Information about the topic of feta creativity. Opanas Opanasovich Fet biography - the most advanced

(23 leaf fall 1820, Novosilki garden, Mtsensk district, Oryol province - 21 leaf fall 1892, Moscow)

Biography

Children's rocks

Opanas Opanasovich Fet (Shenshin) was born on the 29th of autumn (for the new style - 10 of leaf fall) in 1820. The documentary biography of him is not entirely accurate - the date of his birth is also inaccurate. Tsikavo, Fet himself designated the 23rd leaf fall as the national day.

The place of the people of the future poet is Oryol province, the village of Novosilki, not far from the town of Mtsensk, the ancestral mother of father, Afanasy Neofitovich Shenshin.

Opanas Neoftovich has a lot of rocks in his life, starting with seventeen rocks and years in military service. Having taken part in the war with Napoleon. For valor, shown in battles, awarded with orders. In 1807, through illness, he joined the army (at the title of captain) and became a civilian servant. In 1812, the Mtsensk povitovy squad of nobility was planted.

The Shenshin family dates back to ancient noble families. Ale rich father Feta not buv. Opanas Neofitovich has been at stationary borgs, at stationary home and family turbos. Perhaps this situation often explains his frown, his hairiness and the dryness of his friends, Fet’s mother, and his children. Feta's mother, as a child, Charlotte Becker, who looked after the people before the German burgher family, was a fearful and humble woman. I didn’t take a major part from the people at home, except for the son’s training, I took up the world of my strength and ability.

This is a partly mysterious story and a related one. Shenshin was a different person. Until 1820 she lived in Nimechchina, in Darmstadt, in her father’s budinka. Perhaps, even after being separated from her first man, Johann Fet, holding her little daughter in her arms, she got together with the 44-year-old Opanas Neofitovich Shenshin. Having visited Darishtadt at the banquet, he got to know Charlotte Fet and fell in love with her. It all ended when he persuaded Charlotte to go with him to Russia, and the stink was over. In Russia, even shortly after her arrival, Charlotte Fet, who became Shenshin, gave birth to a son, named Opanas Shenshin and baptized according to the Orthodox rite.

Fet's childhood was both rich and good. There may be more good things to come, but there may be more bad things to say. Many of Fet’s first readers appeared to be narrow-minded in those who care about book science. It was a different school, not a book school. The school is natural, unapologetically living. Most of all, they began to conquer the superfluous nature and living hostility of the butt, conquering the entire way of the rural, rural life. This is incredibly important for a book certificate. The most popular was the spilkuvaniya from the courtyards, simple people, and villagers. One of them is Illya Opanasovich. Vin served as valet for Father Fet. Illya Opanasovich cared for his children with pride and importance, lovingly instructing them. Finally, the followers of the mayday poet appeared: girls' bags - chambers. For young Fet, girls are all the latest novelties and all the charming tales and fairy tales. The maistritsa of the Kazka was Paraskovia's chamber.

The first teacher of Russian literacy, at his mother’s choice, became for Fet a wonderful cook, but far from an outstanding teacher, the man Afanasy. I wasted no time in teaching the boy the letters of the Russian alphabet. The other teacher was seminarian Petro Stepanovich, a person who probably wanted to teach Feta the rules of Russian grammar, but never learned to read him. After Fet had lost his seminarian teacher, he was forced to pay tribute to the old courtier Filip Agofonovitch, who had become a perukar under Fet’s grandfather. Being himself unliterate, Pilip Agafonovich could not teach the boy anything, without forcing him to get into reading, teaching him to read prayers. Since Fetu is already in his tenth term, a new seminarian teacher, Vasily Vasilovich, has been hired. In this case - for the sake of the conscience of the learned and learned, for the destruction of the spirit - it was decided to take into account at the same time from Fet also the clerk of the son Mitko Fedorov. At his neighbor's son, Fet, a peasant son, acquired a wealth of living knowledge of life. You may note that the great life of the poet Fet, like many other Russian poets and prose writers, began in collaboration with Pushkin. Pushkin's verses planted a love for poetry in Fet's soul. The stench lit up the poetic lamp, awakened the first poetic impulses, and gave a sense of joy to the high, rimmed, rhythmic word.

At Father Fet’s house he lived for up to fourteen years. In 1834, having entered Krümmer's boarding house at Verreaux's, he learned a lot. I think Fetu, who previously bore the nickname Shenshin, is like a father. In the letter, Father informed that now Opanas Shenshin, apparently until the correction of official papers, is guilty of being called official papers, is guilty of being called the son of his mother’s first head, Ioann Fet, - Opanas Fet . What happened? When Fet was born on the same day, we call him baptized, according to the records of Opanasovich Shenshin. It’s important to note that Shenshin married Fet’s mother in an Orthodox rite in the spring of 1822, then. two years after the birth of the mighty poet, and, therefore, I could not respect him as my rightful father.

The beginning of a creative path.

At the end of 1837, following the decisions of Afanasy Neofitovich Shenshin, Fet was deprived of Krümmer's boarding school and sent to Moscow for preparation before entering Moscow University. First Nizh Fet entered the university and lived for a long time, staying at the private boarding house Pogodin. Fet was registered at the hour of starting at the boarding school and at the hour of entering the university. Fet immediately entered the Faculty of Law at Moscow University, but suddenly changed his mind and switched to the verbal department.

Fet’s work on completing the show begins in earnest already in his first year. Vershi vin is registered in specially for that “zhovty zoshit” establishments. Nezabar the number of written verses amounts to three dozen. Fet is likely to show Pogodin. Pogodin hands over the sewing to Gogol. And a week later, Fet turns away from Weather and comes back with the words: “Gogol said, this is an infinite gift.”

Fet's fate is not only tragic, but also happy. I am happy that the great Pushkin was the first to reveal to me the joy of poetry, and the great Gogol blessed me for its service. Vershi tsked at Fet’s classmates. And at that hour Fet became acquainted with Apollo Grigoryev. Fet's closeness with A. Grigoriev became close and quickly turned into friendship. As a result, Fet moves from Pogodin’s house to Grigoriev’s cabin. Later, Fet recognized: “The house of Grigor’s family was a veritable wheel of my pink self.” Fet and A. Grigoriev always, with great sincerity, were united with each other.

They gave the stink a boost to one another and to an important life. Grigor'ev Fet, - if Fet especially keenly sensed frailty, social and human restlessness. Fet Grigoryev - at that hour, when his farm was thrown out, and he was ready to roll from Moscow to Siberia.

Budynok Grigor'evikh became a place for the development of talented university youth. There were students of the literature and law faculties Ya. P. Polonsky, S. M. Solovyov, the son of the Decembrist N. M. Orlov, P. M. Boklevsky, N. K. Kalaidovich. Around A. Grigoryev and Fet, not just a friendly company of spivrozmovniks is being established, but also a literary and philosophical group.

Towards the hour of his stay at the university, Fet released the first collection of his works. It’s called very intuitively: “Lyrical Pantheon”. Apollon Grigoriev assisted in the collection of activities. The collection turned out to be in excess. The release of the “Lyrical pantheon” did not bring Fet positive satisfaction and joy, but he was noticeably relieved. I started writing more and more energetically, less earlier. I don’t stop writing, but get along with each other. I prefer the other two largest magazines: “Moskvityanin” and “Vitchiznyan zapiski”. Moreover, Fet’s actions are wasting the then-current “Chrestomathy” by A.D. Galakhov, the first known of which was published in 1843.

At "Moskvityanine" Fet began to make friends since the end of 1841. The editors of this journal were professors at Moscow University - M. P. Pogodin and S. P. Shevirov. In mid-1842, Fet began to make friends with the journal “Hitchhich Notes,” a leading critic of the former great Belinsky. Over many years, from 1841 to 1845, Fet wrote 85 verses in these magazines, including the textbook verse “I have come to you with greetings...”.

First dashingly, as Fet said, he is tied to his mother. The thought about her screamed in a new way. The fall of leaves in 1844 brought death. Although there was nothing unexpected about the mother’s death, the news about it shocked Fet. Then, in the spring of 1844, Rapto’s uncle Feta, brother of Afanasy Neofitovich Shenshin, Petro Neofitovich, died. He vowed to deprive Feta of his capital. Now he is dead, and his money has disappeared mysteriously. There were yet more shocks.

And this is where financial problems arise. You decide to sacrifice literary activity and enter military service. Who can prepare for yourself a single, practical and lasting way out. Service in the army allows him to change his social status, in which he lived before the removal of that unfortunate leaf from his father and which he respected as his rightful one.

To what extent can we add that the military service was disgusting to Fet. By the way, if childhood begins to tell stories about her.

Basic collections.

Fet’s first collection was published in 1840 and was called “Lyrical Pantheon”, and was published with only the author’s initials “A. F." Tsikavo, then the same fate came to an end and the first collection of Nekrasov’s works - “Mriya and Sounds”. The frequency with which both collections are released coincides with their current arrangement, and they are displayed frequently. In this case, the density of the proportion of collections is revealed. One can hear that both Feta and Nekrasova experienced failure in their poetic debut, that they did not immediately find their way, their unique “I”.

In front of Nekrasov, who was worried about buying up the edition of the collection and finding it, Fet did not recognize the obvious failure. His collection was both criticized and praised. The collection turned out to be in excess. Fet was unable to repay the pennies he had spent on each other. "Lyrical Pantheon" - this book has a lot of learning in it. She has a significant influx of different poets (Byron, Goethe, Pushkin, Zhukovsky, Venevitinov, Lermontov, Schiller and his fellow poet Fet Benediktov).

As a critic of the “Vitchizny Notes”, at the top of the collection one could see an unearthly, noble simplicity, “grace”. The musicality of the verse was also indicated - that brightness that would be most powerful to the mature Fet. In the collection, the greatest importance was given to two genres: baladas, tableaux loved by romantics (“Theft from the Harem,” “Castle Raufenbach,” etc.), and the genre of anthological fiction.

Finally, in the spring of 1847, access to Moscow was denied. Here, over the course of two months, he is diligently busy with his new collection: he puts them together, rewrites them, submits them to the censor, and removes the censor’s permission to see them. It's time for the hour of release. Apparently I didn’t get around to collecting wine - I had to return to the Kherson province to serve.

I'll come to Moscow again Fet died in 1849. Then, having finished on the right, I will reveal two reasons for this. Now we have to do everything hastily, remembering our testimony from the courtyard. On the cob of 1850, the harvest began to take place in the world. Hastily appeared as a sight: there is a faceless mercy, a dark place. This book is a small success. Positive comments about her appeared in “Suchasnik”, in “Vichiznyye Zapiski”, in “Moskvityanina”, and in leading magazines of that time. There is little success among the reading public. The entire circulation of the book has been expanded to include five fates. This is not such a long term, especially when compared to the share of the first collection. Here were signs of the growing popularity of Fet, based on his numerous publications from the beginning of the 40s, and a new wave of poetry, which was emerging in Russia in those days.

In 1856, the Fet family has another collection, similar to the one from 1850, which included 182 vertices. In the new version, according to Turgenev’s delight, 95 vertices were transferred, of which more than 27 were lost in full view. The local or local government was recognized by 68 leaders. Let's turn back to the collection of 1856 fate. Literary stakes, among the price of poetry, have had great success. The prominent critic A.V. Druzhinin liked the article for the new collection. The squad ate up the Feta tops and gave them a thorough analysis. Druzhinin is especially enhanced by the musicality of Fetov’s verse.

In the remaining period of his life there is a collection of his original works - “Evening Fires”. We got together near Moscow, at several outlets. The fifth day of Fet’s preparations, but apparently he was no longer caught up. The first collection came out in 1883, the third in 1885, the third in 1889, the fourth in 1891, the year before his death.

“Evening Fires” is the main name of Fet’s collections. Another title is “Collections of Fet’s Unseen Vershys.” At the “Evening Fires”, with a rare twist, they turned on tunes that had not been seen before that hour. The main rank is what Fet wrote after 1863. There was simply no need to redirect works created earlier and which had gone up to the collections of 1863: the circulation of the collection never expanded, everyone could buy this book. The greatest help was given by N. N. Strakhov and V. S. Solovyov. So, during the preparation of the third issue of “Evening Fires”, in 1887, offended friends came to Vorobiovka.

Fet's journalistic and editorial activities.

The first acquaintance with Turgenev began in 1853. And, perhaps, after this Fet’s magazine activity began. Previously, Fet contributed his writings to such well-known magazines as “Vichiznyaniye Zapiski” and “Moskvityanin”. Fet read Turgenev his verses to Spassky. Fet took from himself and his translations from Horace. These translations of Turgenev caused the greatest number of hoardings. It’s good that Horace’s Fetish translations deserved the praise of not only Turgenev - the “Suchasnik” gave them a high rating.

Behind the bags of his treasures in 1856, Fet wrote a great article entitled “Beyond the Cordon. Road enemies.” It was over-armed in the magazine “Suchasnyk” - at No. 11 for 1856 rik and at No. 2 and No. 7 for 1857 rik.

Fet is engaged in translations not only from Latin, but also from English: he diligently translates Shakespeare. I speak not only in “Suchasnik”, but in other magazines: “Library for Reading”, “Russian Bulletin”, since 1859 - in “Russian Word”, a magazine that has become even more popular since its participation new Dmitry Ivanovich Pisarev. In 1858, Fet came up with the idea of ​​​​creating a completely new, literary magazine, like L. Tolstoy, Botkin and Turgenev.

In 1859, Fet broke his relationship with the magazine "Suchasnik". The rethinking of this development was served by the shock of the war by “Contemporary” literature, which respected the interests of the day and the direct needs of the working people. Krim's "Suchasnik" published an article that sharply criticizes the Fetish translations of Shakespeare.

Fet bought Stepanivka’s shirts from the cruel fate of 1860. Here we have ruled for seventeen years. Stepanivtsi’s own knowledge of rural life and rural activity allowed Fet to create a number of journalistic works dedicated to the village. Fet’s paintings were called: “From the Village.” The stinks were published in the magazine "Russian News".

In the village, Fet took up both the rural rights and the writing of drawings, but also translated the words of the German philosopher Schopenhauer.

Fet's share is special.

After the death of Pyotr Neofitovich, Fet begins to have financial problems. And I decide to sacrifice literary activity and enter military service. On April 21, 1845, Fet was accepted as a non-commissioned officer to the cuirassier (cavalry) Military Order regiment. At that time, we may have said goodbye to poetry completely. Over the course of three years, from 1841 to 1843, he wrote richly and collaborated richly, and in 1844, perhaps through important circumstances known to us, a significant decline in creativity: whose fate he wrote ten times original verses and translations of thirteen odes by the Roman poet Horace. In 1845, more than five vertices were created.

Of course, during Fet’s service there were real joys – lofty, truly human, spiritual. Here we are in contact with friendly and kind people, so we can get to know each other. The acquaintance with Brazhesky’s friends can be traced to such great acquaintances that they have deprived themselves of memory for the rest of their lives.

Fet has another particularly important connection with the Brzeski family: through them they became familiar with Petkovich’s homeland. At the living room of Petkovichi Fet Zustriv and her young relative, Maria Lazich. Vaughn became the heroine of this love lyric. If Fet stayed with Lazic, she was 24 years old, and she was 28. Fet, having studied with Maria Lazic, was not only a girl, but a wonderfully cultured person, musically and literaryly enlightened.

Maria Lazic appeared close to Fet for the spirit - not least to the heart. Aleksey was as poor as Fet. And once again, I will become a solid social foundation, without wanting to tie my share to it. Fet has converted Maria Lazich, so they need to be separated. Lazich was good at words, but she couldn’t break her hundred-year-old shirt. Not Mig and Fet. The stinks continued to chew. Nezabar Fet had a chance to leave at some hour for work reasons. When he turned around, he heard a terrible message: Maria Lazich was no longer alive. As Feta was told, she was lying in a white muslin cloth reading a book during that tragic year. She lit a cigarette and threw some cheesecake on the counter. The cheesecake continued to burn. The muslin cloth fell in front of her. For a long time, the girl was all at the fire. I couldn’t scream. The last words were: “Rotate the leaves!” And she also asked not to call anyone whom she loved for anything...

After the tragic death of Maria Lazic, Fet comes to a new peace of mind. The collection of the unique and the united. Now we can remember everything in life, we talk about it, and we talk about it in lofty, beautiful, wondrous heights.

That grass that is on your grave in the distance,
here on the heart, which is older, this is fresh...

Finally, in the spring of 1847, access to Moscow was denied. Here he is diligently busy with his new collection, he wants to pass it through the censorship, otherwise he won’t get through the collection. You will return to the Kherson province to serve. The collection was only visible after 3 days. It looks like he’s in a hurry, but don’t worry about the collection, it’s a great success.

May 2, 1853 Fet was transferred to the guards, from the Uhlan regiment. The Guards Regiment was stationed near St. Petersburg, in the Krasnosilsky camp. And Fet has the opportunity, while still in military service, to enter the St. Petersburg literary scene - in the circle of the most famous and most progressive magazine "Suchasnik".

Fet is closest to Turgenev. Fet's first acquaintance with Turgenev was in 1853 with Volkov. Then Fet, at Turgenev’s request, sent his message to Spaska-Lutovinovo, de Turgenev, as a rule, ended up on the sent one. Rozmova between them in Spassky Bula is dedicated to the top rank of literary issues and topics. Fet took from himself and his translations from Horace. These translations of Turgenev caused the greatest number of hoardings. Turgenev edited a new collection of Fet’s original works. A new collection of Feta's poems was published in 1856. When a new leader of Feta emerges from the world, you should take a permit from the service and viceroy not only for literary inquiries, but also for travel beyond the border. Behind the Fet cordon there are two girls. The first time we rode with our friends, it was to pick up our older sister Lena and to take care of our mother’s right hand side. The trip took away a little hostility.

The other yogo price for the cordon, which emerged in 1856, was more troubling and more hostile. Based on his enemies, Fet wrote a great article about foreign enemies under the title “Beyond the Cordon. Road enemies.”

Increasingly expensive, Fet visited Rome, Naples, Genoa, Livorno, Paris and other famous Italian and French places. In Paris, Fet met the family of Pauline Viardot, because she loved the Turgenevs. And yet, the increase in price beyond the border did not bring Fet any lasting joy. As a matter of fact, behind the cordon the greatest number of people sumuvav and nuduguvav. Having already reached the rank of major, he automatically restored his lost nobility, and in 1856 the new Tsar Alexander II, by a special decree, established new rules for the removal of the nobility; now the right to the nobility is not a major, but only a colonel.

“I watch for health, I watch for death, and I marvel at love as if at river it is beyond my reach.” Fet’s words about the unattainability of his love were spoken by Fet shortly before becoming friends with Maria Petrivna Botkina.

Maria Petrivna was the dear sister of Vasily Petrovich Botkin, a well-known writer, critic, close friend of Belinsky, and friend of Fet. Maria Petrivna lived before the great merchant family. Sam Botkinikh was like a Talan, and she was friendly. Fet's new squad stayed with this special camp. The brothers lived happy lives, the older sisters were seen throughout the entire family, but Maria Petrivna was left out of the house. Her situation sounded like guilt and was even more depressing.

Fet's proposition was fragmented, and the answer to it was good. It was supposed to be a fun holiday. But it so happened that Maria Petrivna was small and could not go beyond the border to attend to her sick sister. The weight was added until I turned back. However, Fet did not notice the bride’s name’s turn from behind the cordon - he went after her himself. There, near Paris, the wedding ceremony took place, and more modest fun was played.

Fet became friends with Maria Petrivna, not feeling a strong sense of love for her, but sympathy and healthy thought. Such whores often find themselves no less distant than those who love them in old age. Shlyub Feta buv in the distance behind the moral rakhunko. About Maria Petrivna, everyone who knew her spoke only kindly, and only with respectful and affectionate affection.

Maria Petrivna was a great woman, a great musician. Vaughn became the man’s assistant, tied to the new one. Tse Fet has already seen and cannot help but be indifferent.

Before 1860, Fet had an idea about a bath mat. Until the middle of the rock, he continues his thought-dream. Stepanivka's mastok, which he bought, being in the same Mtsensk district of the Oryol province, was rebuilt and his last Novosilka maktok. Here you will have a great khutir, measuring 200 dessiatines, grown at the steppe smoothie, on the bare ground. Turgenev from whose drive complained: “a fat baby and a new bump,” “the place of nature ... one expanse.”

Here Fet and the Gospodaruvav - for seventeen years. Here he spent most of his life, except for the long journey to Moscow.

The owner of Fet is not just kind - we are naughty. His generosity among rural people and the arrangement of small serious psychological conditions: he really turned his responsibility to the class of noble landowners, recognizing the great, as it seemed to him, injustice inflicted on himself. At Stepanivtsa, Fet taught two village children to read and write, setting up a doctor's shop for the villagers. In times of shortage and hunger, the villagers are helped with pennies and other costs. In 1867, and over the course of ten years, Fet was appointed as the magistrate. Before your obligations are placed seriously and conscientiously.

The remaining fates of life.

The remaining fates of Fet’s life are marked by new, unsatisfactory and the greatest fates of his creativity. In 1877, Fet’s family sells an old mat, Stepanivka, and buys a new one, Vorobiovka. The mats were made in the Kursk province, on the Tuskari River. It turned out that Vorobyivtsa Fet was always busy with work all day and every day. With a poetic and rosy robot.

No matter how important the translation was for Fet, the greatest hope for the rest of his life would be the release of a collection of his original works - “Evening Fires”. The vertices oppose each other with their depth and wisdom. At this hour the singer’s tragic thoughts are bright. Such, for example, are the verses “Death”, “Nonness”, “Not for this, O Lord, the mighty, the unforgoneable...”. The remaining top is the glory of man, glory to the eternal fire of the spirit that lives among man.

“Evening Fires,” as in all of Fet’s poetry, has a lot of verses about khanna. Beautiful, unique and unforgettable achievements. One of them is “Oleksandri Lvivny Brzheskiy”.

Nature occupies a major place in Fet’s late lyricism. At his top, she will always be closely tied to the people. For the late Fet, nature helps to solve the mysteries and hidden secrets of the human butt. Through nature, Fet grasps the subtle psychological truth about people. At the end of life, Fet became a rich person. By decree of Emperor Alexander II, you were given the title of nobility and your nickname, Shenshin, was revoked. This fiftieth decade of literary history in 1889 was celebrated in a neat, written and entirely official manner. The new Emperor Alexander III gave him the title of senior rank - chamberlain.

Fet died on the 21st leaf fall of 1892, not having lived two days before the 72nd. Surrender your death like this.

Vranci 21 leaf fall ailments, Ale Fet, who was still on his feet, reluctantly sipping on champagne. The squad, Maria Petrivna, guessed that the doctor did not allow it. Fet began to drink, so she immediately went to the doctor for permission. While they were harnessing the horses, Fet wiggled and croaked: “How soon?” In parting, Maria Petrivna said: “Well, turn around, matusya, then turn around faster.”

After the friends left, he said to the secretary: “Come on, I’ll dictate to you.” - "Leaf?" - She asked for it. - “No.” Under his dictation, the secretary wrote on the bottom of the sheet: “I do not understand the obvious increase in inevitable suffering. I will go voluntarily until the inevitable.” Fet himself signed it: “21 leaves fall, Fet (Shenshin).”

On the table lay a steel cutting knife that looked like a stiletto. Fet got the hang of it. The secretary of the Virvala was stripped. Todi Fet, unable to cope with the thought of suicide, destroyed everything where table knives were saved in the chiffonier. You tried to open the wardrobe, but to no avail. Raptom, often fainting, his eyes wide open, and falling onto his stele.

So death has come before.

For three days, 24 leaves fell, the ritual of sleeping took place. They grew up in the university church. Then the trunk with Fet’s body was taken to the village of Kleimenovo in the Mtsensk region of the Oryol province, the family mother of the Shenshins. They praised Feta there.

List of references:

* Maymin E. A. Opanas Opanasovich Fet: A book for students. - Moscow: Prosvitnitstvo 1989 - 159 p. - (Biography of the writer).

Biography

The family of landowner Shenshin was born.

The nickname Fet (more precisely, Fet, nom. Foeth) became for the poet, as he had known for years, “I am tired of his suffering and secrecy.” The son of the Oryol landowner Opanas Neofitovich Shenshin (1775-1855) and Charlotte Fet, who was brought by him from Germany to Carolina, who became, according to popular records (obviously, for swag) the legitimate son of his fathers, although born a month after Charlotte will arrive to Russia with her love. When I was 14 years old, the “pardon” appeared in the documents, and I lost my title, the nobility and Russian citizenship and became the “Gesendarmstadt subject Athanasius Fet” (such a rank, whose father became respected by the first man to Charlotte, German Fet; who was really his father Afanasia - unknown). In 1873, he officially adopted the nickname Shenshin, and all literary works and translations continued to be signed with the nickname Fet (with an “e”).

In 1835-1837 it began at the German private boarding house of Krümmer near Cape Verro (now the Viru River, Estonia). It was then that Fet began to write works, showing an interest in classical philology.

In 1838-1844 rocks - the beginning of the Moscow University.

In 1840, a collection of Fet’s works “Lyrical Pantheon” was published with the participation of A. Grigor’ev, Fet’s friend at the university.

In 1842 there were publications in the magazines “Moskvityanin” and “Vitchiznyan zapiski”.

In 1845, the regiment entered military service before the Cuirassier Military Order, and became a cavalryman. In 1846, he was given the first officer's rank.

In 1850, there was a friend of Fet’s collection, positive comments from critics in the magazines “Suchasnik”, “Moskvityanin” and “Vitchiznyan zapiski”. The death of Maria Kozmivna Lazich, Kohana’s poet, the poem “Talisman”, verses “Old Leaves”, “You suffered, I still suffer...”, “No, I am not harmed” are dedicated to the legends about this. Until old age, deep ... » and many other achievements.

* 1853 – Feta transferred from the Guards regiment, quartered near St. Petersburg. He often sings in St. Petersburg, then the capital. Zustrich Feta with Turgenev, Nekrasov, Goncharov and others. Close contacts with the editors of the magazine “Suchasnik”

* 1854 – service in the Baltic Port, described in his memoirs “My God”

* 1856 - third collection of Fet. Editor - Turgenev

* 1857 - Fet’s friend to M. P. Botkin, sister of the doctor S. P. Botkin

* 1858 - sings while serving as a guards headquarters captain and settles in Moscow

* 1859 - published by the magazine “Suchasnyk”

* 1863 - publication of two-volume collections of Vershiv Fet

* 1867 - Fet appeals to the world judge on the 11th day

* 1873 - the nobility and the nickname Shenshin were converted. He creates literary works, sings translations and even signs them with the nickname Fet.

* 1883-1891 – publication of four issues of the collection “Evening Fires”

* 1892, 21 leaf fall - Fet’s death near Moscow. After these deeds, his death in the face of a heart attack was overcome by a taste of self-destruction. Pokhovany near the village of Kleymenov, the ancestral sign of the Shenshins.

Bibliography

Vidannya. Collections

* Vershi. 2010 r.
* Vershi. 1970 r.
* Opanas Fet. Lyrics. 2006 r.
* Vershi. Eat. 2005 r.
* Vershi. Prose. Leaves. 1988 r.
* Prose of the poet. 2001 r.
* Spiritual poetry. 2007 r.

Eat

* Two sticky
* Sabina
* Dream
* Student
* Talisman

Translate

* Beautiful is nothing (from Goethe)
* Night song of the mandrivnik (from Goethe)
* Between people (with Goethe)
* Bertrand de Born (from Ulandu)
* “You are all in pearls and in diamonds” (from Heine)
* “Children, we were still children” (from Heine)
* Gods of Greece (from Schiller)
* Inheritance to similar poets (from Saadi)
* Z Rückert
* Songs of the Caucasian mountaineers
* Dupont and Durand (from Alfred Musset)
* “Be Theocritus, about the enchanting one” (from Meriki)
* “I will share that divine prayer” (from Catullus)
* Book of Ovid's kohanny
* Philemon and Baucis (from the book “Metamorphoses” by Ovid)
* About poetic mystery (Before the Pisons) (from Horace)

Povidannya

* Fashion pose
* Uncle and cousin
* Cactus
* Kalenik
* Goltz family

Journalism

Statistics about poetry and mysticism:

* About Tyutchev’s poems
* Zі statі "On the drive of the statue of M. Ivanov"
* Zі statі "Two sheets about the meaning of ancient language in our language"
* From translation to translation of Ovid's "Re-creation"
* Peredmova until the third issue of "Evening Vogniv"
* Peredmova until the fourth issue of "Evening Vogniv"
* From the book "My Divine Guess"
* These articles "Address to the New Hour"
* 3 sheets
* Comments

Memoirs:

* Early rocks of my life
* My goodness

Tsikava facts

Fet had plans to translate the “Critique of Pure Reason”, but M. Strakhov encouraged Fet to translate this book by Kant, pointing out that the Russian translation of this book was already in progress. After this, Fet went crazy about Schopenhauer’s translation. He translated two works by Schopenhauer:

* “Light, as will and manifestation” (1880, 2nd form. 1888) i
* “About the root of the law of sufficient support” (1886).

The heroine of Fet's lyrics is Maria Lazic, who tragically died in 1850. Fet spent her entire life acknowledging her fault in front of her and continuing to save deeply.

"No, I'm not happy. Until old age
I am that same gift, I am a slave of your love,
And the old weed of the Lantzugs, the mush and the zhorstoka,
My blood is still burning.

I want to remember and repeat that there is a grave between us,
I want to marinate until the end today, -
I can’t believe that you forgot about me,
If you are here, in front of me.

You are so damn beautiful,
I guess I'll let you know;
And I feel great tenderness,
And, shaking, I sleep."

Creativity of A. Fet - The main motives of lyricism in the creativity of A. A. Fet (abstract from the work of A.A. Fet)

I tremble and my heart sinks

And how brighter is this month,

She became increasingly pale,

The dim hmarakhs have purple Troyandi,
Vidblisk burshtin,
And kisses, and tears,
And dawn, dawn!

Biography

Shenshin Opanas Opanasovich (aka Fet) is a famous Russian lyricist. Born on November 23, 1820, near the town of Mtsensk, Oryol province, near the village of Novosilki, by the son of a wealthy landowner, captain of the branch, Afanasy Neofitovich Shenshin. The rest made friends behind the cordon with a Lutheran woman, but without the Orthodox rite, as a result of which the love, legal in Germany, was found illegal in Russia; If in Russia the rite of the Orthodox wedding has been established, the mayday sings, already living under the mother's nickname "Foeth", respecting the amorous child; Only in his old age, Fet began to fuss about legalization and abandoned the nickname of dad. Until the 14th century, Sh. was alive and began at home, and then at the town of Verro (Livonian province), at the Krommer boarding house. In 1837 He was transported to Moscow and placed with M.P. Weather; Nezabar Sh. entered the Faculty of History and Philology at Moscow University. During his entire student period, Sh. lived with the family of his university friend, the upcoming literary critic Apollon Grigoriev, who contributed to the development of Sh.’s poetic gift. Already in 1840. The first collection of works by Sh. appeared in Moscow: “The Lyric Pantheon of A. F.” . The collection did not achieve success in the public, but gained the respect of journalism, and since 1842, Pogodinsky’s “Moskvityanin” often included Fet’s verses (who retained this nickname, as a literary pseudonym, until the end life) and A.D. Galakhov contributed to their actions First seen in his "Chrestomatiya", 1843 r. The greatest amount of literature flows from Sh., like lyricism, giving to Todi Heine. Bazhannya’s rise to the nobility prompted Fet to enter military service. In 1845 having received from the cuirassier regiment; 1853 r. passed to the Uhlan Guards Regiment; during the Crimean campaign, having visited the military warehouse where they were burying the Estland reserves; 1858 rub. Vyshov at the headquarters, like before his father, was a headquarters captain. Sh.’s rights of nobility, however, were not yet attainable: the necessary qualification for this was advanced in the world of that, as Fet was advanced by his service. Over time his poetic glory grew; It was successful in 1850. In Moscow, the book "The Vershy of A. Fet" gave access to the group of "Suchasnik" in St. Petersburg, where we got to know Turgenev and V.P. Botkin; He worked with the rest of them, and the first one already in 1856. writing to Fet: “Why are you writing to me about Hein? - Vische for Hein!” Later, Sh. became acquainted with Turgenev and L.M. Let's just say we've turned back from Sevastopol. The group of "Suchasnik" with all his might, selected, edited and carefully assembled the new collection "Virshiv A. A. A. Fet" (St. Petersburg, 1856); in 1863, it was republished by Soldatenkov in two volumes, and the 2nd one had more translations of Horace and others. Literary successes prompted Sh. to leave military service; before that, In 1857, having made friends in Paris with Maria Petrivna Botkina and, having a practical streak, decided to devote himself, like Horace, to the rural dominion. the pull of ten plus rocks (1867 - 1877 ) Sh. to the populist’s friend, the “kriposnik” Lord Sh. appeared to be a miracle, in 1877 he abandoned Stepanivka and bought Vorobiovka for 105,000 rubles in Shchigrivsky Korea, Shchigrivsky district Pustel, by the end of his life the village of Sh. can be called wealth. In 1873, Fet Sh.'s nickname was confirmed due to the rights associated with her. In 1881 Sh. bought booths from Moscow and became a summer resident in Vorobiovka for the spring and summer, creating dominion for the pottery industry. At this time of abundance, Sh., with new energy, took up original poetry and translation, and memoirs. Seen in Moscow: several collections of lyrical poems "Evening Fires" (1883, 1885, 1888, 1891) and translations of Horace (1883), Juvenal (1885), Catullus (1886), Tibullus (1886), Ovid Iya (18) (1888 ), Propertsia (1889), Persia (1889) and Martiala (1891); translation of both parts of Goethe's Faust (1882 and 1888); having written a memoir "Early Rocks of My Life, Before 1848." (Vidannya posthumously, 1893) and "My blessings, 1848 - 1889 r." (In two volumes, 1890); translation of the works of A. Schopenhauer: 1) about the fourth root of the law of sufficient supply and 2) about will in nature (1886) and “Light, as will and manifestation” (2nd edition - 1888). 28 and 29 sichnya 1889 r. The anniversary of Fet's 50-year literary activity was celebrated in Moscow; Nezabar then gave him the title of chamberlain. Died Sh. 21 leaf fall 1892 r. near Moscow, not having lived two days before 72 years; lamentations from the ancestral mother of the Shenshins in the village of Kleimenov, near the Mtsensk district, 25 versts from Orel. Posthumously seen of his original verses: two volumes - 1894 ("Lyrical verses of A. Fet", St. Petersburg, with a biography written by B.R. and edited by K.R. and N.M. Strakhov) and three volumes ah - 1901 r. ("Renewed collections of vertices", St. Petersburg, edited by B. V. Nikolsky). As a peculiarity, Sh. is a unique product of the Russian landowner and noble pre-reform middle class; in 1862, Turgenev calls Sh., in the sheet before the new one, “we will tighten it with a loose lock and a lieutenant of an old-fashioned gartu.” Before his legalization, he stood with sick self-love, which exclaimed the mockery of the same Turgenev, in the sheet before Sh. 1874 “like Fet, you have a small name; like Shenshin, you have only a nickname.” Other qualities of this character are extreme individualism and jealousy of one’s independence from outside influences; So, for example, when Italy became more expensive, he hung up the windows, so as not to be surprised at the look, in which his sister asked him to show mercy, and in Russia, he once visited his friends, at a Bosio concert, having discovered that his “zoob” comfort" and burst into music! Between the family and friendly group of Sh., exuding gentleness and kindness, which is repeatedly, with great and widespread praise, reverberated in sheets up to I. Turgenev, L. Tolstoy, V. Botkina and in. Individualism explains the practicality of the Sh., and its lengthy fight against weeds and mows, as he confidently told the public in his magazine articles “Z villages”, at the cost of his reputation. This is where the wisdom comes into being, as shown by Sh. in his “conjectures” to the great political “nutrition” that praised his companions. About the month of February 19, 1861. Sh. to say that she didn’t destroy anything in anyone, “except for childishness.” Having first felt the reading of “Oblomov”, Sh. fell asleep from boredom; having written a polemical article in Katkov’s “Russian Bulletin”, but so sharply that Katkov’s novel did not dare to overrule it and. Based on Turgenev’s acquaintance with the disgraced Shevchenko, Sh. concluded in his “conjectures”: it was not without reason that “it almost happened that Turgenev did not hang his head until the understanding of literary and literary interests; Sh.’s judgment about the “Literary Fund” partnership, for Calling Turgenev (1872 r. .), “speaking without embellishment, bursting”; “there would be great happiness, as if you were the most successful Russian writer”! - adds Turgenev. In the 1870s, the list of Turgenev and Sh. viscousness ("you smelled Katkovsky in good spirit! ", writing in 1872 to the r. Turgenev) and the importance of political disputes, it was decided, led to a rupture, as Fet himself most summed up. In 1878, the r. Turgenev renewed the lists from Sh. She explained to you: “old age, bringing us closer to residual forgiveness, it will forgive all life’s lives; I would like to squeeze the hand you extended.” .. Speaking in their “conjectures” about their activities, as a world court, they sing of the ever-present ignorance before the laws of the future and before the laws about the jurisdiction of the drug. As Fet sings, it means to rise above Sh. - the people. It seems that very few people transform themselves into the virtues of a poet: individualism embraces self-absorption and self-care, without any inexorable lyricism itself, and practicalism, inseparable from materialism, conveys the obviousness of this And sensitive love to the butt, without some impossible sparkling imagery, so valuable and in translation yogo poetics (in translations of Horace and other ancient classics). Sh.’s main literary merit lies in his original lyrics. Sh. never forgets Voltaire’s rules “le secret d’ennyer c”est celui de tout dire” and those “writings” (tabula votiva) of Schiller “The Artist”, as (in Minsky’s translation) to say: “Mistry of other mysteries from that, what you have determined, judge; The master is more likely to show off the knowledge that is missing." Sh. opens the door to the thoughtful reader and remembers the wise rule of Aristotle, that beauty has an element of beauty in the world. not eight verses from "Evening Fires" : “Don’t laugh, don’t marvel at me in this rude, childish state, that in front of this decrepit oak tree I stand again in the old days. The leaves of the sick old man fell completely; in the hollow." Here he sings not that he himself is like an old oak tree, the joyful worlds in his heart are like the doves in the hollow; the reader is responsible for guessing about it himself - and the reader can easily guess and out of satisfaction, therefore that the stylistic laconicism of Feta closely "languages ​​with poetic symbolism, also with a promotional image of images and picture parallels. Another advantage of Fet is the lyricism, closely connected with his symbolism, and therefore his alegorism, then, precisely indicating the subject of the song in the title, Select to the next distant poetic level , which will attract interest to the prose phenomenon; butts - the top "On the Saliznytsia" (the leveling of the Saliznytsky train with the "fiery serpent") and "Steamfloat" (the leveling of the steamfloat with the "evil dolphin"). The third honor of the great l Irika - feel free to add words and pictures Those images, which do not bind them stylistically, have a complete sense of inner connection, giving the result what is called a mood; behind-the-scenes butts: “whispers. .. timid breathing... trills of the nightingale... etc. and "a wonderful picture, as I am sure: the white plain... new month"... etc. Such verses are especially handmade for music It’s not surprising that, on the one hand, Fet designates a whole range of his masterpieces with the word “melodies,” and on the other hand, Fet’s many masterpieces are richly illustrated with music by Russian composers (“Quiet Mirror Nich,” “On the Star”) And don’t be like that,” “Don’t come near me”, “I won’t tell you anything”, music by Tchaikovsky, etc. d.) and foreign (the same “Quiet Mirror Nich”, “Whispering, Silent Dihana” and “I have stood for a long time without touching”, music by Mrs. Viardo). The fourth positive brilliance of Fet’s lyrics is his versification, rhythmically diverse, always varied in the middle of the feet of the same size (example: “Silently the evening is burning” - 4-foot iambic, “Burn the gold” - 3-foot niy etc., in in the same order) and with distant attempts at innovation in the combination of two-fold dimensions with tri-fold ones, for example, an iambic with an amphibrahium, which has long been practiced in the German tradition, theoretically allowed in Russia already by Lomonosov to them, but in the Russian version before Fet, it was very rare (example from “Evening Fires”, 1891: “For a long time there has been little in the kohanna” - iambic 4-foot - “without the sound of a song, without the joy of tears” - 4-meter amphibrach, etc. in that order). All the names of the songs are hidden in all the dark areas of Fetov’s original lyrics, regardless of their location. Sometimes, however, Fet seems to lose the world and, bypassing the Scylla of supra-mundane clarity and prosaicity, sank into the Charybdis of supra-mundane darkness and poetic piquancy, ignoring Turgenev’s commandment that “health is the enemy of aesthetic beauty,” and we forget that there is a need to strengthen words in words the word “wise” and that Aristotle’s “nasty of mysteries” includes a puzzling work on charades and puzzles. For example, if Fet’s “Evening Fires”, dripping with redness, writes: “The flow of spring is submerged, I breathed like a stream and pure and passionate from the full angel with cries that howl,” then you will instantly remember Turgenev’s words in the sheet before Fe tu 1858 Edіp, who solved the riddle of the Sphinx, curled up and escaped from these two chaotic-kalamut-unfortunate vertices.” About this ambiguity of Fetov’s style, one can also guess that it is inherited by Russian decadents. Instead, Sh.’s original poetics can be divided into lyrics of moods: 1) love, 2) natural, 3) philosophical and 4) social. As a spivak of a woman and love before her, Fet can be called the Slovenian Heine; This Heine is gentle, without social irony and without worldly sorrow, but at the same time subtle and nervous, and even more tender. As Fet often speaks in his verses about the “smelling colo” that sends a woman away, then his love lyrics are a dense area of ​​aroma, idealistic beauty. It is important to recognize your greater personal and affectionate worship of a woman, just like Fet. If you say to the tired beauty (at the top: “On the underwater slope of the vizerunki”): “You were cunning, you were charming, you were sensible: you haven’t rested for a long time, and you’re tired. A feeling of gentle tenderness, sweet peace, delicate calmness of pure beauty"; if wine, bachachi zakhanu steam, it seems that they do not succumb to the virus, with the most lively graces vigues (at the top of "Vona - my image ttєviy", 1892): "Who knows who is there to tell him?"; if the troubadour sings a rank serenade with bad merriments: "I have come to you with greetings" and with a quiet tender evening serenade "Silently the evening is burning"; if there is hysteria with passionately zakhanoy declares his kohanoi (at the top " Oh, don’t call!”), that she doesn’t need to call him with the words: “And don’t cry - but sing a song inspired by love; I, yak child, I will pay to the first sound, I - for you! ”; if the worship of the Zhikhirnі Vognі“ uginniy il beauty of calls ”(vіrsh 1883“ Polonyansky ”); morning to you") to ask the maiden: “give this troika of poets” and obliges them in exchange for the ever-bearing verses, “whenever you learn, you will know this trojan of the ever-bearing vertices,” - so that perhaps you won’t be choking on it love lyrics that I’m not ready to repeat, Reading Feta, the beautiful Russian wife Viguk Yiwi in “Die Meistersingers of Nuremberg” by Richard Wagner, who crowns the laurels of her troubadour, Walter: “No one, except you, can claim a khan with such charm!” ( "Keiner, wie du, so suss zu werben mag!"). There are a lot of love-lyrical poems by Sh.; they can be considered in dozens or dozens. A great scientist and exponent of nature and Russian especially, Fet created a number of masterpieces in the sphere of lyric poetry of natural moods; Erica is joking in the new area headings "Spring. Summer. Autumn. Snow. Sea ". Who is not the VIDAS -VIRSHA" Suma Beli Mogo Vikna "," Tepli Viter is quietly vіn, lives dichy Step "," For Dniepre "(" Svitalo. Viter bastard the Pruzhna Slop ")? And Skilki Feta is the least known, but similar and not worse! Nature is to be loved in all its totality, like a landscape, and a growing kingdom, and a creature in all its details; that’s why such garni verts as “The First Convalia”, “Zozu” A" (1886) and "Fish" ("Warmth for the Sun", according to anthologies). The diversity of Fet's natural moods is impressive; however, he is inspired by autumn pictures (for example, "Handra", with the final verses: "Above the bottle, what to smoke sipping tea, thank God! Hike, Nіbi Vechir, I will hook. ") I Vesnyana (lifting," Spring to the Dvori ", with the optimist visk:" In Efiri, the I Tanya is in Brilly Zeleit - I will survive the Spring of the Spring! " In the field of this kind of lyricism, Fet stands on a par with Tyutchev, the Russian pantheist or, more precisely, a panpsychist who spiritualizes nature. Notably lower than Tyutchev is Fet in his lyrical verses dedicated to philosophical contemplations; but he sings widely religiously, who, having written his “sords” with the method of tracing the “finger of God” through his life, in “Evening Fires”, giving a number of beautiful images of abstract philosophical and religious lyrics. Such verses “On the ship” (1857), “Who will win: goddesses and beauty” (1865), “The Lord is not the mighty, the unforgoneable” (1879), “If the Divine race of human prom” (1883), “I am enemies, if around" (1885) etc. Characteristic of Fet's poetics is the importance between him and Lermontov: at the top of "On the Windy Ocean" (in "Demon") Lermontov evokes the Byronic impartiality of the heavenly bodies, in shi "Pray the eyes" (in " Evening fires") Fet is recovering from the sun and the Christian religion is clearly visible to people ("Tears in the diamond look of their eyes, yet their prayers burn silently"); Lermontov has the sorrow of the world, while Fet has the sorrow of the world. This worldly love of Fet, however, is not deep, because it is not able to overcome humanity and the current Sh. Russian marriage, as it boasted in the 1860s of the wide, to the singing world, human nourishment. Fet's social lyrics are very weak. Together with Maykov and Polonsky, they tended to completely ignore the huge poetry, voicing their voices among other canopies of lyricism. The name of Pushkin was marred; The theory of “mystery of mysticism” was preached, which was entirely satisfactory, which identified with “mystery of mystique” a mysticism without a social tendency, without social change and meaning. Fet divided this summna: “Evening Fires” appeared filled with absolutely unpoetic editorials on those about “mystery for mystice”, and in “Virshya na vypadok” the harsh sounds of Katkovsky editorials sounded. At the top of “Before the Pushkin Monument” (1880) Sh., for example, characterizes the current Russian marriage in this way: “Trade... de - din and crowdedness, de healthy Russian place of acceptance, like an orphan, louder than all - there, killing I And the atheist, Who cares about the potter - all thoughts between him! ". At the top of "Quail" (1885) Sh. to praise the "reasonable" literary "titmouse", which "quietly and sensibly lived with the" slimy cage ", just as the "quail" from the " slimy heads " of the dog "has only caught a fox"! Numerous translations occupy a significant place in the literary activity of Sh., they are divided to the letter, but their composition is significantly strained, piecemeal and not correct, lower than in the original lyrics and Feta. change the mind, and not the original, replacing them with equal strength, but folded in the sauce Russian language, Zhukovsky achieves the ease and grace of his translator's work, which may not require the comments that Fet clearly reveals in his translations of ancient classics. There are still a few of the finest translations from all the others that have appeared on the Russian literary market and are dedicated to the same authors. Excellent views of Fetov’s translations of Horace, who Sh. translated perhaps con amore, savoring it Turkish poetry of the ancient lyricist-helper and thoughts drawing parallels between To the idyllic benevolence of Horace and the powerful village life. Although well-known to the German language, Sh. successfully translated Schopenhauer and Goethe's Faust. As a result, the best part of Fet’s original lyrics will ensure his strong place in Russian and Western European poetry of the 19th century. Beautiful articles about Fet: V. P. Botkin (1857), Volodymyr Solovyov ("Russian Look", 1890, 12) and R. Disterlo (in the same magazine).

Life is the creative share of A. A. Fet

Opanas Opanasovich Fet was born in the garden of Novosilka, Mtsensk district, in the leaf fall of 1820. The history of this people is not entirely simple. My father, Opanas Neofitovich Shenshin, is a captain at the military service, having belonged to an old noble family and was a wealthy landowner. While on holiday in Nimechchina, he became friends with Charlotte Fet, bringing his daughter to Russia. Two months later, Charlotte gave birth to a boy named Opanas and who took the nickname Shenshin. After fourteen years, the spiritual power of Orel revealed that the child was born before the marriage of her father, and there was a fear of the abolition of the right to bear the nickname of father and the abolition of the noble title. This idea hurt the child in the flood, and she spent her entire life experiencing the ambiguity of her formation. In addition, you can serve yourself the rights of the nobility, which the church has granted to you. After graduating from the university, he began his studies at the law school, and then at the philological faculty. At this hour, in 1840, we have seen our first creations with the help of a book, which, however, were not without much success.

Having received illumination, Opanas. Opanasovich became a military man, and with the rank of officer, he was able to obtain a title of nobility. Ale in 1858 A. Fet was shocked to leave the exhibition. Having not won the rights of the nobility, the nobility was only given the rank of colonel, and Vin was a headquarters captain. The fate of the military service is important during the period of development of its poetic activity. Around 1850, A. Fet’s “Virshi” was published in Moscow, which was retrieved from the treasures by readers. In St. Petersburg we got to know Nekrasov, Panaev, Druzhinin, Goncharov, Movny. Later he collaborated with Lev Tolstoy. This friendship was long-lasting and fruitful for both.

During his military service, Opanas Fet experienced a tragic love with Maria Lazic, the mistress of his poetry, a girl of great talent and illumination. She also kissed him, but both of them were poor, and Fet, for this reason, did not dare to share his share with the Kokhan girl. Nevdozi Maria Lazic died. Until his death he sings in memory of his unlucky life, and among the rich at the top one senses his unforgettable desperation.

In 1856, the world was filled with a new book of poets. Having completed the restoration, A. Fet bought land from the Mtsensk district and decided to dedicate himself to the rural dominion. Nezabar became friends with M. P. Botkina. Fet, having lived near the village of Stepanivtsi for seventeen years, was desperately hoping for Moscow. Here is his newest decree about those who are found behind him, the nickname Shenshin is confirmed with all the rights associated with it.

In 1877, Opanas Opanasovich bought the village of Vorobiovka from the Kursk province, where he spent the surplus of his living, or went to Moscow for the winter. Quotes, based on the fates lived by Stepanivtsya, marking his turn to literature. He sings all his accomplishments under the nickname Fet: under these names he gained poetic fame, and it was dear to him. During this period, A. Fet saw a collection of his works under the title “Evening Fires” - there were four editions of everything.

A. A. Fet lived a long and important life. The folding boule of his literary share. From this creative decline, daily reading is mainly poetry and, significantly less, prose, journalism, translations, memoirs, leaves. Without Afanasy Fet, it is important to reveal the life of literary Moscow in the 19th century. There were a lot of famous people at his booth on Plushus. We have been friends for many years with A. Grigor'ev, I. Turgenev. The entire literary and musical world of Moscow attended Fet’s musical evenings.

The verses of A. Fet are pure poetry in that sense that there is not a dash of prose there. He did not experience hot feelings, bursts, burying, lofty thoughts, but he wrote about the simplest things - about nature, about the simplest ruins of the soul, stories about evil enemies. His poetry is joyful and light, filled with light and calm. The story about his ruined farm sings brightly and calmly, wanting it to feel deep and fresh, like the first ones. Until the end of Fet’s life, she spent no time on her joy.

The beauty, naturalness, and breadth of his poetry reach a new level of detail, his poetry is marvelously expressive, imaginative, and musical. It was not without reason that Tchaikovsky, Rimsky-Korsakov, Balakirev, Rachmaninov and other composers came up with his poetry. “He doesn’t just sing, but rather sings as a musician...” - Tchaikovsky said about him. On the top of Fet there were written a lot of romances, which quickly gained wide popularity.

Feta can be called a herb of Russian nature. The approach of spring and autumn weather, a balmy summer night and a frosty day, a field of life that spreads out endlessly and endlessly, and a thick, shady forest - we write about everything at our peaks. Fet’s nature is always calm, quiet, otherwise frozen. And at the same hour, it’s completely rich in sounds and farbs, alive to its lives, greeted by a disrespectful eye:

I came to you with greetings,

What's that hot light?
There was a shuddering sound on the sheets;

News that the forest has fallen,
All prostrated, with the soft skin,
Stirring up like a skin bird
I spring spragues...

Fet miraculously conveys the “smelling freshness of the senses” inspired by nature, its beauty, its beauty. Your days will be filled with a bright, joyful mood and happiness. Sings subtly reveals the different shades of human experiences. It is possible to catch and be drawn into the sparkle, living images to bring forth intense spiritual turmoil, which is important to mean and convey in words:

Whispering, timid breath,
The trills of the nightingale,
Sriblo and Kolivannya
Sleepy strumka,
Night light, night shadows,
Shadows without end,
A number of charming changes
Miles of individuals,
The dim hmarakhs have purple Troyandi,
Vidblisk burshtin,
And kisses, and tears,
And dawn, dawn!..

Call A. Fet, in his verses, rests on one figure, on one turn of the senses, and at the same time his poetry cannot be called monomaniacal, however, it reflects diversity and impersonality of themes. The beauty of its heights is particularly distinct from the nature of the mood of the poetry. Fet's muse is light, airy, there is nothing earthly in it, even though we are talking about the earth itself. His poetry may not have much action, but his tops have very little hostility, thoughts, joys and sorrows. I would like to take from them such as “Wash yours before you fly far...”, “Unfragile eyes, crazy eyes...”, “Wash the sun between the linden trees...”, “I stretch out my hand to you in the wash.. ." and other things.

He sings, experiencing beauty there, finding beauty everywhere, and finding beauty everywhere. Once I was an artist I blamed almost all the beauty; Perhaps this is why the pictures of nature are so beautiful at their highest levels, because they create such as they are, not allowing natural embellishments in reality. At their peaks we recognize a specific landscape - the middle smougas of Russia.

In all descriptions of nature, there is a song that is unfathomably faithful to different pictures, shades, and moods. It was then that such poetic masterpieces were created, such as “Whispers, the fearful one dies...”, “I come to you with greetings...”, “Don’t wake up at the dawn...”, “The dawn bids farewell from the earth. .."

Fet's love lyrics are the most important side of his poetry. The singer’s heart is open, he is not to be spared, and the drama of his peaks literally impresses, regardless of those who, as a rule, its main key is light, major.

Vershi A. A. Feta is loved in our country. The hour has undeniably confirmed the value of his poetry, showing that we, the people of the 21st century, need it, so talking about it forever and ever, brings out the beauty of the world.

The main motives of lyricism in the creativity of A. A. Fet (Examination abstract work. Vikonav, 9th grade student "B" Ratkovsky A.A. Secondary school No. 646. Moscow, 2004)

Creativity of A. Fet

A. A. Fet occupies a special place among Russian poetry of the other half of the 19th century. p align="justify"> The huge situation in Russia has quietly conveyed the active participation of literature in civil processes, the ceremonial display of literature and prose, as well as their clearly expressed enormous straightforwardness. Nekrasov gave the beginning of this spirit, declaring that the letter of the skin may “sound” before marriage, being a commoner, and already a human mystique. Fet’s principle was not adhered to, but his posture was abandoned by politics, and thus filling his niche in the poetry of that era, which he shared with Tyutchev.

As soon as we understand Tyutchev’s lyrics, he sees the human struggle in his tragedy, Fet is enamored with the song of turbo-free rural joys, which is heavy to the point of obviousness. The poet’s landscape appears calm and light. Hello, maybe this is the other side? In fact, it’s surprising that Fet’s lyrics are filled with drama and philosophical depth, which has always been the way great poets were treated as one-time authors. One of Fet's main themes is the tragedy of an undivided family. Topics of such topics reveal the facts of Fet’s biography, more precisely those that he survived the death of his wife. Verses who are involved in these matters rightly rejected the name “monologues to death.”

You suffered, I still suffer,
The doubtful me was destined to die,
I tremble and my heart sinks
Shukat those that cannot be understood.

Intertwined with this tragic motif are other verses of the poet, such as the red-hot theme: “Death”, “Life passed without an obvious trace”, “Simply in the name of guesses...” Apparently, the idyll is not just “diluted” by the poet’s confusion, They started burning yesterday. The illusion of well-being is created by the poet’s sorrows, overcoming suffering, dissolving them with the joy of a lost butt, created in pain, with harmony in the extra light. Sings triumphantly at once from all nature after the storm:

If under the gloom, the vision is clear,
The dawn reveals that the day of misfortune has passed,
You won’t find Bilinka and you won’t find the bush,
So that you don’t cry and don’t sit in happiness...

Fet’s view of nature is similar to Tyutchev’s: the brand in it is a flow, straight to the flow of living energy, which charges people and their lives. Fet wrote to Lev Mikolayovich Tolstoy: “in an artist’s work the tension is great on the right.” It is not surprising that Fet’s lyrical plot flares up at the hour of greatest tension in a person’s spiritual powers. Versh “Don’t Be At Dawn” demonstrates just such a moment” and depicts the heroine’s stance:

And how brighter is this month,
And how loudly the nightingale whistles,
She became increasingly pale,
The heart beat sick and sick.

The consonance with this verse has the look of another heroine: “You sang until the dawn, in your sorrows you were sick.” And the most beautiful masterpiece is Fet, who depicted the inner spiritual spirit in the life of the people-verse “Whispers, the timid breath...” Whose verse has a lyrical plot, then on the ground level there is nothing to be expected, for they are given a report on the flow of feelings and experiences of the hero, the change of positions the hidden soul that the nichne slaughter is brewing - and it itself is described at the top - at the chimera color. In the ashes of the night shadows, the light of a quiet stream shines, and the miraculous night picture is complemented by the change of the image of the kohanoi. The remaining stanza is metaphorically complex, because the emotional climax of the verse falls on it:

The dim hmarakhs have purple Troyandi,
Vidblisk burshtin,
And kisses, and tears,
And dawn, dawn!

Behind these unsatisfactory images there are rice kokhanoi, її vosta, brilliance її laughter. With these other new developments, Fet tries to convey that poetry is boastful, as it claims to change the course of science. What a ostentatious verse “I can live by one shot at a time...”. Yogo theme-nature nathnennya sings. Creativity is perceived as a high spirit, a leap, an attempt to reach the unattainable. Fet directly names his poetic reference points:

Interrupt a painful dream with a single sound,
Drink into the rapture of the unknown, dear,
Date of life in this world, date of death to the torments of darkness...

Another task of poetry is the consolidation of light in eternity, the imagery of the ephemeral, the uncatchable (“Alien to take in your senses”). In order for the images to reach the reader, a special kind of musicality is required. Fet zastosovaya without any methods of sound writing (aliteration, asonance), and Tchaikovsky said: “Fet has the best ability to move from between the meanings of poetry, and bravely work his way to our area.”

So what did Fet’s lyrics show us? From the dark death of the kohan people to the light of joy, they walked with fire and light at their peaks. For this reason, he is called the sleepy poet of Russian literature (to the skin: “I came to you with greetings, news that the sun has risen”). Fet is not afraid of living after shocks, he believes and retains the faith in the victory of mysteries over the hour, in the miracle of immortality.

The verses of A. Fet are pure poetry, but there is a sense that there is not a dash of prose there. Call it without challenging the hot soottiv, the rospachu, the zero, the leanions, ni, the vin, writing about Nyprostish - about the pictures of nature, about the daish, about the sea, about the gor, about the zirki, about the nyspriki ruds of the shower, Khvilinny enemies. Its poetry is joyful and bright, it feels light and calm. Write lightly and calmly about your lost business, wanting it to feel deep and fresh, like the first one. Until the end of his life, Feta was not changed by the joy that may come through all his achievements.

The beauty, naturalness, and breadth of his poetry reach a new level of detail, his poetry is marvelously expressive, imaginative, and musical. It was not without reason that Tchaikovsky, Rimsky-Korsakov, Balakirev, Rachmaninov and other composers came up with his poetry.

“Fet’s poetry is nature itself, which mirrors wonder through the human soul...”

In traditional secular and Russian lyricism, the theme of nature is one of the main ones, which inevitably revolves around themes. And Fet also shares the same theme among his rich vertices. The theme of nature in his works is closely intertwined with love lyrics and Fet’s characteristic theme of beauty, one and the same. In the early 1940s, the theme of nature is not clearly expressed, the images of nature are hidden and not detailed:

Wonderful picture
How are you happy:
Bila Rivnina,
Last month...

The songs of the 40s, when describing nature, spiraled, importantly, on techniques characteristic of Heine, then. Instead of a ligamentous description, they were given in addition to the enemy. Many of the ideas of early Fet were criticized as “Heinian.” For example, “The snowstorm was noisy,” where the song determines the mood without a psychological analysis of it and without clarifying the plot situation with which it is connected. The external world is likely to be overwhelmed by the moods of the lyrical “I”, to be delighted and animated by them. This is how the Fetish populous nature appears; Often there is an emotional expression that is inspired by nature, lacking such characteristic later vivid and precise details that allow us to judge the picture by the light. Love Feta to nature, knowledge of it, concretization and subtle precautions of it appear at his tops in the 50s. Surely, his closeness with Turgenev contributed to his burying of landscape lyric poetry at that hour. The phenomena of nature become more detailed, concrete, unlike Fet’s predecessors, which is characteristic of Turgenev’s prose even today. Fet depicts not a burning birch tree, as a symbol of the Russian landscape, but a specific birch tree, a white ganka of a vlasny booth, not a burning road with its inconsistency and untransferability, but that specific road, where you can immediately pick up a booth from the threshold. Or, for example, at its top there are not only traditional birds that have a clearer symbolic meaning, but also birds such as harrier, sich, blackbird, sandpiper, lapwing, swift and others, the skin of which is shown in their Contents:

Half caught up in the gloom,
The month cannot yet shine today.
The axis beetle flew and squealed angrily,
The harrier axis is spilled, do not steal with the krill.

The landscapes of Turgenev and Fet are similar not only in their abundance and subtle care over the phenomena of nature, but also in their distinct images (for example, the image of the earth that was sleeping, “the rest of nature”). Fet, like Turgenev, will not record and describe the changes in nature. This caution can easily be grouped or, for example, in the depicted time of fate, the period is clearly defined. The autumn season is depicted:

The remaining flowers were about to die
I checked with the bag to fight the frost;
Chervonil along the edges of maple leaves,
The peas bloomed, and the Trojans fell asleep,

or the end of winter:

More spring scented milk
It didn’t dawn on us to come,
Still in the snow,
It’s still dawn to put makeup on the visa
On a frozen path...

This can be understood, because The description is given exactly and clearly. Fet likes to describe exactly the golden hour of the hunt, note this or other weather, the beginning of this or that other phenomenon in nature (for example, the board at the “Spring Board”). So it can be understood that Fet zdebilshogo gives a description of the central regions of Russia.

The very nature of the middle snow in Russia is dedicated to the cycle of peaks “Snow” and many peaks from other cycles. In Fet’s opinion, this nature is beautiful, but you can’t catch this unclear beauty. Vin is not afraid to repeat the acknowledgment of love to the fullest extent of nature, to the light and sound in it,” to that natural cola that he calls the corner many times: “I love the corner of your sum and the evening of the village, deaf...”. Fet has always worshiped beauty; the beauty of nature, the beauty of people, the beauty of the farm - these independent lyrical motives are sewn together in the artistic world of poetry into a single and inseparable idea of ​​beauty. Everyday there is a place where “thunderstorms fly by…” For Fet, nature is an object of mystical burial, aesthetic richness. Vona is the greatest mentor and wisest guide of people. Nature itself helps to solve the mysteries and hidden secrets of the human problem. In addition, for example, at the top “Whispers, the timid breath...” sings miraculously conveys Mitt’s impressions, and, emphatically, conveys the camp of the heroes, with the sounding nature of the souls of people, and the happiness of the khan:

Whispering, timid breath,
The trills of the nightingale,
Sriblo and Kolivannya
Sleepy strumka.

Fet sumіv conveyed the ruins of the soul and nature without words, which, of course, was an innovation in Russian literature. What is it like in a new painting in which the words themselves become the main supports, as, for example, at the top of “Evening”?

The moon shone over the clear river,
The ringing rang in the dim pocket"
It rolled over the silence,
It shone on that birch...

This is a similar conveyance of what is expected, to talk about another feature of Fet’s landscape lyricism: the main tone is set by the important expressions of sounds, smells, inconceivable images, which are conveyed in words. The very exacting concreteness of caution with funny and unexpected associations allows us to clearly imagine the described picture of nature. You can also talk about the impressionism of Fet’s poetry; The very touch of impressionism is associated with innovation in the depiction of natural phenomena. More precisely, the objects and displays in the image sing fragments of the stench that appeared to be the same as the stench that was felt at the time of writing. And the description focuses not on the image itself, but on the enemy as it vibrates. Fet seems to describe it as realistically:

Over the lake the swan stretched its outline,
A forest has spread near the water,
Having sunk with the teeth of the peaks at the dawn,
Between the two the heavens are dying.

As a matter of fact, the motif of “mirror glass by the water” often appears in the poet’s mind. Obviously, the creative image allows more freedom for the imagination of the artist, not the very object that is represented. Fet depicts the external light in the way that he gave his mood. For all the truthfulness and concreteness of the description of nature, let us serve as a means of expressing a lyrical feeling.

Call A. Fet, in his verses, rests on one figure, on one turn of the senses, and at the same time his poetry cannot be called monomaniacal, however, it reflects diversity and impersonality of themes. The beauty of its heights is particularly distinct from the nature of the mood of the poetry. Fet's muse is light, airy, there is nothing earthly in it, even though we are talking about the earth itself. His poetry may not have much action, but its tops contain a whole range of hostility, thoughts, joys and sorrows. I would like to take from them such as “Wash yours before you fly far...”, “Unfragile eyes, crazy eyes...”, “Wash the sun between the linden trees...”, “I stretch out my hand to you in the wash.. ." ta in.

He sings, experiencing beauty there, finding beauty everywhere, and finding beauty everywhere. Having been an artist, we blamed almost the beauty, melodiously, so beautiful are the pictures of nature at the top, as we take such as we are, not allowing the usual embellishments of action. At its top, the edge of the middle smuga of Russia is visibly visible.

In all his descriptions of nature, A. Fet is incredibly faithful to different pictures, shades, and moods. He himself always sings and has created marvelous works, the axis of so many rocks that impress us with psychological precision, filigree precision. ", "Don't be at the dawn...", "The dawn says goodbye to the earth...".

Fet will picture the world that he understands, perceives, perceives, feels. And in this world everything is important and meaningful: the gloom, the moon, the beetle, the moon, the dragon, the mirrors, and the Chumatsky Way. The skin of the bird, the skin of the flower, the skin of the tree and the skin of the blade of grass are not just warehouse-like pictures - all of them bear only their powerful signs, their character. We have the utmost respect for the “Metelik” verse:

You're right. With one single contour
I'm so sweet.
All my oxamite from this living moment -
Only two krills.
Don’t worry: have the stars showed up?
Where am I going to hurry?
Here I sank lightly onto the bed
I axis – I’m dying.
Chi for a long time, without meti, without zusilla,
Do you want Dihati?
Axis-axis at once, having flashed, I will open the krill
I will flow.

Fet’s “sense of nature” has a universal character. It is practically impossible to see Fet’s landscape lyricism without breaking one’s connections with the vitally important organ of human life, which is ordered by the hidden laws of natural life.

Significantly the power of his world leader, Fet wrote: “Every human being, and the only one in every world life, feels the need to ask: what is nature so superfluous? Are all the stars? What is he doing? Stars? Where? What's the matter? “And what human beings are, what their moral nature is capable of, these are the most profound things that everyone’s food will bear.” “Nature created this poet in order to listen to, look at and understand. In order to find out what he thinks about her, nature, people, her child, how she perceives her. Nature created Feta in order to show how the human soul perceives it” (L. Ozerov).

The gift of Feta with nature is beyond the disorganization of this world, without the state of tremulous awakening of the diva:

I check... Nightingale's moon
Rushing along the sparkling river,
Grass during the month in diamonds
Fireflies are burning in the village.
I check... Dark blue sky
And among other, and among great stars,
I feel the beat in my heart
I trembling in my arms and legs.
I check... The axis has begun to wilt since today;
It’s warm for me to stand and go;
The star was rolling as it set...
Vibach, gold, probach!

Going back to one of the famous vertices of Fet, which at the right time brought the author many treasures, revealing with its appearance the burial of some, the depredation of others, the number of desecrated followers of traditional poetry - the ruin of all literary scandal. This little achievement has become a source of inspiration for critics of the democratic style, who have instilled ideas about the irrelevance and lack of ideas of poetry. Over thirty parodies were written on this page. Axis here:

Whispering, timid breath,
The trills of the nightingale,
Sriblo and Kolivannya
Sleepy strumka
Night light, night shadows,
Shadows without end,
A number of charming changes
Miles of individuals,
The dim hmarakhs have purple Troyandi,
Vidblisk burshtin,
And kisses, and tears,
And dawn, dawn!

The dynamic changes that occur in nature and in the human soul are immediately created. And at this time the top has no water supply. And how many joyful buryings of love and life are at the top! Nevypadkovo fell in love with the hour of finishing Feta Bula nich. There, like poetry, is a barrier from the hustle and bustle of the day:

At night, as if it were easier for me to die,
It seems more spacious...

I know he sings. You can speak from the night, you live before it, like a living being close to you:

Hello! a thousand times I greet you, nothing!
I love you again and again,
Quiet, warm,
Covered with sriblom!
Tearfully, having extinguished the candle, I go to the window...
I can’t be seen, but I do all the research myself.

Vershi A. A. Feta is loved in our country. The hour has undeniably confirmed the value of his poetry, showing that we, the people of the 20th century, need it, because it touches the deepest strings of the soul, bringing out the beauty of the world.

Fet's aesthetic looks

Aesthetics is the science of beauty. And look at the singer’s look at those things that are beautiful in one’s life, taking shape under the influx of different surroundings. Here everything plays its own special role - and the minds in which the poet’s childhood passed, which shaped his expression about life and beauty, and the influx of readers, books, beloved authors and thinkers, and the zeal for enlightenment, and the minds of a further life. Therefore, we can say that Fet’s aesthetics is a reflection of the tragedy of the duality of his living and poetic share.

Thus, Polonsky truly and precisely recognized the continuity of two worlds – the world of life and the world of poetry, as he sings not only by feeling, but also by declaring it as a given. “The ideal world of my creations long ago...” - Fet knew back in 1850. And in the place of this constructed ideal world, a different light was disseminated - a real, everyday, seemingly provocative right and turbo, straight to the point of reaching no high poetic mark. And this world unbearably tightens its grip on the poet’s soul, without ever letting go of his mind. This duality is the origin and shape of Feta’s aesthetics, the main principle of which he formulated once and again and without ever going back to anything else: poetry and life are absurd, and one should not be angry with him. . Fet buv perekonany; to live for life means to die for mystery, to be resurrected for mystery means to die for life. Oh why, having studied with the Gospodar's authorities, Fet has a long career in literature.

Life is hard work, it’s oppressive, and
suffering:
Suffer, all the centuries of suffering, aimlessly, without pay,
Wander empty, remind and marvel,
Like a new skin breakdown deeper than the abyss,
I’m going crazy, bending and suffering again.

In a very successful life, Fet’s mystique comes from his devotion to his beloved German philosopher Schopenhauer, whose book “Light as Will and Manifestation” was translated into Russian.

Schopenhauer affirmed that our world is the greatest of all possible worlds,” and that suffering has an irrevocable power over life. This world is nothing more than an arena of sunken and stained essences, and the only possible exit from this world is death, which gives rise to an apology for self-destruction in Schopenhauer’s essay. Relying on Schopenhauer’s happiness, and even before meeting him, Fet never tired of repeating that life here is base, stupid, boring, that its main change is suffering, and that there is only one mysterious person who has not understood in this world And from sorrow and toil the sphere of true, pure joy - sphere of beauty, special light,

Where storms fly by,
De thought is biased and pure, -
I will be dedicated to you only visibly
Spring flowers are so beautiful
(“What a sum! The end of the alley...”)

The poetic state is the purification of all human things, the exit to the vastness of the cramped life, the awakening from sleep, and just before poetry - the underworld of suffering. Fet talks about this in his poetic manifesto “Muse”, the epigraph of which is based on Pushkin’s words “We are people for cultivation, For the sounds of licorice and prayers.”

About himself, like about the singer Fet:

By your Divine power

And on human happiness.

The key images of this peak and the entire aesthetic system of Fet are the words “Divine power” and “high power”. Having a great power over the human soul, truly Divine, poetry is created to transform life, to cleanse the soul of a person from all that is earthly and superficial, just as it was created “to give up the life of this world, to give up the longing to the dark torments.”

The primary object of mysticism, according to Fet, is beauty. “The light is in all its parts,” wrote Fet, “and it is beautiful. Beauty is poured throughout the world. The whole poetic world of A. Fet spreads out from this galus of beauty and flows between three peaks - nature, nature and creativity. All three poetic subjects not only collide with each other, but are closely interconnected, penetrating one into the other, creating a single evil artistic light - the Fetish all-world of beauty, the sun of which is poured out in everyone, captured and for the first eye, ale chuyno is perceived by sixty singers The harmonious essence of light is music. According to L. Ozerov, “Russian lyric poetry has found in Fete one of the most musically gifted masters. Covered on paper with letters, the lyrics sound like notes, but for those who can read notes

Fet's words were composed into music by Tchaikovsky and Taniev, Rimsky-Korsakov and Grechaninov, Arensky and Spendiaryov, Rebikov and Viardo-Garcia, Varlamov and Konyus, Balakirev and Rakhmaninov, Zolotarev and Goldenweiser, Napravnik and Kalinnikov and richly, richly who. The number of musical opuses is in the hundreds.”

Motifs of khannya from Lyrics Fet.

At the end of his life, Fet, having ignited the evening fires, lived in the shadows of his youth. Thoughts about the past did not deprive him, and they brought him up at the most difficult moments. It was enough for the newest drive, say, to sound words similar to what was said long ago, to row or in the alley of cloth, similar to those who rowed on it in those days.

Thirty years have passed since then. In the Kherson wilderness there is a vine. Her name was Maria, she was twenty years old, and I was twenty overall. Father Kozma Lazic, after the war of the Serbs, and two hundred of his fellow tribesmen, who in the mid-18th century moved to Russia together with Ivan Horvat, who slept here, near Novorossiya, in the first century settlement The daughter of a general from Lazic’s representative, the elder Nadiya, is thin and full of hair, a wonderful dancer, of great beauty and a cheerful personality. It was not she who captured the heart of the young cuirassier Fet, but the lesser one, Maria.

High, a string brunette, a streamer, not to say stern, she gave in to everyone, she gave in to her sister, then she turned it over with a splendor of black, thick hair. It would be a shame, and it would be a shame to exalt the respect of Feta on her, who had tapped the beautiful women’s hair in front of us, from whom to re-arrange many rows of his tops.

Maria, who never took part in the gala festivities at her uncle Petkovich’s house, where she often visited and where young people gathered, was willing to play for dancing on the piano, because she was a wonderful musician, as Franz Liszt himself said, having sensed that ї gr.

Having spoken to Maria, Fet was amazed at how great her knowledge was in literature, especially in poetry. Before that, she appeared to be a long-time mistress of his creativity. It was unsatisfactory and welcoming. The main “field of closeness” was George Sand with her charming words, sophisticated descriptions of nature and absolutely new, unprecedented hundred-hundreds of dead people. Nothing brings people together like the mysticism of burning poetry with a broad meaning of the word. Such monotony is itself poetry. People become more perceptive and perceive and understand those things that are not enough to fully explain.

“There was no doubt,” Opanas Opanasovich guessed on the basis of life, “that she had long ago realized the greater trepidation with which I entered her pleasant atmosphere. I understand that words and behavior in this situation are equivalent.”

In a word, a deep feeling burned between them, and Fet told him, writing to his friend: “I’m in love with a girl - a beautiful little day, light up, I’m not kidding her - not me, but a share - and we knew that we would be very happy If Of all the living Boers, they could live peacefully without any demands on what would be. They told us one to another, what is the need for what is here? My personalities are clear to you - they don’t mean anything either...”

Material nutrition became the main stone of stumbling on the road to happiness. Fet is aware that the greatest sorrow in the present day does not give them the right to go to the inevitable grief of deciding to live if there is no prosperity.

Prote rozmovi їh were thwarted. It used to be that everyone was leaving, it was already past midnight, and the stinks just couldn’t stop talking. Sitting on the sofa in the alcove of the living room and talking, talking in the dark light of a colorful light, but never said anything about their mutual feelings.

Their roses in the watered little corner did not go unnoticed. Fet felt responsible for the honor of the girl - even though he was not a boy who would choke on pineapple, and was even afraid to expose it to the unfriendly world.

And the axis once, in order to burn the ships of their mutual hopes at once, having gathered their spirit and without guilt having expressed their thoughts to the point that they consider the love impossible for themselves. To which she confirmed that she should talk to him without asking for his freedom. Since people's voices are in vain, we can no longer spare ourselves the happiness of singing with them through gossip.

“I’m not friends with Lazic,” write others, “and she knows, and at this time it’s good not to break our drains, there’s a clean snow in front of me - break it indelicately and don’t break it indelicately - that girl needs Solomon.” It was necessary to make a wiser decision.

And marvelous speech: Fet, who himself, having placed indifference at the heart of his character, here uncontrollably showed firmness. However, why was it so unsatisfactory? If you remember his powerful words, that the school of life, which has been grooming him all hour with leather gloves, has developed reflection to the extreme and never allowing himself to step thoughtlessly, then you will become wiser and as a result of your decision. Those who knew Fet well, for example, L. Tolstoy, signified his “sensibility to the worldly,” his practicality and utilitarianism. To be more precise, they fought on earth and spiritually in a new way, warring their minds and their hearts, often over-respecting. It was not easy, the struggle for one’s soul was deeply rooted in the eyes of others, as he himself said, “the praise of idealism to a vulgar life.”

Well, Fet decided to pin down the stories from Maria that he himself wrote to her. They have “the friendliest and calmest leaf.” Thus, it seemed, the hour of “spring for my soul” had ended. After about an hour, they told the greedy signal. Maria Lazic died tragically. She died a terrible death, the secret of which has not yet been revealed. And imagine how much respect, for example, D.D. Good, that the girl laid hands on herself. In addition to the special power of love, not only physical and spiritual closeness, but also increasingly aware of the happiness that we had experienced, it was so rich that it was terribly and sinful to ask God for more.

In one of his favorite poems, Fet wrote:

I dare to think pestilently,
Wake up with the strength of your heart
And with her fearful and gloomy
Your business is to guess.

It is natural for people to give harmony, almost a sense of beauty. Fet's lyrics instill love for life, for the next rounds, for the simple joys of life. With the fates, giving up the poetic cliches of the hour, Fet consolidates his lyrical mission of the spirit of nature. The morning of the day and the morning of fate are deprived of the symbols of Fetish lyrics.

The image of Kohannya-spogadi in Lyrica Fet

The love poetry of A. Fet is even a unique phenomenon, since almost all of it is preserved down to one woman - Feta’s wife Maria Lazic, who quickly retired from life, and this gives her a special emotional flavor.

The death of Mary has completely faded away, and so the poet’s life is “hirka” - about which we are told about its heights. “The hoardings of spivak khannya and beauty do not follow their own instincts. A little bit, tested by Fet, passed through his life to a ripe old age. Lyubov do Lazic vengefully broke into Fet’s lyrics, revealing its dramatic nature, its undeniable richness, and taking from it an air of idiocy and depravity.”

Maria Lazic died in 1850, and for nearly forty years that have lived without her, there have been bitter speculations about his “burnt farm.” Moreover, this traditional metaphor from Svedomosti and Fet’s lyrics, which came out, seemed to be completely real and even more terrible.

Your dear image will be restored
I dare to think pestilently,
Wake up with the strength of your heart
And with her fearful and gloomy
It's your job to guess...

Those that could not be consumed by fate were consumed by poetry, and at his peaks Fet again and again develops to his kohanoy as to a living thing that hears him with love of the truth,

Like you are a genius, incompetent, stringent,
My light flew from the heavens,
Having calmed my restless mind,
She turned her eyes to her face.

The top groups of these groups are distinguished by a special emotional flavor: the stench of joy, hoarding, hoarding. Here the image of suffering-experience, which is most often angry with the image of nature, emerges. Fet's lyrics become an instilled memory of Mary, a monument, a “living statue” of the singer. A tragic tone is given to Fet’s love lyric with the motives of guilt and retribution, which sound different in the rich world.

For a long time I dreamed of hearing from you, -
Then, when you form a voice, you cry powerlessly;
For a long, long time I dreamed of that joyful person,
Thank you, I am a miserable cat...
She gave me her hand and asked: Are you coming?
I noticed two drops of tears in my eyes;
The sparkles in the eyes and the cold darkness
I endured sleepless nights forever.

The persistent and endlessly varied motif of the khannya and the mountain in Fet’s love lyric earns respect. Maria Lazic, who truly burned, scorched her brother with poetry. “Without writing anything about it, the lords, brutalized to the last wives, vengefully present her image, her short life, which burned out of the khan. In any case, this image is not banal, but it is a very verbal expression, but Fet’s is over-confident. Moreover, it is the basis of his love lyrics.”

The lyrical hero calls himself “kat”, thus reinforcing his awareness of his guilt. Ale vin is an “unfortunate” cat, because, having harmed the kohan, he has harmed himself, his own life. And in the love lyric I instruct the motif of death to sound lightly in the image of the kohanna, as if it were possible to not only reconcile one’s guilt, but to unite with the kohana again. Only death can turn back those that have been taken away from life:

There are no quiet eyes - and I am not afraid of teasing,
I'm envious of your mindlessness,
I, do not judge stupidity or anger,
Hurry, let's go to your hell!

Life wasted a sense for the hero, transforming into a lance of suffering and spending, into a “bitter”, “frustrated” cup that could be drunk to the bottom. Fet's lyricism is more tragic for its essence in the juxtaposition of two images - the lyrical hero and the heroine. Vine is alive, but dead in soul, and there, long dead, is alive in his memory and at the top. This memory will be preserved until the end of its days.

Perhaps Fet’s love lyrics are the only sphere of the poet’s creativity, in which the reflections of his life’s emotions were found. That's why the poems about agriculture are so different from those dedicated to nature. The stench does not smear the same joy, like the happiness of life, as we admire from Fet’s landscape lyricism. As L. Ozerov wrote, “Fet’s love lyrics are the most distant zone of his experience. Here you are not afraid of anything: no self-condemnation, no curse on the side, no direct language, no indirect language, no forte, no pianissimo. Here the lyricist judges himself. Let's go to the strat. I’m burning myself.”

Rice of impressionism from Lyrics Feta

Impressionism is a special direct line from the mystique of the 19th century, which took shape in French painting in the 70s. Impressionism means emotion, the depiction not of an object as such, but of the emotion that this object carries out, the artist’s fixation of his subjective concerns and enemyness in the form of action, the least perceivable and experience. A special feature of this style was the “attempt to convey the subject in as many strokes as possible to capture the skin’s appearance.”

Pragnennaya Feta, showing the reality of all the diversity of its forms, brings the poet closer to impressionism. Clearly visible to the outside world and showing him as he stands at the moment, Fet develops a new poetic approach, an impressionistic style.

It is not the same to cite an object as it is to be an enemy, viroble by an object. Fet depicts the external light in his appearance, which corresponds to the poet’s mitten mood. For all the truthfulness and specificity of the description of nature, it is necessary to serve as a means of expressing a lyrical sense.

Fet's innovation was so daring that many people today did not understand his accomplishments. During Feta’s life, his poetry did not know a reliable source for his companions. Only the twentieth century has rightly given birth to Feta, whose marvelous poetry gives us the joy of knowing the world, knowing its harmony and thoroughness.

“For everyone who sticks to Fet’s lyrics after a century, their creation is important, first of all, their spirituality, spiritual sweetness, the inexhaustibility of the youthful forces of life, the thrill of spring and the insight of the wisdom of autumn,” wrote L. Ozerov. - You read Feta - and it seems: your life is still ahead. How many good things await the day that is coming. Varto live! Such a Fet.

In the poem, written in the spring of 1892 - two months before his death, Fet admits:

The thought is fresh, the soul is free;
I just want to say:
"Here I am!" Hello, I'm talking.
Sings to sing? No. Saying yo poetry.”

List of references

* R. S. Belausov “Russian love lyrics” overhand in the drukarnі Kursk Pravda - 1986.
* G. Aslanova “Full of legends and fantasies” 1997. VIP. 5.
* M. L. Gasparov “Vibranі pratsi” Moscow. 1997. T.2
* A. V. Druzhinin “Beautiful and Eternal” Moscow. 1989.
* V. Solovyov “The Place of Love” Vibran create. Moscow. 1991.
* I. Sukhikh "The Myth of Fet: Mittevity and Eternity / / Zirka" 1995. No. 11.
* To prepare this work, materials were used from the site http://www.referat.ru/

Chi buv A.A. Is Fet a romantic? (Ranchin A. M.)

Versh “How poor is our language! “I want and I can’t…” is considered to be one of the poetic manifestos of Feta-romanticism. The characterization of Fet as a romantic poet is perhaps overstated. Here is another thought: “The broader ideas about the fundamentally romantic nature of Fet’s lyrics seem dubious. Being such a person behind psychological changes of mind (shaping the pros and cons of life), she is similar to the romanticism behind the result, the created ideal. Fet has practically every day motifs characteristic of romanticism: alienation, insight, and the presentation of “natural life to the artificial bustle of civilized places” and so on. One of the oppositions to the primary romantic conflict is that he deprives his world behind the cordon.

The artistic world of Fet is one-of-a-kind" (Sukhikh I.M. Shenshin and Fet: life and verses // Fet A. Vershih / Introductory article by I.M. Sukhikh; Order. and straight lines. A.V. Uspenskaya. SPb., 2001 (“New Library of Poets. Small series.”) P.40-41) Or another note: “What is Fetov’s world? This is nature, seen close up, in close-up, in detail, and at the same time a little to the side, in a pose of practical completeness, through the prism of beauty” (Ibid. P. 43, when characterizing the antitheses, oppositions that expressions about the household express, as signs I. N. Sukhikh’s romanticism is referred to in the book: Mann Yu. V. Dynamics of Russian Romanticism (Moscow, 1995). At times, the distinction between the ideal and the real world in poetry, which can be considered romantic, does not at all necessarily have the character of a harsh antithesis; Thus, the unity of the ideal and real world was the emphasis of the early German romantics (div.: Zhirmunsky V.M. German romanticism and daily mysticism / Translation and commentary by A.G. Astvatsaturova. St. Petersburg, 1996. P. 146 -147 ).

Behind the words of V.L. Korovin, “Fet’s poetry – triumphant, Svyatkov. These tragic things are carried out as if by permission. In every other poet you will find so much “light” and “happiness” - an unreasonable and causeless happiness, like in Fet you can feel the pain in which the leaves and bilinks cry and fall. “The tedious trembling of God’s happiness” - these words from one early verse are indicated panickingly in this lyricism of moods, right up to the most advanced vertices” (Korovin V.L. Opanas Opanasovich Fet (1820-1892): drawing life and creativity i // http:/ / www.portal-slovo.ru/ukr/philology/258/421).

This is the “hell place” of literature about Fet, who is usually called “one of the “bright” Russian poets” (Lotman L.M. A.A. Fet // History of Russian Literature: U 4 vol., 1982. 3. P. 425). However, in addition to many others who have written and are writing about Fet, it is important to clarify: the motives of the harmony of nature and people are characteristic of poetry in the period of the 1850s.., At that time like in the 1840s... Conflicts appear in nature and the human soul, in the poetry of the late 1850s - 1860s. the harmony of nature is contrasted with the disharmony of the experience of “I”; in the lyrics of the 1870s, the motif of discord grows and the theme of death prevails; in the works of 1880 - beginning of the 1890s. “The low efficiency of life’s struggle is represented not by mysticism and oneness with nature, but by reason and knowledge” (Ibid. p. 443). This periodization (as, strictly speaking, and be it otherwise) can be attributed to schematicity and subjectivity, but the statements about Feta - the spirava of the joy of life is rightly corrected.

Back in 1919 sings A.V. Tufanov spoke about Fet’s poetry as a “life-radiating hymn of buried and enlightened spirit” of the artist (thesis of the book “Lyrics and Futurism”; citation for the article: Krusanov A. A. V. Tufanov: Arkhangelsk period (1918-1919) // New literary review 1998. No. 30. P. 97). On the thought of D.D. Good, “there is no greedy, cruel, indulgent access to the world of Fet’s lyric: it is woven only from beauty” (Blagoy D. Afanasy Fet - sings and people // A. Fet. Spogadi / Preface by D. Blagoy; Ordered and direct A. Tarkhova. M., 1983. 20). Ale: poetry by Fet D.D. Thankfully, for the presidency of I.N. Sukhikh, nevertheless, is “romantic behind the pathos and behind the method,” as a “romantic version” of Pushkin’s “poetic action” (Ibid. P. 19).

A.E. Tarkhov interpreted the verse “I have come to you with greetings...” (1843) as the quintessence of the motifs of Fet’s creativity: “In four stanzas, with four repetitions of the words “revelation,” Fet seems to have called all those about what is received seam in the area Russian poetry, about the joyful shine of a sleepy morning and the passionate trembling of a young, spring life, about the immediate happiness of a buried soul and an unstreamed song, ready to get angry with the joy of the world" (Tarkhov A. Lyric Afanasy Fet // Fet A.A. Vershi Poem..M ., 1985. P. 3).

In another article, the investigator, coming from the text of whose verse, proposes his own list of repeated, constant motifs of Fet’s poetry: “In the first place, we put the expression beloved by critics: “smelling freshness” - it meant unique al-Fetivske "sense of spring."

Fet's sophistication is found in the poetry of the simplest, most basic, domestic objects that can be understood as “intimate domesticity.”

Love felt in Fet's poetry was considered by many critics as “biased sensitivity.”

The completeness and pristineness of human existence in Fetov’s poetry is “superior naturalness.”

And finally, Fet’s characteristic motif of “cheerfulness” can be called “joyful holiness”” (Tarkhov A.E. “Music of Breasts” (About the life and poetry of Opanas Fet) // Fet A.A. Creations: U 2 vol. , 1982. T. 1. P. 10).

Prote A.E. Tarkhov notes that such a characteristic could have been brought forward before the 1850s - until the time of the “great rise” of Fet’s “poetic glory” (Ibid. p. 6). Like a turning point, a crisis for the poet A.E. Tarkhov calls the 1859 river, when he wrote alarmingly “With the sun shining in the forest, the half-moons are rich...” and joylessly, in order to avenge the motives of gracelessness that tightly butt that old “Crying quails, rattling churches...” (Ibid. P. 34- 37) . Slide, prote, vrahovuvati, that 1859 rik – the whole hour of seeing both vertices, if they were written, is definitely unknown.

And Axis Dumka A.S. Kushner: “Perhaps, in no one else, at least in the early Pasternak, not having been identified with such a screw, perhaps the incomparable power of this emotional struggle, buried in front of the joy and wonder of life - in the first row is the verse: “As rich as I am from God Great heights! ", "Yaka nіch! In all respects, there is mercy!..”, “Oh, this sweet day and the splendor of this beautiful...” or so.

And the craziest motives are still accompanied by a renewed sense of feeling, fervent gasps: “What a turmoil! The end of the alley...”, “How cold autumn is!..”, “Probach! In the dark weather...” (Kushner A.S. The Land of Poetry // Kushner A. Apollo in the Grass: Ese/virshi. M., 2005. P. 8-9). Porivn. a more intellectually broader impressionistic significance of the powers of Fet’s poetry, induced by M.L. Gasparov: “The Light of Feta is a precious, fertile garden, a melody that flows divinely, and a heart that is beyond love...” (Gasparov M.L. Vibranian statistics. M., 1995 (New literary review. Scientific supplement. VIP 2). P. 281). However, the power of Fet’s poetry does not allow the successor to reclaim him as a romantic (div.: Ibid. pp. 287, 389; equal to p. 296). The sense in Fetov’s verses changes from the depiction of the external world to the expression of the inner light, to the appearance of an overly lyrical “I” nature - “the panicky principle of romantic lyricism” (Ibid. p. 176).

This idea is not new, it has been around since the beginning of the last century (div.: Darsky D.S. “The Joy of the Earth.” Research on Fet’s lyrics. M., 1916). B.V. Mikilsky described the emotional light of Feta’s lyrics as follows: “All the solidity and richness of this intense mind was most clearly seen in the cult of beauty”; “the living hymn of an artist-pantheist, inexorably closed to his beloved (to believe in the divine essence, the spirituality of nature. - A.R.) of sophisticated burial and enlightenment of the spirit in the midst of the beautiful light - the axis is still behind its own philosophical perspective of Fet's poetry"; But at the same time, Fet’s background of joy is suffering as the immutable law of the battle: “The tremulous repetition of the battle, the buried and the intense is the axis of those by which suffering is meaningful, the axis of reconciliation between the artist and the people” (Mikolsky B.V. The main elements of Fet’s lyrics // Povne collection of the heroes of A. A. Fet / From the introductory article of N. N. Strakhov and B. V. Nikolsky and with a portrait of A. A. Fet / Supplement to the magazine “Niva” for 1912. St. Petersburg, 1912. 1. P. 48, 52, 41).

Even the first critics wrote about this, but they knew nothing more than Fet’s early poetry: “Already we forgot to point out the special character of M. Fet’s works: they have a sound that has never been seen in Russian poetry before - this is the sound of a bright Christmastide almost life” (Botkin V.P. Virshi A.A. Fet (1857) // Library of Russian Criticism / Criticism of the 50s of the 19th century. M., 2003. P. 332).

This assessment of Fetish poetry is even inaccurate and wrong in many ways. With the singing world, Fet begins to look the same as his husband D.I. Pisarev and other radical critics, and even more so with a “plus” sign. In front of us, Fet’s vision of happiness is “divine” (“...The epithet “divine” is one of the most frequently repeated in his love verses: divine love, divine peace, divine dreams, divine holiness, divine not happy, divine days, divine words, divine verses ". - Good D. D. The world is like beauty (About "Evening Fires" by A. Fet) // Fet A. A. Newly collected works / Introductory article, preparatory text and straight lines. L., 1959 ("Library poet. Great series. Another seen"), p. 608), both impossible and almost like a madman; this interpretation is insanely romantic. It is ostentatious, for example, that this is how it begins: “How rich am I in God’s verses!..” ( 1887). The rows look ultra-romantic: “And the sounds are the same smell, / And I feel that my head is burning, / And I whisper divine devotions, / And I whisper divine words!..” (“Yesterday I walked around the hall illuminated oh...", 1858).

Yak write S.G. Bocharov about the verse “My that God’s god, who saw / These three wars (curls. - A.R.), and sparkles, and dew...” (1887), “the natural extremism of such a degree and such brilliance (“God’s for bagankas spivak "), which is rooted in historical development" (Bocharov S.G. Plots of Russian literature. M., 1999. P. 326).

The statements about “Godville” as the true form of the highly trained poet Fet mig were gleaned from ancient tradition. In Plato’s dialogue “Ion” it is said: “All good singers compose their poems not due to mysticism, but rather in the camp of the intensification and obsession of the stench of lack of selfhood to create their beautiful songs; They smell of harmony and rhythm, and the stench becomes possessed. You can only sing if you become strained and unselfish and are not sensible in any way; and while people have this gift, they cannot create or prophesy. ...For this reason, God takes away their reason and robs them of his servants, divine guides and prophets, so that we, listening to them, know that it is not a stink, for the sake of reason, to speak such precious words, but God himself speaks and through them gives us his voice" (533e-534d, trans. Y.M. Borovsky. - Plato. Create: U 3 volumes / For the ed. A.F. Losev and V.F. Asmus. M., 1968. T. 1 .P. 138-139). This idea is also found in other ancient Greek philosophers, for example, in Democritus. However, in the romantic era, the motive of poetic madness sounded with a new and greater force - even in sophisticated literature, and Fet could not help but capture his pose with a new romantic aura.

The cult of beauty and love is a hideous screen, not only because of the grimaces of history, but also because of the thirst of life. B.Ya. The Bukhshtab respected: “The major tone of Fet’s poetry, which they are happy to respect, and the theme of the joy of life will attest to the optimistic outlook. Behind the “beautiful” poetry there is a deeply pessimistic outlook. It’s not for nothing that Fet fell in love with the pessimistic philosophy of Schopenhauer (Arthur Schopenhauer, German thinker, 1788-1860, whose main work is “Light as Will and Manifestation” is translated by Fet. - A. R.). Life is chaotic, mysticism is joyful - such is Fet’s simple thought” (Bukhshtab B.Ya. Fet // History of Russian Literature. M.; L., 1956. Vol. 8. Literature of the Sixties Rocks. Part 2. P. 254).

Fet’s lyricism and opposition are not at all alien, the antithesis of boring everyday life and the great world - darkness, beauty, love: “Ale color of the darkening / Dark middle of everyday thorns” (“Like midges dawn...”, 1844). There is a contrasting division between the earthly, material light and the heavenly, eternal, spiritual light: “I have understood those tears, I have understood those torments, / Where the word is silent, where sounds reign, / Where you hear not a song, but the soul of a singer, / Where the spirit is lost no need for body "("I love your crazy, childish hair...", 1884). One is contrasted with one another and a happy sky and a dark earth (“Praying eyes, moving and proud...”, 1883), earthly, bodily and spiritual (“I understand those tears, I understand those torments, / Where the word is silent, where the sounds reign, / Where you hear not a song, but the soul of a spivak, / Where the spirit is drained by an unnecessary body” - “I’m bashing your chumatka, childish hair...”, 1884).

Glimpses of the most ideal can be seen, for example, in the beautiful eyes of a girl: “And the hidden chambers of the Georgian ether / In the living clouds they are seen” (“Vona”, 1889).

Fet repeatedly declares his sweetness to romantic courtship: “How about happiness? Not here, at the poor middle man’s place, / But over there – like we’re dim. / Follow him! follow him! along the windy road - / And let’s fly to eternity!” (“Travneva Nich”, 1870 (?)); “My spirit, oh nothing! like a burning seraphim (seraphim is an angelic “rank” - A.R.), / Having recognized the controversy from the imperishable lives of the dawn” (“Like the undead, sribna nich...”, 1865). The purpose of mriya is “to the invisible, weightless pragne” (“The winged mriyas rose in swarms...”, 1889). The messenger of the great world sings: “I am with the inconsolable one, I am with the sound of heaven,” and the beautiful woman is the revelation of an unearthly bustle: “I am amazed at my young soul, / I stand, shone upon other lives”; tsyu mit bliss - “not earthly”, tsya zustrich is contrasted with “worldly thunderstorms” (“I stand before you in suffering bliss...”, 1882).

The earthly world from its anxieties is a dream, the lyrical “I” is straightened to the eternal:

Dreaming.
Awakening,
Tane imla.
Like in the spring,
Above me
Everything is light.

Inevitably,
Passionately, tenderly
Get ready,
Without zusil
With a splash of krill
Fill in –

The world is on fire,
Shilyan
I pray...

(“Quasi una fantasia”, 1889)

More butts: “Give me, let me / Let me rush / With you until the light of day” (“Dreams and shadows...”, 1859); “These are miraculous songs / So the roots of the world of commitment; / Let go of the torment in your heart, / The holy hour of separation, / And when the sounds fade away - / They burst into raptures! (“To Chopin”, 1882).

Sings like a god, without regard for joy, “If you don’t think you’re a deity”:

Ale yakscho on the wings of Gordinya
You dare to know, like God,
Don’t bring anything holy from the world
Your own worries and worries.

Pari, all-worldly and all-powerful,
I from clear heights
Good and evil are like grave powder,
Nowadays there are human losses

(“Good and Evil”, 1884)

In such a manner, the praise of God against the “natov” and the earthly world itself, dominated by the division of good and evil; This is the greatest result of this importance, like before God. .

An ultra-romantic interpretation of the significance of poetry is expressed in Muzy’s film:

Charming dreams flowing in reality,
By your divine power
I will call until the end of the day
And on human happiness.

("Muse", 1887)

Dreams, “daydreams” are more of a low reality, the power of poetry is sacred and called “divine”. Of course, this is a “persistent literary device that marks (voices, that endows. - A.R.) the figure sings with the signs of the gods of subtlety, honorability to the heavenly secret places,” characteristic even of the ancient tradition, and in Russian poetry It has been growing since the first third of the 18th century century" (Peskov A.M. "Russian idea" and "Russian soul": Drawings of Russian history (M., 2007. P. 10), however, in the romantic era itself, a special sound emerges due to the unique seriousness and philosophical and aesthetic priming.

Characteristics of the romantic manifestations of Feta are depicted in the sheets and in the articles. The axis of one of them: “Who is the fire of my faith, to inspire people with dim eyes, with divine words and kicks on the lips, to run over stones and thorns on a torn robes” (Ya.P. Polonsky, quoted in the sheet Fe that K.R dated 22 June 1888 - A. A. Fet and K. R. (Publication of L. I. Kuzmina and G. A. Krilovaya) // K. R. Vibrane listuvannya / Vydavnitstvo of the city of E. V. Vinogradov, A. V. Dubrovsky, L. D. Zarodova, G. A. Krilova, L. I. Kuzmina, N. N. Lavrova, L. K. Khitrovo. St. Petersburg, 1999. P. 283).

And the axis is different: “Whoever does not throw himself from the world upside down, with insatiable faith into those that will rise again, is not a lyricist” (“About the Vershy of F. Tyutchev”, 1859 - Fet A. Virshi. Prose. Leaves / Accessory articles of A. E. Tarkhova, Warehouse and notes of G. D. Aslanova, N. G. Okhotina and A. E. Tarkhova, M., 1988. P. 292). (However, this is a scandalous assertion by the court and respect that the authorities also have the same kind of bitterness - “the greatest caution (the greatest sense of peace.”)."

The romantic ignorance before the onset, which does not understand the true poetry, is seen in the editorial until the fourth issue of the collection “Evening Fires”: “The people, who did not depend on the evening of their lightened windows, give access to all we think, and, perhaps, we cast charming glances from the streets; Otherwise, it would be unfair to create a new idea that he brightens the rooms not for friends, but in the educated eyes of the crowd. After the destructive and highly significant song of our friends until the fiftieth anniversary of our music, it is obviously impossible for us to complain about its capacity. As for the mass of readers who establish this so-called popularity, then this mass is a race that shares mutual goodwill with us. We alone have nothing to joke about” (Fet A.A. Evening Fires. P. 315). Let's show it as it is known, in romantic categories, and other I.P. Borisov (sheet dated 22nd quarter of 1849) about his behavior as a catastrophe of a romantic - about “the boasting of idealism to a vulgar life” (Fet A.A. Creations: U 2 vol. T. 2. P. 193). Or such ultra-romantic remarks: “People don’t need my literature, but they don’t need me bad ones” (sheet to M.M. Strakhov, leaf fall 1877 (Ibid. P. 316); “we don’t worry much about the greatness, singing, etc. s thousand people who do not understand the truth, it is impossible to put together one knower"; "It would have been imaginative, as if most knew and understood my ideas" (sheet by V.I. Stein, dated 12 June 1887. - Russian Bibliophile. 19 16. No. 4. C .).

I.M. Sukhikh about this assertion respects “In theoretical concepts and bare-programmed texts, Fet shares a romantic expression about an artist obsessed with subtleties, far removed from practical life, to serve the God of beauty and the permeated spirit of music” (Sukhikh I. M. Shenshin vertshi S. 51 ). All these motives, as confirmed by the predecessor, permeate Fet’s very poetic creativity.

Fet’s romantic statements have a philosophical basis: “The philosophical root of Fet’s grain is deep. “It is not to you that I sing a song of love, / But to your unseen beauty” (Here and further the verse “Only your sharp smile..." (1873 (?)) is quoted - A. R.). Two lines are rooted in the age-old history of philosophical idealism, Platonic in a broad sense, a tradition that has deeply penetrated Christian philosophy. The part of the inevitable reality and the past phenomenon is consistent with Fet’s poetry. They share - beauty as such are manifestations, manifestations - beauty and beauty, beauty and mystery: “Beauty and song are not required.” Otherwise, the eternal fire in the chests of life and death itself is reinforced” (Bocharov S.G. Plots of Russian literature. P. 330-331).

Until the guidance of S.G. Bocharov’s quotes can be added in rows: “It is impossible in front of the eternal beauty / Not to sing, not to glorify, not to pray” (“I came, and I’m done with everything...”, 1866) and drawn from a sheet of paper to Count L.M. Tolstoy died on the 19th of June 1862: “Oh, Lev Mikolayovich, try, as much as possible, to open the door to the world of mysticism. There is paradise, and even there the possibilities of speech are ideals” (Fet A.A. Tvori: U 2 vol. T. 2. P. 218). On the other hand, Fet has a motif of ephemeral beauty, - let’s remember, it has an earthly manifestation: “This leaf, which has withered and fallen, / Will burn with golden eternity near the song” (“Poetam”, 1890) – the poet’s word conveys I always talk; Let’s also show a poem about the flamboyance of beauty - “Metelik” (1884): “In one glimmering outline / I’m so sweet”; “Chi nadovgo, without meti, without zusilla / I want Dihati.” The same gloom “... awkwardly and doubtlessly / With the fire of piercing gold, / With the setting of the sunny mittevo / We dance with bright sparkles” (“Today is the day of your enlightenment...”, 1887). But it is not only the snowstorm that briefly appeared in the world that is ephemeral, and the gloom that has fallen, but the stars that are associated with eternity: “Why have all the stars become / Unbreakable blackberries / And, dear study one on one, / Don’t fly alone to one? // Spark to spark is ferocious / Carry through the inodes, / Already know, her life is short: / That is a falling star” (“Stars”, 1842). “Povitryana” (ephemeral), crumbling and respectable until the hour, and not eternity, is the woman’s beauty: “How important it is to repeat the living beauty / Your airy outlines; / How strong is it in me to gather them together / Among the uninterrupted Kolivan” (1888).

At the list to V.S. To Solovyov, 26 June 1889, Fet expressed thoughts about spirituality and beauty, far from their Platonic understanding: “I understand the word of the spiritual in the meaning not of the intelligible, but of an urgent, proven character, and, therefore, visible to its at the same time, there will be beauty in physicality, which changes its appearance with a change in character. The redness of the drunken Silenus is not similar to Doris in Hercules. Take this body away from spirituality, and you won’t christen it with anything” (Fet A.A. “There was a miraculous grassy day in Moscow...”: Vershy. Sing. Sides of prose and conjectures. Leaves / Arranged. D. Aslanova; Introductory article A E. Tarkhova; Note from G. D. Aslanova. M., 1989 (series "Moscow Parnassus"). P. 364). Obviously, it is impossible to rigidly tie the fetish wisdom of beauty with the songful philosophical tradition. Yak having designated V.S. Fedina, “Feta’s tops really provide fertile material for baked super-chickens from highly nutritious foods, and with a selection of quotes it’s easy to capture the thoughts of the past.” The reason is “in the richness and richness of his nature” (Fedina V.S. A.A. Fet (Shenshin): Materials before characterization. Pg., 1915. P. 60).

V.Ya. wrote long ago about the Platonic idealistic basis of Fetish poetry. Bryusov: “Fet’s thought separated the world of manifestations and the light of essences. About the first, we said that it is “only a dream, only a short-lived dream,” what is “mite ice,” under what is a “bottomless ocean” of death. Another highlight is the image of “sunshine to the world.” Those human lives that are locked into a “Swedish dream” and do not look for anything else, calling it “the market”, “the bazaar” of Ale Fet, not respecting us, hopelessly closed in the world, in this “blatant relationship”, I to having said once. I believe that for us it is to go free, to enlighten... Such enlightenment is found in ecstasy, sensitive intuition, in nature. It’s okay to talk about Miti, if “it seems to be seeing wonderfully”” (Bryusov V.Ya. Far and Close. M., 1912. P. 20-21).

At the top, this very interpretation of Fetish creativity was determined by another symbolist singer, V.I. Ivanov:

Hidden Night, Tyutchev Nizhny,
The spirit is creative and rebellious,
It is so wonderfully light;
I gasp Fet
Before hopeless eternity,
In the wilderness there was a white convoy,
Under the sun there is a bright color;
І spirit seer, boundless
Lyubov's laborious one sings -
Volodymyr Solovyov; There are three of them,
The earthly has seen the light of the unearthly
And they gave us the road.
How they are today
Can’t you tell me from the saints?

Let us also show the infusion of Fetish poetry into the creativity of symbolists - neo-romantics: “In Russian literature of the 1880s. One can clearly see layers that are objectively close to the “new mysticism” of the new decade and which attracted the respect of symbolists, which can be combined with the concept of “pre-symbolism”. This is the lyricism of Fet’s school” (Mints Z.G. Vibrations: In 3 books. Poetics of Russian symbolism: Bloc and Russian symbolism. St. Petersburg, 2004. P. 163); por. respect for the impressionism of the “Fet school”, which stands alongside the currents of “decadence” (Ibid. p. 187). Back in 1914 V.M. Zhirmunsky followed the offensive line: “German romantics – V.A. Zhukovsky - F.I. Tyutchev - Fet - the philosopher V.S. sings. Solovyov - symbolism" (Zhirmunsky V.M. German romanticism and everyday mysticism. P. 205, direct. 61; p.v.: Bukhshtab B.Ya. Fet // History of Russian literature. M.; L., 1956. T. 8 .Literature of the sixties. Part 2. P. 260).

There is a lot to be said about the world of philosophy of Fet’s poetry and about Fet’s closeness to the Platonic courtyard, so significant for romantics, there is a lot to be said for the position of the successor, and how to interpret Fet’s and the poetic concepts of “eternity” and “eternal beauty” as a kind of philosophical categories that encourage The author’s light-view, which seems to have unintelligible images inspired by tradition. However, the similarity of the poetics of V.A. Zhukovsky and Fet, the zagalom can be used according to the assertions of D.D. Blagogo: “In the ideal world of Fet’s lyrics, in contrast to Zhukovsky, there is nothing mystical. The primary object of mysticism, Fet values, is beauty. But this beauty is not a “story” from some inconsolable world, it is not a subjective embellishment, an aesthetic poeticization of action - it is powerful by itself” (Thankfully D.D. Light is like beauty (About “Evening Fires” by A. Fet).

As for the idea about the prevalence of tragedy and romantic discord in Fetish poetry, it is clearly true - although with even more significant caveats - especially for the lyrics of the 1940-1850s. “In another period of creativity (1870s), the image of the lyrical hero changes. There is a strong dominant in his mood, a disharmony between ideal beauty and earthly “crazy” light is acutely felt” (Buslakova T.P. Russian literature of the 19th century: Basic minimum for applicants Ientiv. M., 2005. P. 239).

The situation was more romantic – the dislike of readers of Fet’s poetry, the strong criticism of the importance of his conservative views. N.M. Strakhov wrote to Count L.M. Tolstoy: Fet “glaring at me the other day, which feels completely self-sufficient with his thoughts about the incompatibility of the whole course of our life” (sheet 1879 - Listuvannya of L.N. Tolstoy with M.M. Strakhov. 1870-1894. View of Tolstoy museum. St. Petersburg, 1914. P. 200).

Let’s face it, it’s not at all necessary to joke about signs of romanticism without the sphere of ideas and/or motives. Fet’s poetic style, with its emphasis on metaphorical and semi-metaphorical overtones of meaning and the melodious sound of the word, argues with the style of such an author, who traditionally embraces romantics, such as V.A. Zhukovsky.

I will stay. The very concept of “romanticism” and the statements about the “standards” of the romantic world are mind-boggling. According to A. Lovejoy, romanticism extends to “unsafe inconsistencies and, most often, spillovers of partial meanings (so that people would like to resurrect them from dictionaries, philosophers, and historians),” as “ “signified complexes, and not anything whole” (Lovejoy A The Great Lanzug Buttya: History of an Idea / Translated from English by V. Sofronova-Antomoni, M., 2001, p. 11). So, that same zavichiy is put before the romantics V.A. Zhukovsky may be intelligent and a sentimentalist (Veselivsky A.M. V.A. Zhukovsky. Poetry feels like a “heartbreak” / Naukova ed., Preface, translations by A.E. Makhova. M., 1999. P. 1999) , and as a pre-romantic (Vatsuro V.E. Lyrics of Pushkin’s Doby: “Elegiac School”. St. Petersburg, 1994). And yet, if one cannot imagine the popular term “romanticism”, it is unlikely that one can really grasp the romantic intentions and the nature of the poetics of the author of “Evening Fires”.

Fet suffered from asthma. - A.R.

Biography ("Literary encyclopedia." about 11 t.; M.: 1929-1939)

Fet (Shenshin) Opanas Opanasovich (1820-1892) – famous Russian singer. Syn of a possible noble landowner. Childhood of the Oryol lips. At the Moscow University, they became close to the magazine “Moskvityanin”, where their leaders were friends. The press performed in the collection "Lyrical Pantheon" (1840). As “illegitimate births” Fet buv exemptions to the nobility, rights of inheritance and father’s name; From youth to old age, the renewal of rights and kindness is painstakingly sought in various ways. From 1845 to 1858 he served in the army. The 50's rock. getting closer to the magazine “Suchasnik” (with Turgenev, Botkin, L. Tolstim and others). In 1850 “Virshi” came out. ed. Grigor'eva, 1856 ed. Turgenev). Since 1860, Fet fell into the garden "household". The bettor of the mood before the reforms of 1861 and before the revolutionary-democratic era, Fet rose with his liberal friends in the 60-70s. Castle Yak sings. At the same time, acting as a reactionary publicist, Katkov’s “Russian Bulletin” (in the pages of “Z Selo”) denounced the new order and attacked the “nihilists.” During the reaction period of the 80s. Fet turned to artistic creativity (SB “Evening Fires”, 1883, 1885, 1888, 1891, translations).

In the 40s and 50s rocks. Fet was the greatest representative of the galaxy of poets (Maikov, Shcherbina and in), who performed under the tone of “pure mysticism.” As a singer of “eternal values”, “absolute beauty”, Fet was promoted by the aesthetic and partly worded Janophile criticism of the 50s. (Druzhinin, Botkin, Grigor'ev and others). For revolutionary-democratic and radical criticism of the 60s. Fet's verses were the eyes of poetic marslav, idealess chatter about love and nature (Dobrolyubov, Pisarev). This criticism denounced Fet as a spivak of kripatstva, who for kripatstva “more than one Christmas painting” (Minaev in “Russian Word”, Shchedrin in “Suchasnik”). Turgenev contrasted Feta, the great poet, landowner and publicist Shenshin, “an inveterate and disenfranchised knight, conservative and lieutenant of the old Garth.”

In the 40s and 50s rocks. Fet (like Maykov, Shcherbina and others) acted as a proponent of that new classicism that emerged in the poetry of Batyushkov, Delvig and many other poets of the Pushkin family. The most impressive works for Fet during this period were his anthological works. This new classicism of young Fet’s poetry fails to capture images of absolute beauty, eternal values, in order to withstand the “low”, ever-vain ruin of the butt in its meticulousness. The poetry of young Fet is characterized by: a “pagan” cult of beautiful “flesh”, objectivity, a glimpse of idealized, sensitive forms, specificity, clarity, detail of images, their clarity, clarity, plasticity; The main theme of Kohannya is the emergence of a sensitive character. Fet's poetry rests on the aesthetics of beauty - on the principles of harmony, peace, and equality. It creates mental health, reducing any kind of conflict, struggle, sudden effects; The mind does not fight against thoughts, the “naive” of life is not obscured by moral spontaneity. The joy of life gives rise to the appearance of a peaceful Horatian epicuracy. The treasure of Fet's poetry is the revelation of beauty in nature and people; Its humor is not powerful, it is presented, more pathetic, it hovers in the sphere of the refined, graceful. Closedness of form is often found in Feta viraz in the ring composition of the top, architectonics, completeness - in the under-arm strophicity (with extreme expansion of the stanzas), especially lightness and, at the same time, stringency - in the adjusted drawer baths of long and short rows. Beauty for Fet has a connection between the ideal and the given, the “spiritual” and the “physical”; The harmonious union of two lights is expressed in Fet’s aesthetic pantheism. Fet gradually strives to reveal the “absolute” in the individual, to achieve “beautiful memory” until eternity. Enlightened and peaceful lyrical insight is the main focus of Fet’s poetry. The primary objects of observation for the young Fet are the landscape, ancient and Central Russian, sometimes with mythological figures, groups from the ancient and mythological world, create sculptures too. bud. The great role of Fet’s poetry is played by the sound-gazer, the cult of euphony, and eurhythmy. Due to the richness of rhythm, the range of metrical and stanzaic patterns, Feta occupies one of the first places among Russian poetry.

Fet's creativity marks the completion and unfolding of the noble-garden poetry of the new classicism. Already at the top of the young Fet other tendencies are growing. From the clear plasticity of Fet to a gentle watercolor, the “flesh” of the world studied by Fet becomes ephemeral; His poetry is now directed not so much to an objectively given external subject, but rather to fleeting, inconceivable perceptions and evocations of intangible emotions that fade away; it becomes a poetry of intimate spiritual states, the beginnings and appearances of feelings; won

“It rises to the top and secures it with rapt
And a dark madder soul, and an unclear smell of herbs,”

becomes the poetry of the unknown, creates dreams, dreams, fantasies; The motive of the incredibleness of the experience sounds effortlessly. Poetry consolidates the mitta's flow of living feeling; The uniformity of the experience is destroyed, and there appears a consolidation of dimensions, even harmonious reconciliation (“suffering bliss,” “joy of suffering,” etc.). The verses reveal the nature of improvisation. Syntax, in response to the development of experience, often follows grammatical and logical norms, and primarily emphasizes the special cohesiveness, melodiousness, and musicality of “three-dimensional tunes.” There is less and less saturation with material images, which become less fulcrum for the awakening of emotions. With whom the mental states open up, and if not, do not process; For the first time in Russian poetry Fet introduced meaningless verses (“Shopit”, “Storm” and others). Characteristic for this line of poetry Feta motives are the enemy of nature in all the range of senses (sight, hearing, smell, etc.), the yearning of love that arises, the yet unexplained love. This stream of Fet's poetry, continuing the line of Zhukovsky and further his views of Maykov, Shcherbinya, makes him a predecessor of impressionism in Russian poetry (giving a particularly strong influx to Balmont). Fet's singing world appears to be resonant with Turgenev.

Until the end of Feta’s life, his lyricism became more philosophical, and more metaphysical idealism. Nowadays Fet’s motif of the unity of the human and light spirit, the anger of the “I” with the light, the presence of “everything” in “one”, hidden in the individual, is constantly resounding. Lyubov was transformed into a priestly servant of eternal femininity, absolute beauty, which unites and reconciles two worlds. Nature stands like a cosmic landscape. The real activity, the lively light of the revolution and activity, of the historical-historical life with its warlike processes, the poet, the “noisy bazaar”, stands like a “shvidkolinny dream”, like a ghost, like Schopenhauer’s “light-given”. It is not a dream of individual knowledge, not a subjective phantasmagoria, but a “universal dream”, “one and the same dream of life, for whom everything is weary” (epigrapher of F. z Schopenhauer). All reality and value are transferred into the light of eternal ideas, immutable metaphysical essences. One of the main Feta is the theme of the breakthrough into another world, Polota, the image of krill. The militancy that is now emerging is the moment of intuitive understanding by the poet-prophet of the light of essences. Fet's poetry shows a hint of pessimism about earthly life; What the world will now accept is not a profound rejoicing in the Yuletide triumph of the “earthly,” “corporeal” life of the eternally youthful world, but a philosophical reconciliation with the end, with death, as well as with turnings to eternity. In addition, as the soil was licked from the sadistic-patriarchal world, from Fet’s poetry it was licked materially, concretely, realistically, and the center of gravity was transferred to the “ideal”, “spiritual”. From the aesthetics of the beautiful, Fet comes to the aesthetics of the presented, from epicuracy to platonism, from “naive realism” through sensualism and psychology – to spiritualism. In this remaining phase of his creativity, Fet went to the threshold of symbolism, drawing on the poetry of V. Solovyov, and then - Blok, stylistically - on Sologub.

Fet’s creativity is connected with the gardenish-noble world, which is dominated by narrow outlook, the capacity for the ultimate evil of the hour, but in no way there are no direct reactionary tendencies that power Fet the publicist (as one does not respect Just a few vertices). Fet's living lyricism is full of its richness, freshness, and sharply contrasts with the piecemeal, Western lyricism of the impressionists and symbolists. Most beautifully, Fet’s sabbath is a lyricism of love and nature, subtle and noble human feelings, instilled in Vinyatkov’s richness and musical poetic form.

Biography

A.A. Fet was born on the 23rd leaf fall at the tip of Novosilki, Mtsensk district, Oryol province, which belonged to the assigned officer O.M. Shenshin. In 1835, the Oryol Spiritual Consistory recognized his beloved son and abolished the rights of a hereditary nobleman. The effort to change the nickname Shenshin and all rights became an important way of life for Fet for many years.

In 1835-1837 pp. it begins at the German boarding school Krümer near Livonia, near the town of Verro (now Viru, Estonia); The main subjects in the boarding school: old languages ​​and mathematics. In 1838, having entered the Moscow boarding school of Professor M.P. Wait, and at the same time, the same fate has been accepted to the Moscow University in the verbal department of the philological faculty. Student rocks Fet lived in the cabin of his friend and classmate A. Grigor'ev, and became a singer for many years.

At 1840r. The first collection of works “Lyrical Pantheon” was published under the initials “A.F.”, whose works began to be published in the magazine “Moskvityanin”, and since 1842 he has become a full-time author for the magazine “Vitchinian Notes”.

After graduating from university in 1845, hoping to become a noble, Fet plans to join the army and serve as a non-commissioned officer in a cavalry regiment stationed in the remote areas of the Kherson province. Poorly, for the sake of the literary middle, my novel with Maria Lazic will end tragically. During this period the collection “Virshi A. Fet” (1850) was published.

1853r. - a sharp turn at the poet’s end: I was able to transfer to the Guards, the Life Ulan Regiment, stationed near St. Petersburg. Vin loses the ability to be in the capital, revitalizes literary activity, and regularly begins to collaborate with “Suchasnik”, “Vitchinian Notes”, “Russian Newsletter”, “Library for Reading”. In 1856, a collection of Fet’s masters, prepared by Turgenev, was published. In whose family, Fet takes river access, which is often carried out behind the cordon (in Germany, France, Italy) and after which it leaves the border. Vin becomes friends with M.P. Botkina and settles in Moscow.

In 1860, having taken 200 acres of land in the Mtsensk district, it moved to the village of Stepanivka and became a rural dominion. After three years, a two-volume collection of his masterpieces will be published, and practically, after a length of 10 years, Fet writes even less, takes up philosophy.

In 1873 A further decree of Alexander II was issued to the Senate, accordingly Fet revoked the right to join “the father of yogo Shenshin with all the rights and titles to be born before the family.” Fet sells Stepanivka and buys the great Vorobiovka from the Kursk province.

From the beginning of the 70s to the beginning of the 80s, he was engaged in translations (Goethe's Faust, Schopenhauer's The World as Manifestation, etc.). The book that Fet worked on during his student years is the final translation of this Horace (1883). And in 1886, for his translations of ancient classics, Fet was awarded the title of corresponding member of the Academy of Sciences.

In the period 1885-1891. Several editions of the book “Evening Fires”, two volumes of “My Conjectures” were published, and the book “Early Rocks of My Life” was published after the death of the author in 1893.

Biography (Encyclopedia "Cyril and Methodius")

The history of this people is not entirely simple. My father, Opanas Neofitovich Shenshin, is a captain at the military service, having belonged to an old noble family and was a wealthy landowner. While on holiday in Nimechchina, he became friends with Charlotte Fet, bringing his daughter and her husband back to Russia. Two months later, Charlotte gave birth to a boy named Opanas and who took the nickname Shenshin. About ten years later, the spiritual power of Orel revealed that the child was born before the marriage of the father and the fear of the abolition of the right to bear the nickname of the father, and the abolition of the noble title. This idea deeply wounded the soul of the child, and she spent her entire life experiencing the ambiguity of her formation.

Having formed a special place with her, having taken away the share of Opanas Fet, she was able to serve herself with noble rights, which the church had spared him. We first graduated from the university, first started at the law school, and then at the philological faculty. At this hour, in 1840, we were born and having seen our first works with the help of a book, which, however, were not without much success.

Having received enlightenment, Opanas Opanasovich became a military man, with the rank of officer giving him the opportunity to obtain a title of nobility. Ale in 1858 A. Fet was shocked to leave the exhibition. Having not won the rights of the nobility, the nobility was given the rank of colonel, and then the rank of headquarters. Of course, military service was not a free effort for Fet: this was the fate of his poetic activity. In 1850, A. Fet’s “Virshi” was published in Moscow, which was published by readers from buried treasures. In St. Petersburg we got to know Nekrasov, Panaev, Druzhinin, Goncharov, Movny. Later he collaborated with Lev Tolstoy. This friendship was burdensome and necessary for both.

At the end of his military service, Opanas Fet survived a tragic death, which affected all his creativity. There was love before Maria Lazic, the mistress of my poetry, a girl of great talent and illumination. She also kissed him, but they both were poor, and A. Fet for this reason did not dare to share his share with the bastard girl. Never before, Maria Lazich died, she burned up. Until his death he sings in memory of his unlucky life, and among the rich at the top one senses his unforgettable desperation.

In 1856, a new book of poets was published.

Having completed the restoration, A. Fet bought land from the Mtsensk district and decided to dedicate himself to the rural dominion. Nezabar Fet became friends with M.P. Botkin. Fet, having lived near the village of Stepanivtsi for seventeen years, was desperately hoping for Moscow. Here I found his newest decree about those who were found behind him, the nickname Shenshin was confirmed, with all the rights associated with it.

In 1877, Opanas Opanasovich bought the village of Vorobiovka from the Kursk province, where he spent the surplus of his living, or went to Moscow for the winter. The fates, in contrast to the fates lived by Stepanivtsya, are characteristic of his turn to literature. He sings all his accomplishments under the nickname Fet: under these names he gained poetic fame, and it was dear to him. During this period, A. Fet saw a collection of his works under the title “Evening Fires” - there were four editions of everything.

In 1889, in Russia, in Moscow, the fifty-fold literary activity of A. A. Fet was clearly recognized, and in 1892, the singer died, not having lived two days before 72 years. Funerals from the village of Kleymenovo - the ancestral mark of the Shenshins, 25 versts from Orel.

Biography (en.wikipedia.org)

Father - Johann-Peter-Karl-Wilhelm Feth (1789-1825), assessor of the lord's court of Darmstadt. Mother - Charlotte Elizabeth Becker (1798-1844). Sister - Caroline-Charlotte-Georgina-Ernestina Fet (1819-?). vicchim - Shenshin Afanasy Neofitovich (1775-1855). Mother's grandfather - Karl Wilhelm Becker (1766-1826), secret soldier, military commissar. My father's grandfather is Johann Fet, my father's grandmother is Milens Sibilla. Maternal grandmother - Gagern Henrietta.

Druzhina - Botkina Maria Petrivna (1828-1894), from the Botkin family (elder brother, V. P. Botkin, famous literary and art critic, author of one of the most important articles about the work of A. A. Fet, S. .P. Botkin - Doctor, after whom the doctor's office in Moscow is named, D. P. Botkin - collector of paintings), the lover had no children. Nephew - E. S. Botkin, executions in 1918 in Ekaterinburz from the birthplace of Mikoli II.

On May 18, 1818, the friendship of the 20-river Charlotte-Elizabeth Becker and Johann-Peter-Wilhelm Feth was formed in Darmstadt. On the 18-19th spring of 1820, the 45-river Opanas Shenshin and for 7 months another child, Charlotte-Elizabeth Becker, secretly left for Russia. In November 1820, in the village of Novosilki, Charlotte-Elizabeth Becker gave birth to a son, Athanasius.

Nearly 30 leaves fall of the same fate in the village of Novosilki by the sons of Charlotte-Elizabeth Becker of baptisms according to the Orthodox rite, names Opanas, in the metric book of records by the son Afanasy Neofitovich Shenshin. In 1821-1823, Charlotte-Elizabeth gave birth to a daughter, Afanasy Shenshin, Ganna, and son Vasil, who died in childhood. On June 4, 1822, Opanas Shenshin married Becker, and before the wedding she converted to Orthodoxy and began to be called Elizaveta Petrivna Fet.

On November 7, 1823, Charlotte-Elizabeth wrote a letter in Darmstadt to her brother Ernst Becker, in which she scolded the great man Johann-Peter-Karl-Wilhelm Feth, who licked her and having adopted son Athanasius, as will be paid for.

In 1824, Johann Feth suddenly became friends with his daughter Caroline's husband. In 1824, in Mtsensk, Charlotte-Elizabeth gave birth to a daughter from Afanasy Shenshin - Lyuba (1824-?). On September 25, 1825, Charlotte-Elizabeth Becker wrote a letter to her brother Ernst, in which she spoke about how kindly Shenshin worshiped about her son Athanasius, saying: “... You can’t mark anyone, because it’s not your child’s blood...”. In the birch of 1826, she again wrote to her brothers, who died a month ago, without depriving her and her child of pennies: “... To take revenge on me and Shenshin, having forgotten the powerful child, preventing his fall and so lava on the new beach... Try it, As far as possible, ask our dear father to help give this child her rights and honor; It’s hard to give up the nickname...” Then, at the next page: “... It’s even less surprising that Fet forgot the commandment and did not recognize his son. People can have mercy, if they ignore the laws of nature, the mercy will be even greater. Apparently, before his death he was very ill...”, Kohana sings, the poem “Talisman”, verses “Old Leaves”, “You have suffered, I still suffer...”, “No, without changing. Until old age, deep ... » and many other achievements.
1853 - Fet was transferred to the Guards regiment, stationed near St. Petersburg. He often sings in St. Petersburg, then the capital. Zustrich Feta with Turgenev, Nekrasov, Goncharov and others. Closeness to the editors of the magazine “Suchasnik”.
1854 – service in the Baltic Port, described in his memoirs “My Words”.
1856 – third collection of Fet. Editor – I. S. Turgenev.
1857 - Fet's girlfriend to M. P. Botkin, sister of the critic V. P. Botkin.
1858 - sings to leave the rank of the Guards headquarters captain, who settles in Moscow.
1859 – launch of the magazine “Suchasnyk”.
1863 - publication of two-volume collections of Fet's works.
1867 – Fet appeals to the world judge for 11 years.
1873 - the nobility was converted to the nickname Shenshin. He creates literary works, sings translations and even signs them with the nickname Fet.
1883-1891 – publication of four issues of the collection “Evening Fires”.
November 21, 1892 - Fet's death near Moscow. After these deeds, his death in the face of a heart attack was overcome by a taste of self-destruction. Pokhovany near the village of Kleymenov, the ancestral sign of the Shenshins.

Creativity

Being one of the most subtle lyricists, Fet was at odds with those who did not respect him at the same time being extremely businesslike, obsessive and a successful landowner. Here is a palindrome phrase, written by Fet and which went back to A. Tolstoy’s “Come to Pinocchio” - “And the Trojan fell into the paw of Azor.”

Poetry

Fet’s creativity is characterized by his passion for everyday activity in the “light of the kingdom of the world.” The main theme of his poetry is love and nature. Its vertices are inspired by the subtlety of the poetic mood and great artistic mastery.

Fet is a representative of the so-called pure poetry. In connection with this long stretch of life, we met with N. A. Nekrasov, a representative of social poetry.

The peculiarity of Fet-Rozmov’s poetics about the most important is interspersed with insightful tension. The most beautiful butt is the verse “Hissing, timid breath...”.

Whispering, timid breath,
Nightingale trills
Sriblo and Kolivannya
Sleepy strumka

Night light, night shadows
Shadows without end,
A number of charming changes
Miles of individuals,

The dim hmarakhs have purple Troyandi,
Vidblisk burshtin,
And kisses, and tears,
And dawn, dawn!..

In whose top there is no thirsty word, the static description of the space conveys the spirit of the hour.

It is important to focus on the shortest poetic works of the lyrical genre. First published in the magazine “Moskvityanin” (1850), then revised and in a residual version, six years later, in the collection “Virsha A. A. Fet” (edited by I. S. Turgenev).

Written by a different-footed trochee with a woman and a man with a crossed rhyme (in a size that is rare for the Russian classical tradition). At a minimum, trichy became the object of literary analysis.

On the top of Fet there is written the romance “Don’t wake me up at dawn.”

Another famous Fet verse:
I'll say hello to you
News that the sun has risen,
What's that hot light?
There was a shuddering sound on the sheets.

Translate

offensive parts of Goethe's Faust (1882-83),
There are very few Latin poets:
Horace, all the works of the Fetish translation were published in 1883.
satire of Juvenal (1885),
verses of Catullus (1886),
Elegies of Tibullus (1886),
XV books “Re-creation” by Ovid (1887),
“Aeneida” by Virgil (1888),
Elegies Propertia (1888),
satire Persia (1889)
epigrams to Martial (1891). Fet had plans to translate the “Critique of Pure Reason”, but M. Strakhov encouraged Fet to translate this book by Kant, pointing out that the Russian translation of this book was already in progress. After this, Fet went crazy about Schopenhauer’s translation. He translated two works by Schopenhauer: “Light, as will and manifestation” (1880, 2nd form. 1888) and “About the Fourth Root of the Law of Sufficient Substance” (1886).

Vidannya

* Fet A. A. Vershi and eat / Intro. art., comp. and directly. B. Ya. Bukhshtab. - L.: Glad. writer, 1986. – 752 p. (Library of the poet. Great series. Third edition.)
* Fet A. A. Collection of works and sheets in 20 volumes. - Kursk: View of the Kursk State. un-tu, 2003-… (vidannya trivaє).

Notes

1. 1 2 Blok G. P. Chronicle of Fet’s life // A. A. Fet: The problem of learning life and creativity. – Kursk, 1984. – P. 279.
2. In “The Early Rocks of My Life,” Fet calls her Olena Larina. The biographer of the poet G. P. Blok established these names in the 1920s.
3. A. F. Losev in his book “Volodimir Solovyov” (Young Guard, 2009. - P. 75) writes about Fet’s self-destruction, relying on the work of V. S. Fedin (A. A. Fet (Shenshin). characteristics. - Pg., 1915. - P. 47-53) and D. D. Blagogo (The world is like beauty // Fet A. A. Evening fires. - M., 1971. - P. 630).
4. G. D. Gulia. Life is the death of Mikhail Lermontov. - M.: Khudozhnya literatura, 1980 (we rely on the words of M. D. Tsertelev).
5. 1 2 O. N. Greenbaum HARMONY TO RHYTHM IN VERSHIA A. A. FETA “WHISPERING, ROBOCHE DIHANNA...” (Mova i movna diyalnist. - St. Petersburg, 2001. - Vol. 4. Part 1. - P. 109 -116)

Literature

* Good D. D. The world is like beauty (About “Evening Fires” by A. Fet) // Fet A. A. Evening Fires. – M., 1981 (series “Literary Memoirs”).
* Bukhshtab B. Ya. A. A. Fet. Draw life and creativity. - view. 2-ge - L., 1990.
* Lotman L. M. A. A. Fet // History of Russian literature. In 4 volumes. – Volume 3. – L.: Nauka, 1980.
* Eikhenbaum B. M. Fet // Eikhenbaum B. M. About poetry. - L., 1969.

Born on the 5th birthday of 1820 in the Novosilki garden in the Mtsensk district of the Oryol province, on the 30th of leaf fall baptisms according to the Orthodox rite and names Opanas.

Father - Oryol landowner, deputy captain Opanas Neofitovich Shenshin. Mother - Charlotte Elizabeth Becker.

In 1834, the spiritual consistory named Athanasius as the legitimate son of Shenshin and named him in the father of the first person of Charlotte-Elizabeth - Johann-Peter-Karl-Wilhelm Fet. Together with the culprit from the Shenshin family, Athanasius, wasted the decline of the nobility.

In 1835-1837 Opanas began at the German private boarding house of Krümmer. At this time we began to write poems, showing interest in classical philology. In 1838 he entered the Moscow University, first at the Faculty of Law, then at the Historical-Philological (Literary) Department of the Faculty of Philosophy. Started 6 years: born 1838-1844

Towards the end of the day, we started hanging out in front of magazines. In 1840, a collection of Fet’s works “Lyrical Pantheon” was published with the participation of Apollon Grigoriev, Fet’s friend at the university. In 1842 there were publications in the magazines “Moskvityanin” and “Vitchiznyan zapiski”.

Having graduated from the university, Opanas Fet joined the cuirassier regiment in 1845 as a non-commissioned officer (the headquarters of which was located in the New George Kherson province), in which on September 14, 1846. zrobleny at the cornet, and 6 breasts 1851 r. - to headquarters-rotmi.

In 1850, a friend of Fet’s collection appeared, which received positive comments from critics in the magazines “Suchasnik”, “Moskvityanin” and “Vitchinian Notes”.

Recruitment later (1853) to the Ulan Yogo Majesty Life Guards regiment, Fet was transferred to this quartering near St. Petersburg regiment with the rank of lieutenant. He often sings, having visited St. Petersburg, where Fet’s friends became friends with Turgenev, Nekrasov, Goncharov and others, as well as his close relationship with the editors of the magazine “Suchasnik”.

During the hour of the Crimean War, we were at the Baltic Port at a military warehouse that was guarding the Estonian shores.

In 1856, Fet's third collection was published, edited by I. S. Turgeneva.

In 1857, Fet became friends with Maria Petrivna Botkina, sister of the critic V.P. Botkin.

In 1858, a family of seniors served in the rank of Guards headquarters and settled in Moscow.

In 1860, I planted Fet’s squad, having bought Stepanivka in the Mtsensk district of the Oryol province - 200 acres of land, a wooden gentleman’s single-surface booth in this room and kitchen. And over the past 17 years, I have been engaged in its development - growing grain crops (in the first place - livestock), launching a dairy plant project, trimming cows and sheep, poultry, breeding cattle and fish in a newly minted farm. After a few years of government, the current net income from Stepanivka became 5-6 thousand. rubles per river The proceeds from the mat were the main income of the Feta family.

In 1863, a two-volume collection of Fet’s works was published.

More than once I get confused alone:
How should I write on the exact right?
I can cry Shenshin,
And Fet I am only in the quiet midst that they sleep.

1867 fate Afanasy Fet appeals to the world judge on 11 rocks.

In 1873, Afanasy Fet was given the nobility and the nickname Shenshin. He creates literary works, sings translations and even signs them with the nickname Fet.

In 1877, Fet sold Stepanivka and bought an old house Vorobiovka in the Kursk province - a gentleman's little house on the birch of the Tuskar river, and a century-old park about the 18th dessiatines, behind the river - a village with rills, 270 dessiatines. sous three versts from the booth.

In 1883-1891 there was the publication of four issues of the collection “Evening Fires”.

In 1890, when Fet was born, he saw the book “My Divinations”, which he describes himself as a landowner. And after the death of the author, in 1893, another book of conjectures was published - “Early Rocks of My Life.”

Fet died on November 21, 1892, when the leaves fell near Moscow. After these deeds, his death in the face of a heart attack was overcome by a taste of self-destruction. Pokhovany near the village of Kleymenov, the ancestral sign of the Shenshins.

homeland

Father - Johann-Peter-Karl-Wilhelm Feth(Johann Peter Karl Wilhelm Föth) (1789-1826), assessor of the Metropolitan Court of Darmstadt, son of Johann Feth and Sibilly Milens. After the first squad deprived him of him, in 1824 he became friends with his daughter Caroline’s lover with another lover. Died in the cruel fate of 1826. On the 7th leaf fall in 1823, Charlotte-Elizabeth wrote a letter in Darmstadt to her brother Ernst Becker, in which she scolded the great man Johann Peter Karl Wilhelm Feth, who licked her and having adopted son Athanasius, as the Borg will be united. On September 25, 1825, Charlotte-Elizabeth Becker wrote a letter to her brother Ernst about how kindly Shenshin swore about her son Athanasius: “no one can remember that this is not the blood of your child.” In the birch of 1826, she again wrote to her brothers, who had died a month earlier, without depriving her and her child of pennies: “in order to take revenge on me and Shenshin, having forgotten the powerful child, by preventing his fall and the raid on new flame... Try it if it’s possible , ask our dear father to help him give this child his right and honor; It’s hard to give up the nickname...” Then, at the next page: “... It’s even less surprising that Fet forgot the commandment and did not recognize his son. People can have mercy, if they ignore the laws of nature, the mercy will be even greater. Apparently, before his death he was very ill...”

Mati - Elizaveta Petrivna Shenshina, born Charlotte Elizabeth ( Charlotte Karlivna) Becker (1798-1844), daughter of the Darmstadt Ober-Kriegssar Karl-Wilhelm Becker (1766-1826) and one of Henriet Gagern’s friends. On May 18, 1818, the friendship of the 20-river Charlotte-Elizabeth Becker and Johann-Peter-Karl-Wilhelm Feth was formed in Darmstadt. In 1820, the 45-year-old Russian landowner, descendant nobleman Afanasy Neofitovich Shenshin, arrived in Darmstadt on the water, and entered Fetov’s cabin. They had an affair between him and Charlotte-Elizabeth, not caring that the young woman was expecting another child. On June 18, 1820, Afanasy Neofitovich Shenshin and Charlotte-Elizabeth Becker secretly left for Russia. 23 leaf fall (5th breast) 1820 in the village of Novosilki, Mtsensk district, Oryol province, Charlotte-Elizabeth Becker gave birth to sons, 30 leaf fall, baptisms according to the Orthodox rite and names Opanas. The metric book has records like the son of Afanasy Neofitovich Shenshin. However, the friendship ended only on the 4th spring of 1822, after Charlotte Karlivna converted to Orthodoxy and began to be called Elizaveta Petrivna Fet. On November 30, 1820, Athanasius was baptized according to the Orthodox rite and under popular records (obviously, for swag) as the “legitimate” son of Athanasius Neofitovich Shenshin and Charlotte-Elizabeth Becker. In 1834 When Opanas Shenshin was 14 years old, a “pardon” appeared in the documents, and he lost his title, nobility and Russian citizenship and became “Gesendarmstadt citizen Opanas Fet.” In 1873, he officially adopted the nickname Shenshin, and all literary works and translations continued to be signed with the nickname Fet (with an “e”).

Vitchim - Opanas Neofitovich Shenshin(1775-1854), captain of the government, wealthy Oryol landowner, Mtsensk district judge, son of Neofit Petrovich Shenshin (1750-1800s) and Ganni Ivanivna Pryanishnikova. Mtsensk district gang of nobility. At the beginning of 1820, he rejoiced in Darmstadt, where he met Charlotte Fet. In the spring of 1820, they were transported to Russia from their mothers Novosilki in the Mtsensk district of the Oryol province, where A. A. Fet was born in two months. On the 4th of June 1822 the stench ended. The whore had a few more children.

Sister - Karolina Petrivna Matveeva, born Caroline-Charlotte-Georgina-Ernestina Fet (1819-1877), squad since 1844 of Oleksandr Pavlovich Matveev, whom she met in 1841 during her stay with her mother in Novosilki. A.P. Matveev was the son of the landowner Pavel Vasilyovich Matveev, the cousin of Afanasy Neofitovich Shenshin. After many rocks of a married life, he married another woman, and Karolina and her son went beyond the border, where they lived for many years, formally deprived of their love with Matveyev. Close to 1875, after the death of another friend of Matveev, she turned to man. She died in 1877, after the family transfer of the Bekkers, and was killed.

Half sister - Lyubov Opanasivna Shenshina, born Shenshin (05/25/1824-?), befriended by her distant relative Oleksandr Mikitovich Shenshin (1819-1872).

Half brother - Vasil Opanasovich Shenshin(10/21/1827-1860), Orlovsky Power, Buv Buvo by Katerina Dmitriya Mansuroi, Onukoy of the Novosilskoye Painwriter Timofiovich Sergey (1772-1853), cousin V.P. Turgenovo. They lost their daughter Olga (1858-1942), Galakhova’s wife, who, after the death of her father, lost the care of her uncle Ivan Petrovich Borisov, and after his death, Opanas Opanasovich Fet. Vaughn was not only Fet’s niece, but a distant relative of I. S. Turgenev, having drunk himself after his death with Spassky’s single spasmomyceum.

Half sister - Nadiya Opanasivna Borisova, born Shenshina (09/11/1832-1869), befriended Ivan Petrovich Borisov (1822-1871) since 1858. Their only son Petro (1858-1888) after the death of his father joined the family of A. A. Fet.

Half brother - Petro Panasovich Shenshin(1834-after 1875), breaking the fate of the Serbian spring of 1875 in order to take part as a volunteer in the Serbian-Turkish war, and soon turning back to Vorobiovka. However, having never made it to America, it will be ruined.

One-brothers and sisters - Hanna (1821-1825), Vasil (1823-before 1827), who died in childhood. Mozhlivo, there was another sister, Ganna (7.11.1830-?).

Druzhina (z 16 (28) serpnya 1857 fate) - Maria Petrivna Shenshina, born Botkin (1828-1894), from the Botkin family. These brothers were guarantors at the time of the wedding: Mikola Petrovich Botkin - for the given name, and Vasil Petrovich Botkin - for the given name; In addition, the named guarantor is Ivan Sergeyovich Turgenev.

Creativity

Being one of the most subtle lyricists, Fet was at odds with those who did not respect him at the same time being extremely businesslike, obsessive and a successful landowner.

This is a phrase written by Fet and which appeared in A. N. Tolstoy’s “Come to Pinocchio” - “And the Trojans fell into Azor’s clutches.”

Fet is a late romantic. The three main themes are nature, nature, mysticism, which is consumed by the theme of beauty.

I have come to you with greetings. The news that the sun has risen, that like a hot light has shuddered across the sheets.

Translate

• offensive parts of Goethe's Faust (1882-83),
• There are very few Latin poets:

• Horace, all the works of the Fetish translation were published in 1883,
• satire of Juvenal (1885),
• verses of Catullus (1886),
• Elegies of Tibullus (1886),
• XV books “Re-creation” by Ovid (1887),
• “Aeneida” by Virgil (1888),
• Elegies Propertia (1888),
• satire Persia (1889)
• epigrams to Martial (1891).

Fet’s plans include a new translation of the Bible in Russian, which left the Synodal translation in the unsatisfied opinion, as well as “Critique of Pure Reason”, however, M. Strakhov encouraged Fet to translate this book by Kant, stating that the Russian translation of this book is also the same sleeps. After this, Fet went crazy about Schopenhauer’s translation. He translated two works by Schopenhauer: “Light as will and manifestation” (1880, 2nd form. 1888) and “About the Fourth Root of the Law of Sufficient Substance” (1886).

Vidannya

• Fet A. A. We eat and eat / Intro. art., comp. and directly. B. Ya. Bukhshtab. - L.: Glad. writer, 1986. – 752 p. (Library of the poet. Great series. Third edition.)
• Fet A. A. A selection of works and sheets from 20 volumes. - Kursk: View of the Kursk State. un-tu, 2003-… (vidannya trivaє).

Memory

On May 25, 1997, a monument to the poet was unveiled in Orlya on Saltikova-Shchedrina Street, Budinka of Writers.

Born on the 5th of 1820 in the Oryol province. The poet's mother, Caroline Charlotte Fet, being befriended, went to Russia together with the rich landowner Shenshin. Father Fet wrote Shenshin's notes, from the legal point of view it was illegal (Charlotte Fet and Shenshin were not friends). When the deception was revealed, Fet pretended to be a rich nobleman, a Russian subject to a foreigner of dubious similarities.
In 1837, Fet moved to Moscow and was assigned the boarding house of M.P. Pogodin. After becoming a student at Moscow University. I'm craving some poetry before my senior year. In 1840, the first collection of his works was published - “Lyrical Pantheon”, in 1842-43 - Fet’s works were published in many magazines.

Feta Service

After graduating from university, Fet chose a path far from literature - entering military service. The motives became clear: the foreigner’s “brand” did not give peace. 1845 rock buv insurance to the cuirassier regiment. The distance from Moscow had negative signs on literary activity - they almost forgot about the song, they stopped making friends.
During the hour of the Crimean War, Fet was at the military warehouse, which was near St. Petersburg. Having become a resident of the ancient capital, I became close to M. Nekrasov and I. Turgenev, as they have seen “Suchasnik”. A new round of literary career began: in 1850 another collection of vertices was published, in 1856 – a third.
Successes in the military field were rather modest: the poets never managed to rise to the rank that gives a title of nobility. 1856 fate in vyyshov at the exhibition.

Kohannya

At the hour of his military service, Fet passionately fell in love with the dowry Maria Lizich. However, without making any money to get rid of this family, he categorically agreed to become friends with him. The stench grew close to the two rocks. Then the singer was transferred to another place of service. Nezabar learned that the kohana had perished in wondrous surroundings. Fet was grieving the loss. The poet's masterpieces of love lyrics are dedicated to Maria Lizich.
In 1857, he became friends with M.P. Botkina.

Gospodarstvo

In 1860, Fet bought a farm from the local district of Mtsensk and became a local ruler. Without being dissatisfied with liberal approaches to management, there is great respect among the villagers and their neighbors. During this period (at least 20 years) Fet abandoned literature, occasionally writing notes on the rural state for the “Russian Newsletter”. From 1867 to 1877 Fet served as a peace judge.
In 1873, it became possible for him to sing, having abandoned all his life, by taking back the title of nobility and the nickname Shenshin.

Remains of fate and death of Fet

In the 1980s, Fet turned to Moscow, and then to literature.
From 1883 to 1891 Three collections have been published – “Evening Fires”. 1889 rock sings lushly in celebration of fifty creative activities.
The remaining fates of life were even more important - he was tormented by the attacks of the spirit, and even blind. The Nastlyka sings, tired out from illness, so that she has tried self-destruction, which provoked death. On November 21, 1892, A. Fet died.

Square

Many schoolchildren forcefully tease Fet’s poetry from Tyutchev’s works - it is undoubtedly the fault of the reader, who is smart enough to correctly present the masterpieces of two meters of Russian literature. I’m singing, after this article about the many facts from Fet’s life, you will immediately begin to appreciate the poetics of Opanas Opanasovich from the creativity of Fyodor Ivanovich Tyutchev, I’ll try to be as brief as possible!

Tyutchev's poetry has a light of ideas about the cosmic, the forces of nature come to life and become natural spirits that will haunt people. The motives of Fet’s creativity are close to reality (down to earth). Before us is a description of real landscapes, images of real people, Fet’s love - it seems just as complex and more accessible.

The dungeon of the poet's nickname

Having recognized the shock of A. Fet’s childhood, he was granted a noble title and his father’s nickname. The true nickname of the writer Shenshin, whose father is a retired Russian captain, and his mother is the German beauty Charlotte Fet. The fathers met with Nіmechchina, where a turbulent romance instantly swirled within them. Charlotte was married, but completely unhappy with her lover, the man loved to drink and often raised his hand to her. Having met the nobleman of the Russian army, she very heartily swayed into the new one, and the newlywed two hearts were not filled with maternal feelings - Charlotte is a little daughter. Already in this month of pregnancy, Charlotte flows to Russia to Afanasy Shenshin. Later, Shenshin writes a letter to the human Charlotte, and then withdraws the telegram in obscene terms. Even the zakokhani collected non-Christian goods.

Maybutny sings was born in the Oryol province, in the metric book of records by Opanas Shenshin. Charlotte and Shenshin became friends only two years after the birth of their son. In the 14th century, Opanas was found to be illegitimate, and he was given the nickname Fet and called “foreigner.” As a result, the boy spends his noble life and the decline of the landowner's father. It is later that you can renew your rights, but through a lot of risks.

Fet ta Tolstoy

Lotman's works contain a riddle about one unexpected incident in the lives of two great writers. At that time, everyone played card games, especially loving to get excited (but not about anyone else). So, the process of gambling became emotional, and at the same time the graves tore and threw the cards on the counter, and at the same time the money fell from them. If it was obscene to raise these pennies, they would lie on the floor until the end of the game, and then they would be taken away by lackeys from the guards.

One day, socialites (including Fet and Tolstoy) were playing a card game, and Fet got up to raise the banknote that fell. Everyone was a little amazed, except for Tolstoy, the writer reached out to his friend to light the candle. There’s nothing nasty about this, and Fet will use his remaining pennies to replace his superniks.

Fet wrote prose

In the 60s and 19th century, Fet began working on prose, and as a result, two prose collections were published, which consisted of drawings and short essays.

“We cannot be separated” - the story of an unfortunate bastard

With Maria, Lazich sings having met at a ball at the house of the leading officer Petkovich (it was 1848, when the sun fell mercilessly on the borders of the Kiev and Kherson provinces). Maria Lazich was charming—tall, slim, dark-skinned, with a mass of dark, thick hair. Fet immediately realized that Maria is for the new world Beatrice is for Dante. Todi Fet was 28 years old, and Maria was 24 years old, and she had all the responsibility for raising her younger sisters, since she was the daughter of a poor Serbian general. From that hour, all the love poetry of the writer was dedicated to this beautiful lady herself.

Behind the words of the companions, Maria did not show unmatched beauty, but was received and calm. So Opanas and Maria began to sleep together, write pages to each other, and spend their sleepy evenings in the discussed mysteries. Once upon a time, her work burned out (then all the girls’ little books, in which they rewrote favorite poems, quotes, and attached photographs), Fet noted the music symbols, under which there was a signature - Franz Liszt. Ferenc Vidomy was a composer of that time, who toured Russia in the 40s, got to know Maria and dedicated his musical work to her. At first Fet was embarrassed, but then became jealous, but then felt how wonderful the melody sounded for Maria, asking her to gradually play.

However, the love between Opanas and Maria will be difficult, there will be no benefits for the title and title, and Maria wants from a poor family, rather than a noble one. The Lazic relatives didn’t know about her and didn’t understand at all why Fet was drawn to their daughter with a stretch of two rocks, rather than putting down propositions. Naturally, there were a lot of rumors and speculations about Feta himself and Maria’s immorality. Todi Opanas told his kohaniya that her whore is awkward, and the hundred-year-old needs to be pinned down in terms. Maria asked Opanas to just stay in order without a whore and pennies.

In the spring of 1850 things were worse. At the reception, Maria was sitting in her room, trying to gather thoughts about how to live in the future, how to achieve an eternal and inviolable union with the khan. She stood up sharply, causing the lamp to fall onto the long muslin cloth, and in a matter of seconds the girl’s hair was all over the girl’s hair, and she was forced to shout “Rotate the leaves!” The relatives extinguished the fire of God, but the number of oppressions on the body was unreasonable for life, after many painful days Maria died. The remaining words were “Vin is not guilty, but I...”. It’s a letdown, which meant self-destruction, and not Vipadkov’s death.

Whore behind the rozrakhunk

Through fate, Fet becomes friends with Maria Botkina, but not through a strong relationship, but through desperation. In his heart and tops, the image of the tall and dark-haired Maria Lazic will forever be preserved.

Yak Fet turned the title

Poetov needed a lot of hard service in the infantry army in order to achieve the officer rank and become a nobility. Not suited to the army way of life, Fet wanted to take up literature rather than war. If you want to change your legal status, you will be ready to endure any difficulties. After his service, Fet had the opportunity to serve 11 roles as a judge and even as a writer, becoming a nobleman!

Self-destructive attempt

After taking away the noble title and the family sign, Fet was driven to the head of his life, asking the squad to go to the guest. On November 21, 1892, he locked himself in his office, drank a lot of champagne, called out to the secretary, and dictated the remaining rows.

“I don’t understand the obvious multiplication of inevitable suffering. I will go voluntarily until the inevitable. 21 leaf fall, Fet (Shenshin)"

Having pulled out the stiletto to cut the paper and raised his hand above the cover, the secretary began to remove the stiletto from the scribe’s hands. At this moment, Fet jumped out of the office to the distance, trying to climb down, but fell in. The secretary ran up to the dying writer, who said just one word “voluntarily” and died. Spadkoemtsiv sings after himself without depriving himself.

Russian singer (real nickname Shenshin), corresponding member of the St. Petersburg Academy of Sciences (1886). The lyricism of nature, the intense moods of the human soul, and musicality are filled with specific features: “Evening Fires” (collections 1 4, 1883 91). A lot of verses have been set to music.

Biography

Born in the autumn and leaf fall near the village of Novosilki, Oryol province. His father was the rich landowner A. Shenshin, whose mother was Caroline Charlotte Fet, who came from Nimechtina. The fathers were not friends. The boy was recording by Shenshin's son, but when he was 14 years old, the legal illegality of his recording was revealed, which reduced his privileges that were given to the noble nobles. From now on, he bears the nickname Fet, a rich man from Russia who has transformed himself into a “man without a name,” the son of a weightless foreigner of dubious quest. Fet took the tse yak ganbu. Turned around, the lost camp became an obsessive idea, as it meant his entire life’s path.

Starting at a German boarding school near the town of Verro (nine Viru, Estonia), then at the boarding school of Professor Pogodin, historian, writer, journalist, before entering to prepare for Moscow University. Having graduated from the Faculty of Philosophy at the University in 1844, he became friends with Grigoryev, his one-year-old, a friend from the buried poetry. Gogol gave a “blessing” to Fet’s serious literary work, saying: “This is an infinite gift.” Fet’s first collection of works, “Lyrical Pantheon,” was published in 1840 and was praised by Belinsky, which inspired him to further creativity. These vertices have appeared in many places.

To achieve his goal - to turn his noble title - in 1845 he left Moscow and entered military service in one of the provincial regiments on the day. Having continued to write verses.

After all, having served in the Guards Life Ulan Regiment, they lost the opportunity to live near St. Petersburg.

In 1850, in the magazine “Suchasnik”, under which Nekrasov became the ruler, Fet’s works were published, which exclaimed the buried critics of all directions. Thanks to the adoption of a number of well-known writers (Nekrasov and Turgenev, Botkin and Druzhinin, etc.), literary earnings improved their financial position, which made it possible to increase the price of euros I'll drink it. In 1857, in Paris, he became friends with the daughter of the richest tea merchant and the sister of his rogue V. Botkin M. Botkina.

In 1858, Fet Viyshov left office, settled in Moscow and energetically engaged in literary work, extorting an “unheard price” for his works.

The important way of life gave someone a gloomy look of life and marriage. His heart was seared by the blows of his share, and his desire to compensate for his social attacks made him important to the rest of the people. Fet may even have stopped writing and become a full-time landowner, working with his typewriter; He becomes a justice of the peace at Vorobyovetsia. So it was like 20 years ago.

For example, in the 1870s, Fet began to write verses with renewed vigor. He sings to the collection of the top sixty-three words and gives it the name “Evening Fires”. (More than three hundred vertices are included in five issues, which were published in 1883, 1885, 1888, 1891. The fifth issue was prepared, but was not published.)

In 1888, in connection with “fifty-ten thousand of his own muses,” Fet was able to achieve the court title of chamberlain; the day, when it happened, in the day, when I was given the nickname “Shenshin”, “one of the happiest days of my life.”