of the story write down the abstracts of the speeches of their comrades in their workbooks. At the end of the lesson, a conclusion is made about the themes and artistic features of the works of A. Fet.

Homework: students' choice

• Learn by heart your favorite poem;
• Prepare an expressive reading and oral analysis of one of the poems;
• Draw an illustration for the poem.

Materials for the lesson

memo

How to work on the analysis of a poetic work

1. Read the poem carefully. What thoughts, feelings, experiences did it evoke?
2. How did the author achieve this? Find the "key" to the poem (the main means of expression). These can be tropes, peculiarities of vocabulary, rhythm, syntax, phonetics… For what purpose are they used, what semantic load do they carry? Consider also the laws of the genre.
3. Remember that the "key" can be found in an unexpected "place"! In a poem, any element of the form can play leading role in revealing his idea!
4. Define the idea of ​​the work.
5. Handout

From student responses:

A. Fet's poem "A wonderful picture ..." is extremely concise. Syntactic structure sentences are simple, even monotonous: all sentences, with the exception of the first, are one-part, denominative; a kind of monotonous rhythm of the poem is created. The poet shows the panorama from afar, striking the depth of the perspective created by the "distant sleigh". All definitions in the poem are epithets, as they help to feel the vastness, almost infinity of the world. The color scheme of the poem is poor: the only color is white (“white plain”), the reader’s gaze is not distracted by the earthly colors of the landscape. The poem would be completely static if not for the last line, which has single word denoting action, but action as an object (running)

Before us is a poem by a poet who froze in amazement before the infinity of the world.

From the children's answers

The parody produces an ambivalent impression. She is funny, the funniest thing is that D. Minaev managed to skillfully imitate Fet's poetic style. The similarity is in the exact repetition of rhythm, meter, the order of presentation of thought. However, the first reaction - laughter - soon passes, gives way to some kind of bewilderment. As if rude, even indecent words were written on a beautiful, lyrical melody.

Probably, such a mocking attitude towards the poems of A. Fet is explained by the fact that his contemporaries considered the main task of the poet to be the struggle for the freedom of the people, and “pure art”, they thought, distracts the reader from global social problems. The parody seems to call on the poet to see that there is no place for tenderness and lyrics in the world, that the time has come for other songs.

One of the central themes of A. Fet's poetry is the theme of nature. Fet's landscape functions can be said to be universal. Many poems are devoted to sketches of various states of Russian nature, ordinary and imperceptible, but as if seen for the first time. Preparing his poems for publication, Fet arranged them, subordinating the change of seasons (the cycles "Spring", "Summer", "Autumn", "Snow", "Evenings and Nights"). Nature gives birth to his inspiration in its most diverse manifestations - this is both a holistic picture of the universe (“Quiet starry night” (1842), “On a haystack ...”, and a tiny detail of the familiar and familiar world surrounding the poet (“Rye ripens over a hot field "(late 50s), "The swallows are gone ..." (1854), "The cat sings, squinting his eyes" (1842), "Bell" (1859), "The First Lily of the Valley" (1854), etc.).
In addition, nature is a fulcrum, a starting point, from
which begins both philosophical reflections on life and death, and the assertion of the immortal power of art, and a feeling of the regenerating power of love.
The world in Fet's lyrics is full of rustles, sounds that a person with
a less refined soul will not hear. Even "the breath of flowers has a clear language." He hears how “crying, the mosquito will sing / The leaf will fall off smoothly”, as the buzzing of the cockchafer, which suddenly flew into the spruce, interrupts the buzz:

The rumor, opening up, grows,
Like a midnight flower
("I'm waiting, I'm filled with anxiety...")
(1886)

Say that the sun has risen
What is hot light
The leaves fluttered
Tell that the forest woke up
All woke up, each branch,
Startled by every bird
And full of spring thirst...
("I came to you with greetings...")
(1843)

I forgot to think about cold night, -
Warm to the bones and to the heart.
What was embarrassing, hesitating, rushed away,
Like sparks in smoke, flew away ...

“I won’t tell you anything” .., “I’m waiting, I’m filled with anxiety” ...,
Artistic features of the lyrics by A. Feta Literature lesson in grade 10
Lesson objectives: to form an idea of ​​the artistic features of A.A. Feta; to cultivate interest, love for the poetic word; to give the concept of parody as a literary genre.
Equipment: memo "How to work on the analysis of a poetic work", handouts (cards with texts of poems and questions for them).
Organization of work: work in groups
During the classes
Word of the teacher about the work of A. Fet
The poet Afanasy Fet has always been considered "the banner of" pure art "and in fact was one. And although his poems, at first glance, are simple and understandable, he remains an elitist poet, and the meaning of his works is accessible only to an attentive and subtle reader.
A.A. Fet is a poet of nature in a very broad sense. In his poems, nature is humanized and man is natural.
He was called the poet of the moment: the moment in his poems acquires the power and significance of eternity.
Today in the lesson we will take a closer look at the poems of Afanasy Fet, try to comprehend their philosophical meaning and artistic features. We will continue to learn how to analyze a poetic work, we will get new ideas about literary parody. The objectives of the lesson: using the example of the poems proposed for analysis, to determine the features of the poetics of A. Fet, to improve the ability to compose a coherent detailed monologue answer to a question.
During the classes. Children are divided into 4 (5) groups, each has consultants - strong students. Each group receives a card with tasks. For 15-20 minutes, children work on assignments using reference notebooks. Each group makes a detailed analysis of the poems. The teacher helps students, directs their work
After completing their work, each group presents the class with their collectively composed answer. The rest of the children in the course of the story write down the abstracts of the speeches of their comrades in their workbooks. At the end of the lesson, a conclusion is made about the themes and artistic features of the works of A. Fet.
Homework: students' choice
Learn by heart your favorite poem;
Prepare an expressive reading and oral analysis of one of the poems;
Draw an illustration for the poem.
Materials for the lesson
memo
How to work on the analysis of a poetic work
Read the poem carefully. What thoughts, feelings, experiences did it evoke?
How did the author achieve this? Find the "key" to the poem (the main means of expression). These can be tropes, peculiarities of vocabulary, rhythm, syntax, phonetics… For what purpose are they used, what semantic load do they carry? Consider also the laws of the genre.
Remember that the "key" can be found in an unexpected "place"! In a poem, any element of form can play a major role in revealing its idea!
Define the idea of ​​the work.
Handout
Task for group number 1
Athanasius Fet
A wonderful picture, How dear you are to me: White plain, Full moon, Light high skies, and shining snow, And a distant sleigh A lonely run.
Analyze the syntactic structure of the sentences included in the poem.
From what "viewpoint" is the landscape being shown?
Find definitions. Which of them can be considered epithets? What is the role of the last epithet (lonely running) in the poem?
Determine the color scheme of the poem. Her role?
Is the landscape static or dynamic?
From student responses:
A. Fet's poem "A wonderful picture ..." is extremely concise. The syntactic structure of sentences is simple, even monotonous: all sentences, with the exception of the first, are one-part, denominative; a kind of monotonous rhythm of the poem is created. The poet shows the panorama from afar, striking the depth of the perspective created by the "distant sleigh". All definitions in the poem are epithets, as they help to feel the vastness, almost infinity of the world. The color scheme of the poem is poor: the only color is white (“white plain”), the reader’s gaze is not distracted by the earthly colors of the landscape. The poem would be completely static if not for the last line, which has a single word for action, but action as an object (running)
Before us is a poem by a poet who froze in amazement before the infinity of the world.
Task for group number 2
A. Fet
I won't tell you anything, And I won't disturb you in the least, And I won't dare hint at anything about what I silently say.
The night flowers sleep all day long, But as soon as the sun sets behind the grove, The leaves quietly open And I hear how the heart blooms.
And in the sick, tired chest Blows with night moisture ... I tremble, I won't disturb you at all, I won't tell you anything.
Determine the theme of the poem. It's about about happy or unhappy love?
Find personifications, metaphors. What is their role?
What are the features of the composition of the work?
Determine poetic size, a way of rhyming. Do they influence the creation of the emotional tone of the work?
From student responses:
This is a poem about love, and it is not clear whether it is divided or undivided, but, of course, about happy: lyrical hero he does not dare to confess his feelings, but is filled with love languor. This state helps to understand the second stanza. The personification is sleeping...the flowers create a living image of nature; This metaphor acquires special significance in comparison with the metaphor of the heart blooming: the “humanization” of nature here “meets” with the “naturalness” of man.
The poetic size is a three-foot anapaest; according to the definition of N. Gumilyov, "the anapaest is impetuous, impulsive, these are poems in motion, the tension of inhuman passion." The cross rhyme in combination with the masculine clause is restless, depressingly tense.
The last two verses are a mirror reflection of the first two, which gives the composition a closed character: the lyrical hero again and again turns to his unspoken feeling.
Task for group number 3
A. Fet
I’m waiting, filled with anxiety, I’m waiting here on the very path: You promised to come along this path through the garden. Crying, the mosquito will sing, The leaf will fall smoothly ... Rumor, opening, grows, Like a midnight flower. He called Right there at the feet of a corncrake. Quietly under the canopy of the forest Young bushes are sleeping ... Oh, how it smelled of spring! .. It must be you!
Find comparisons, metaphors, personifications. What is their role in revealing the topic?
What is the role of repetition at the beginning of a piece?
Explain the meaning of the expression on the path itself in this context.
What role do living beings play in the poem?
From the children's answers
The poem is extremely tense, excited, not only because it is immediately said about anxiety: this anxiety comes from the tension-inducing repetition at the very beginning (“I’m waiting ... I’m waiting ...”), and from a strange, seemingly meaningless expression - “on the very path”: the ordinary path through the garden became the very path with all the ambiguity of meanings. In this maximally stressed state, a person sharply perceives nature and, surrendering to it, begins to live like nature. “Hearing, opening up, grows Like a midnight flower” – in this comparison, the process of getting used to the natural world is conveyed. Therefore, the verses “hoarsely called a girlfriend ... a corncrake” are not just a parallel with the life of nature. This "hoarse" refers not only to a bird, but also to a person who is already standing, perhaps with an intercepted, parched throat. And just as organically, she joins the world of nature: “Oh, how it smelled of spring! It's probably you."
Task for group number 4
A. Fet
Fountain
Night and me, we both breathe
The air is drunk with linden blossom,
And, silent, we hear
What, with our jet we wave,
The fountain sings to us.

I, and blood, and thought, and body -
We are obedient servants:
To a certain limit
We all rise boldly
Under the pressure of fate.

The thought rushes, the heart beats.
The blood will return to the heart,
My beam will spill into the reservoir,
And the dawn will extinguish the night.
Determine the theme of the poem.
What meaning do the concepts of blood, thought, fate, heart acquire in the work?
What is the purpose in the first stanza of the words night and I are duplicated by the words we both?
Can this poem be considered a work of philosophical lyrics? What is its philosophical meaning?
From the children's answers
The poem is called "Fountain", but its theme is much broader: it is a work about the law of nature and life, common for the fountain, and for man, and for all life on earth. Already in the first line, a person is united with the natural world ("I and the night - we both breathe")
The concepts of blood, thought, body in the poem cease to belong only to a person, and fate equally controls both the person and the flow of water in the fountain, and all these concepts are closed in a single, cosmically harmonious world.
Task for group 5
How do you feel about this parody? What impression did she make on you?
What, in your opinion, caused such a mocking attitude towards one of the best poems by A. Fet?
3. How skillfully did the parodist manage to imitate Fet's poetic manner?
A. Fet
Whisper, timid breath, Nightingale's trill, Silver and the ripple of a sleepy stream,
Night light, night shadows, Endless shadows, A series of magical changes of a sweet face, Purple roses in smoky clouds, Amber reflection, And kisses, and tears, And dawn, dawn! ..
D. Minaev
Cold, dirty villages, Puddles and fog, Fortified destruction, The talk of the villagers. There is no bow from the courtyards, Hats on one side, And the worker Seeds Cunning and laziness. Other people's geese in the fields, Insolence of caterpillars, Shame, the death of Russia, And debauchery, debauchery! ..
From the children's answers
The parody produces an ambivalent impression. She is funny, the funniest thing is that D. Minaev managed to skillfully imitate Fet's poetic style. The similarity is in the exact repetition of rhythm, meter, the order of presentation of thought. However, the first reaction - laughter - soon passes, gives way to some kind of bewilderment. As if rude, even indecent words were written on a beautiful, lyrical melody.
Probably, such a mocking attitude towards the poems of A. Fet is explained by the fact that his contemporaries considered the main task of the poet to be the struggle for the freedom of the people, and “pure art”, they thought, distracts the reader from global social problems. The parody seems to call on the poet to see that there is no place for tenderness and lyrics in the world, that the time has come for other songs.
It seems that it was painful for Fet to read this parody. And today, few people know Minaev, and A. Fet's poems have become classics.

Fet has a great variety of sketches, fractional and persistent development of the same theme in an endless chain of variants.

Following Tyutchev, together with him, Fet perfected and infinitely diversified the finest art of lyrical composition, building miniatures. Behind their seeming repetitiveness stands an infinite variety and diversity, an incessant lyrical counterpoint that captures the complexity of a person's spiritual life.

The first lily of the valley Feta consists of three stanzas. The first two quatrains are about the lily of the valley, which from under the snow asks for the sun's rays, which is pure and bright, the gift of a flaming spring. Further, the poet does not speak about the lily of the valley. But its qualities are overturned on the person:

So the maiden sighs for the first time

What is unclear to her,

And a timid sigh is fragrant

The excess of life is young.

This is Tyutchev's construction, subtly and cleverly perceived by Fet and mastered by him.

Of course, this is not imitation or borrowing. The general tasks of Russian philosophical lyrics, the spirit of the era, the affinity of creative manners play a decisive role here.

Not a thought, not a philosophical or social trend, Fet appreciates in Tyutchev's poetry, but the clairvoyance of beauty: So much beauty, depth, strength, in one word poetry! Fet defined the main scope of Tyutchev's aesthetic clairvoyance. If Nekrasov emphasized Tyutchev's deep understanding of nature, then Fet's work of the poet evoked an association with the night starry sky.

For Nekrasov, Tyutchev is connected with the earth, he knows how to convey its forms in plastic images. For Fet Tyutchev, the most airy embodiment of romanticism, he is a singer of midnight unearthly.

Tyutchev's entry into Fet's poetry, Fet's artistic comprehension of the beloved poet are expressed in his dedication in 1866. Spring has passed, the forest is darkening. Three out of four stanzas (first, third, fourth) are woven from Tyutchev's images and motifs: spring, spring streams, sad willows, fields, spring singer, midnight alien, spring call, smiled through a dream.

Conclusion

Together with Tyutchev, Fet is the most daring experimenter in Russian poetry of the 19th century, paving the way for the achievements of the 20th century in the field of rhythm.

Let's highlight their common features: the unity of aesthetic views; commonality of themes (love, nature, philosophical understanding of life); warehouse of lyrical talent (psychological depth, subtlety of feeling, grace of style, polished language, super-sensitive artistic perception of nature).

Common for Tyutchev and Fet philosophical understanding of the unity of man and nature. However, in Tyutchev, especially in early lyrics, images associated with nature tend to be abstract, generalized, conventional. Unlike Tyutchev, in Fet they are more specific at the level of details, often substantive. This can be seen from the thematic similarity of the poems, the features of their construction, the coincidence of individual words, the features of the imagery of both poets, the symbolism of details in Tyutchev and their concreteness in Fet.

Comparing lyrical works Fet and Tyutchev, it can be concluded that Tyutchev's poem always involves the reader's acquaintance with the poet's previous work, giving a synthesis of the author's figurative searches at the moment, however, it is open to associative links with new poems that can be created by the poet; Fet's poem is like a record of one instantaneous experience or impression in a chain of experiences, it is a link in this chain that does not have a mutual beginning and end, but this piece of life is independent. Those. Fet does not have such obligatory associations with other poems as Tyutchev's.

So, let us summarize once again what signs, or qualities, of nature Tyutchev highlights, creating a poetic image of spring in his work. Colors interest him only to a small extent. Color epithets are laconic and, as a rule, unoriginal. They usually lack the main semantic load. On the other hand, verbs of motion usually play a big role in him, conveying the state of objects of nature. Auditory and tactile, tactile signs of the landscape come to the fore. Before Tyutchev, auditory images did not play such a role in any of the Russian poets.

For Fet, nature is only an object of artistic delight, aesthetic pleasure, detached from the thought of the connection of nature with human needs and human labor. He values ​​​​the moment very much, strives to fix changes in nature and loves to describe a precisely defined time of day. In his work, the poetic image of spring is compared with experiences, the psychological mood of a person; in the spring cycle, Fet showed the ability to convey natural sensations in their organic unity.

In the lyrics of Fet, like Tyutchev, the poetic image of spring is inseparable from human personality, his dreams, aspirations and impulses.

List of used literature:

1. Literary dictionary-reference book. M.: Academy, 2005.

2. Tyutchev F.I. Poems. Letters. M., GIHL, 1957.

3. FetA.A. Works. In 2 vols. T.2. M., 1982.

4. Bukhshtab B.Ya. A.A. Fet: Essay on life and work / USSR Academy of Sciences. 2nd ed.L.: Science. Leningrad. department, 1990.

5. Foreword by B.Ya. Bukhstab to the book: A.A. Fet. Poems. L., 1966.

6. Gorelov A.E. Three Fates: F. Tyutchev, A. Sukhovo-Kobylin, I. Bunin. L.: Owls. writer. Leningrad. department, 1976.

7. Grigorieva A.D. Word in Tyutchev's poetry. Moscow: Nauka, 1980.

8. Grigorieva A.D. A.A. Fet and his poetics // Russian speech No. 3, 1983.

9. Kasatkina V.N. The poetic worldview of F.I. Tyutchev. Saratov, Ed. Sarat. un-ta, 1969.

10. Lagunov A.I. Afanasy Fet. Kh.: Ranok; Vesta, 2002.

11. Nekrasov N.A. Full coll. soch., V.9, M., GIHL, 1950.

12. Nikitin G. I love a thunderstorm in early May… // Lit. study №5, 2003.

13. Ozerov L. Tyutchev's poetry. M.: Artist. lit., 1975.

14. Ozerov L.A.A. Fet (On the skill of the poet). Moscow: Knowledge, 1970.

15. Ozerov L. I love a thunderstorm in early May ... // Youth No. 2, 1979.

16. Orlov O.V. Tyutchev's poetry: a manual for a special course for correspondence students in philol. fak. state Univ. M.: Publishing House of Moscow State University, 1981.

17. Silman T. Notes on lyrics. M.L., 1977.

18. Skatov N.N. Lyrica A.A. Feta (origins, method, evolution). M., 1972.

19. Tolstoy L.N. complete collection compositions, anniversary edition, V.11. Goslitizdat, M., 1932.

20. Chagin G.V. Fedor Ivanovich Tyutchev: (185th birthday). Moscow: Knowledge, 1985.