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The night was shining with the moon and the garden was full. "The night was shining

Analysis of the poem by A. A. Fet “The night was shining. The garden was full of the moon"(teacher of Russian language and literature, Secondary School No. 16, Nevinnomyssk Stavropol Territory Nazarova Lyudmila Vasilievna)

The night was shining. The garden was full of moonlight. were lying
Rays at our feet in a living room without lights.
The piano was all open, and the strings in it were trembling,
Just like our hearts follow your song.

You sang until dawn, exhausted in tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

And many years have passed, tedious and boring,
And in the silence of the night I hear your voice again,
And it blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love,

That there are no insults from fate and burning torment in the heart,
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!

________________________________________________________________

Light as breath, fresh as the wind, A. Fet’s soul-touching poem “The Night Was Shining...” vividly and sincerely conveys the power of the love feeling awakened by music. The reader gets a feeling of a tremulous, fragile, unreal world, full of secrets and mysteries. There is nothing concrete here, and the objective world is unsteady and elusive, like moonlight: “the garden was full of the moon,” “rays at our feet...”. The plot is also unclear: he and she are in the living room; She sings a wonderful song, he listens to her. Years have passed... And again in the soul lyrical hero the voice of your beloved sounds. But it is important for a poet to convey not only events, but also impressions, the subtlest overflows of feelings, nuances and halftones. Fet uses transparent watercolor for his poetic palette, painting not with paints or even words, but with sounds. And these sounds - a woman’s singing, piano chords, the anxious beating of hearts - are echoes of a strong feeling that does not fade after “languorous and boring” years.

It is known that this poem is dedicated to Tatyana Bers, the sister of L.N. Tolstoy’s wife, the same Tatyana, whose feminine charm, charming naturalness and sincerity of feelings great writer conveyed in the vivid image of Natasha Rostova. “The essence of Natasha is love,” wrote Tolstoy. And Fet saw this in his heroine: “... you alone are love,” “there is no other love.” We remember that Vasily Denisov fell in love with Natasha after hearing her soul-penetrating singing. The lyrical heroine of Feta’s poem, not named, also sings in such a way that it awakens the best in a person:

And I wanted to live so much, so that without making a sound,

To love you, hug you and cry over you.

What's in this song? Pain, suffering, complaint? Why did she sing, “exhausted in tears,” why did the sounds “sobbing”? Probably, the one who is next to her heard the sad story of a girl’s disappointed hopes, understood the hidden drama of a suffering heart, and this evokes a feeling of empathy in him. It is no coincidence that there is a successive series of verbs in one line: “love”, “hug” and “cry”: love first generates tenderness, and then pity and compassion. “Cry over you,” and not with you, not about you - this is what a strong man could say, capable of protecting a woman, saving her from grief and troubles.

The poem is compositionally divided into two parts: a bright memory of the past and a dull present. In the present there is no poetry, no music, no love, I cannot believe in the future. The soul is tired, exhausted from “the insults of fate and the burning torment of the heart.” “The silence of the night” is deaf, but from somewhere in the past comes a wonderful voice, singing the same almost forgotten melody: “... you alone are love, there is no other love.” These words are repeated twice, but at the end of the poem they sound different. Then music awakened love, now it awakened faith in love, in the possibility of happiness, made me believe that

…there is no end to life, and there is no other goal,

As soon as you believe in the sobbing sounds...

Not “believe,” but the sublime “believe,” as in a shrine, as in God. The soul is reborn under the influence of wondrous sounds, old feelings come to life, and confidence arises that life goes on. The light that shone when she “sang until dawn” shone again. Dawn seems to symbolize youth and strength of feeling, and night - sobbing, fatigue and pain.

The brevity of the description of the setting in which we hear wonderful sounds is striking: night, garden, living room, open piano. But “the night shone,” and we feel something jubilant and solemn in this word; from the radiance a reflection falls on all objects: on the trees of the garden, on the floor of the living room; the light creates a radiance in the eyes of the two. Light of love. Light of the soul. Fet's skill is also manifested in the fact that almost from a cosmic picture of a moonlit night he gradually moves on to a description of a room, as if narrowing the space: a garden, a house, a living room - and then a piano, the sounds of which awakened strong feelings in the lyrical heroes. It is in music that the hero finds a response to his moods and experiences. The art of love and the love of art are one and inseparable. You need to love, thinking not about yourself, but about another, to understand and feel music so that it serves not just as a beautiful background, but awakens bright feelings.

Fet’s surprisingly melodious and melodious poem is nevertheless subdued, spoken almost in a whisper: after all, the feelings are so tender, so intimate. The poems sound charmingly quiet thanks to the abundance of consonants “w” and “x”: “passed”, “silence”, “I hear”, “these sighs”. In addition to alliteration, the poet also uses assonance: the vowels “i” and “u” give the poem special tenderness, lightness and airiness: “What is not aboutAnd d sat life and hearts burnat whose mat ToAnd , wellAnd znAnd there is no end,And intactAnd NoAnd Noah…". Rhyme also contributes to the melody of the sound. Perhaps exactly last words The lines from the third stanza are the key words: “love”, “resonant”, “again”, lining up in a verbal series: “love sounds again”.

In the novel L.N. In Tolstoy's War and Peace, Denisov, who is in love with Natasha, calls her a sorceress. The lyrical heroine of the poetic miniature, Feta, is also a sorceress: she performed a miracle, awakening a strong and sincere feeling in the hero, and then, years later, reviving him again.

Afanasy Fet.

Afanasy Afanasyevich Fet's parents got married abroad without an Orthodox ceremony (Fet's mother was a Lutheran), as a result of which the marriage, legal in Germany, was declared invalid in Russia; when the Orthodox wedding ceremony was performed, the future poet was already living under his mother’s surname “Föth”, considered an illegitimate child. At the age of 14, the young man found himself deprived not only of his father’s surname, but also of his noble title, rights to inheritance, and even Russian citizenship. The desire to return the Shenshin surname and all rights became his most important life goal for many years. Only in his old age was the poet able to achieve his goal and regain his hereditary nobility.

At the age of 18, he entered the Moscow boarding school of Professor M.P. Pogodin, and in August of the same 1838 he was admitted to Moscow University in the verbal department of the Faculty of Philology, and then began to publish poetry.

Fet strives for literary activity with all his soul, but the instability of his social and financial situation forces him to dramatically change his destiny. In 1845, the “foreigner Afanasy Fet”, wanting to become a hereditary Russian nobleman (to which the first senior officer rank gave the right), entered as a non-commissioned officer in a cuirassier regiment stationed in the Kherson province.

During the Kherson years, an event occurred that predetermined Fet’s personal life. All-consuming love entered into his destiny. Maria Lazic, whom he did not dare marry due to his poverty, was interesting person and a talented musician, she had an extraordinary voice. Soon after the final breakup, a strange accident occurred with Maria: her dress caught fire from a candle, she ran out into the garden, but was unable to put out the clothes and suffocated in the smoke that enveloped her. It was impossible not to suspect a suicide attempt, and for a long time echoes of this tragedy will be heard in Fet’s poems...

Afanasy Fet

***

When you read the painful lines,
Where the hearts of the sonorous ardor radiance pours all around
And streams of fatal passion rise,
Didn't you remember anything?

I don't want to believe it! When in the steppe, how wonderful it is,
In the midnight darkness, untimely grief,
In the distance in front of you is transparent and beautiful
The dawn suddenly rose

And my gaze was involuntarily drawn to this beauty,
Into that majestic brilliance beyond the entire dark limit, -
Did nothing really whisper to you at that time:
There's a man burned out there! 1887

Fet was fatally unlucky in his military service: every time, shortly before his promotion to the next officer rank, a new decree was issued, tightening the conditions for obtaining hereditary nobility and forcing the poet to serve until the next rank. In 1856 Fet left military service, without achieving his goal. In 1857 in Paris, he married M.P. Botkina, the daughter of a wealthy merchant, and already in 1860, with the money received as a dowry, he acquired the Stepanovka estate in his native Mtsensk district and became, according to Turgenev, “an agronomist-owner to the point of desperation.”

Maria Botkina

The estate he developed wins the competition for an exemplary landowner's farm; he himself takes an active part in provincial life. In 1873 The long-awaited decree of Alexander II to the Senate is issued, according to which Fet receives the right to join “the family of his father Shenshin with all the rights and titles belonging to the family.” The long-awaited goal was achieved - nobility and the family surname Shenshin were obtained. And now poetry asserts itself powerfully again.

“I don’t know what I’m going to sing, but the song is just maturing” - this is how Fet directly declares his attitude towards the irrationality of the content of poetry. A little later, this principle will become the poetic credo of the Symbolists. We see a kind of roll call of eras in the poem by Alexander Blok.

Alexander Blok

There's a man burned there
A. Fet

How hard it is to walk among people
And pretend not to die
And about the game of tragic passions
Tell the story to those who have not yet lived.

And, peering into my nightmare,
Finding order in a discordant whirlwind of feelings,
So that through the pale glow of art
Learned life's disastrous fire!

Friends, I want to bring to your attention one of Fet’s best lyrical works. Moreover, this is one of the brightest examples of Russian love lyrics.

You sang until dawn, exhausted in tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

The poem “The Night Shined...” is dedicated to the niece of L.N. Tolstoy, a young charming girl, a beautiful singer, who went down in history not only thanks to Fet. She was also one of real prototypes Tolstoy's Natasha Rostova. Fet writes not about feelings for sweet Tanya Bers, but about high human love. Like all true poetry, Fet’s work generalizes and elevates, leading into the universal - into the big human world. The poem “The Night Was Shining...” in the reader’s perception turns out to be at the same time a memory...

You can listen to a romance based on these verses performed by Margarita Korneeva at this link:

The night was shining. The garden was full of moonlight. were lying

Rays at our feet in a living room without lights.

The piano was all open, and the strings in it were trembling,

Just like our hearts are for your song.

You sang until dawn, exhausted in tears,

That you alone are love, that there is no other love,

And I wanted to live so much, so that without making a sound,

To love you, hug you and cry over you.

And many years have passed, tedious and boring,

And it blows, as then, in these sonorous sighs,

That you are alone - all life, that you are alone - love.

That there are no insults from fate and burning torment in the heart,

But there is no end to life, and there is no other goal,

As soon as you believe in the sobbing sounds,

Love you, hug you and cry over you!

Text sources

The first publication is part of the first issue of Fet’s lifetime collection of poetry “Evening Lights”: Evening Lights. Collection of unpublished poems by A. Fet. M., 1883. Release of the second unpublished poems by A. Fet. M., 1885. Autograph of an early edition of the poem in the so-called notebook II (code: 14167. LXXIXb.1), stored in the manuscript department of the Institute of Russian Literature (Pushkin House) Russian Academy sciences; another autograph of the poem, with the title “Again,” in Fet’s letter to Count L.N. Tolstoy dated August 3, 1877 ( State Museum L.N. Tolstoy), which says: “I am sending you a poem written yesterday” (quoted from: (Notes. Compiled by M.A. Sokolov and N.Nyu Gramolina // Fet A.A. Evening Lights. M., 1979. P. 664).

Variants of the autograph-notebook (draft versions rejected by the author are enclosed in square brackets.). First line: “Night [reigned]. The garden was full of the moon - they were lying down” (the final version of the line is the same as in the printed text); variant of the sixth line (in a letter to Count L.N. Tolstoy): “That you are one love and there is no other love.” The first version of the seventh line: “And so I wanted to live forever, dear”; the second - “And so I wanted to live, just so, dear” (this option is also contained in the autograph from the letter to Count L.N. Tolstoy"); eleventh line: “And [is heard again] in these sonorous sighs” (the final version of the line is the same as in the printed text); fifteenth line: “As soon as you believe in caressing sounds” (this option is contained both in the autograph notebook and in the letter to Count L.N. Tolstoy). (See options in the ed.: Fet A.A. Evening Lights. P. 442).

Place in the structure of lifetime collections

As part of the first issue of “Evening Lights”, the poem opens the section “Melodies” (see the composition of the section in the publication: Fet A.A. Evening Lights. P. 42-55); The texts included in this section are united by the motive of song, singing - real, accompanied by musical accompaniment (as in “The night was shining. The garden was full of the moon; they lay...” and in “The former sounds, with the former charm...”, the nightingale singing in the poem “ In the invisibility haze..."), imaginary ("I heard a wonderful song in a dream..." in the poem "Why are you, my dear, sitting thoughtfully..."), metaphorical (the speech of a star in the poem "One star breathes between them all...", “the sobs” of the autumn night and the “fragrant speeches” of the “benevolent fairy” in the poem “The shaggy branches of the pine trees were frayed by the storm...”, the “wingless song” in the heart of the hero of the poem “Like the clarity of a cloudless night...”). In a number of poems in the section (“The sun casts its rays into a plumb line...”, “The mirror moon floats across the azure desert...”, “Forget me, frenzied madman...”, the “Romanzero” cycle), there is no motif of singing or music or corresponding images; poems to the “melodies” is explained by the special instrumentation, the setting for melodiousness (“The mirror moon floats across the azure desert...”) and the emotional tone of the poems (musicality as impressionism, the “sounding” of the soul).

In the plan for an unrealized new edition compiled by Fet in 1892, the poem “The night was shining. The garden was full of moonlight; lay..." is also included in the section "Melodies" (see the composition of the section in the ed.: Fet A.A. Complete collection poems / Intro. art., preg. text and notes B.Ya. Bukhshtab. L., 1959 (“The Poet’s Library. Large series. Second edition”). pp. 167-202), which was significantly expanded. The basis of “Melody” was made up of poems combined into this section in the collection of 1850. A number of poems in the section contain motifs of singing and music; not only substantively (as in the poems “The Singer”, 1857, “Ball”, 1857, “To Chopin”, 1882), but also metaphorically (as in the “mysterious choir” of stars in “I stood motionless for a long time ...”, 1843, as “moaning” and “howling” creations of the imagination in the poem “Midnight images flutter...”, 1843, as “winged sounds” of inspiration from “Like midges dawn...”, 1844, or other signs of inspiration - “languid ringing of strings” and “ringing swarm of sounds” from “No, don’t expect a passionate song...”, 1858). But in many poems (“A fire burns with the bright sun in the forest...”, “The candle has burned out. Portraits and shadows...”, “Dreams and shadows...”, “Only in the world is there something shady...”, “In the moonlight,” "At dawn", "I'm sleeping. The clouds are friendly...", "The moon has just risen...", "Love me! As soon as your humble..." and others) these motives are not present. “Melody” is understood by Fet as a manifestation or another name of beauty and love, as a special mood. This is the principle of grouping poems into a cycle-section.

Autobiographical basis of the poem

Poem “The night was shining. The garden was full of moonlight; were lying…” inspired by the impression of T.A.’s singing. Kuzminskaya (nee Bers, 1846-1925), sister of Countess S.A. Tolstoy - the wife of Count L.N. Tolstoy. In the memoirs of T.A. Kuzminskaya describes an episode reflected in Fet’s poem, which he gave her the next morning. After lunch at the estate of D.A. Dyakova Cheremoshne T.A. Kuzminskaya sang, in particular, Bulakhov’s romance “Kroshka” based on Fet’s poems. “It was two o’clock in the morning when we separated. The next morning, when we were all sitting at tea round table, Fet entered followed by Marya Petrovna (the poet’s wife. - A.R.) with a beaming smile. They spent the night with us. Afanasy Afanasyevich, having greeted the elders, came up to me silently and placed a piece of paper written on next to my cup. - This is for you in memory of yesterday's Eden (paradise. - A.R.) evenings. - The title was “Again”” (Kuzminskaya T.A. My life at home and in Yasnaya Polyana. Tula, 1964. P. 404-405).

According to the memoirs of T.A. Kuzminskaya, this happened in 1866. The evening really took place in 1866, as evidenced by a letter from Count L.N. Tolstoy T.A. Bers (Kuzminskaya) and D.A. and A.D. Dyakov dated May 25, 1866 (see: Notes. Compiled by M.A. Sokolov and N.Nyu Gramolina. P. 664). B.Ya. Bukhshtab pointed out the memory error of the memoirist: the words “And many years have passed, tedious and boring” indicate that the poem was written a considerable time after the evening when T.A. Kuzminskaya sang romances; Fet’s letter to Count L.N. speaks about the writing of the poem on August 2, 1877. Tolstoy dated August 3 of the same year. According to the commentator, “the memory of what is described” in the memoirs of T.A. Kuzminskaya “the evening inspired Fet, obviously, when, after many years, he again heard Kuzminskaya singing” (Bukhshtab B.Ya. Notes // Fet A.A. Complete collection of poems. L., 1959. P. 740).

Composition. Motive structure

The poem consists of four stanzas, but “the four stanzas clearly fall into 2 + 2” (Eikhenbaum 1922 - Eikhenbaum B. Melodics of Russian lyric verse. Petersburg, 1922. P. 171). The first two stanzas tell about the heroine’s first singing, the third and fourth stanzas tell about her second performance of the song many years later. Both the first and second parts end with the same line: “Love you, hug you and cry over you,” however, completed in different punctuation ways (in the first case with a period, in the second - for the purpose of emotional reinforcement - with an exclamation mark). Poem “The night was shining. The garden was full of moonlight; lay..." belongs to the type of "composition that divides the poem into two semantic parts - repetition of the last line of the second stanza at the end of the fourth (final) stanza<…>"(Kovtunova I.I. Essays on the language of Russian poets. M., 2003. P. 77). Symmetrical composition is characteristic of many of Fet’s poems: (cf.: Ibid. p. 76).

Compositionally, Fetov’s poem is similar to “I remember wonderful moment..." A.S. Pushkin: “Both poems tell of two meetings, two strongest repeated impressions,” the original title of the poem is indicative - “Again,” reminiscent of Pushkin’s line “And then you appeared again.” But there is also a difference: “Pushkin has two visions, Fet has two singing"(Blagoy D.D. The world as beauty (About “Evening Lights" by A. Fet) // Fet A.A. Evening Lights. P. 575-576).

Like A.S. Pushkin, in Fet’s poem, two wonderful meetings are contrasted with the “languorous and boring years” that separate them, devoid of transformative beauty and love.

The similarity of the two parts of Fet’s poem is combined with a significant difference: the first part opens with a landscape sketch, while the second gives only a brief description of setting: “in the quiet of the night.” Thus, the night landscape in the first part serves as a kind of exposition to the entire text. In addition, if in the first part the identity of the song and the singer with love is affirmed, then in the second there is also an identity with “all life”, and the idea of life as undoubted happiness and goodness is declared (“there are no insults from fate and burning torment in the heart”), and the intrinsic value of beauty and love, which become the subject of aesthetic cult, faith(“There is no other goal, / As soon as to believe in the sobbing sounds, / To love you, hug you and cry over you”).

The poet wrote about the connection between love and beauty, primarily musical, in his autobiographical story “Cactus” (1881): “It is in vain that you draw such a sharp line between the feeling of love and an aesthetic feeling, at least musical. If art is generally not far from love (eros), then music, as the most immediate among the arts, is closest to it" (Fet A. Poems. Prose. Letters / Introductory article by A.E. Tarkhov; Comp. and notes G D. Aslanova, N. G. Okhotin and A. E. Tarkhova (M., 1988, p. 260).

The main motive and idea of the poem is the transformative power of art, song and music, which are conceived as the highest expression, quintessence, the center of being. Art and song are inextricably linked with feminine beauty and love: tears of delight and admiration are evoked by singing, and the sounds of music, and singing. When they are perceived, the sounds, the performer and the listener and the contemplator seem to become one whole, evidence of which is the repeating motif of sobs - tears - crying: “sobbing sounds”, she, exhausted “in tears”, he, ready to “cry”. But at the same time, a certain distance remains between her and the person listening to the song: he is afraid to disturb her singing and life itself with his sound (“I wanted to live<…>without making a sound").

Music and singing, inextricably linked with it, in Fet’s interpretation were conceptualized as “ harmonic the essence of the world" Fet (Blagoy D.D. The world as beauty. P. 594). About the melodies of gypsy songs, the hero of Fet’s autobiographical story “Cactus” (1881) remarks: “These sounds bring neither ideas nor concepts; living ideas fly on their trembling wings” (Fet A. Poems. Prose. Letters. P. 258).

For Fet, “music contains the secret of a certain initial connectedness and unity of all, the most opposite, things and phenomena of the world” (Tarkhov A.E. “Music of the Breast” (On the life and poetry of Afanasy Fet) // Fet A.A. Works : In 2 vols. M., 1982. T. 1. P. 32, A.F. Losev’s book “Music as a Subject of Logic” is named as a philosophical parallel and the key to such an understanding of music).

A.F. Losev defined the philosophical meaning of music as follows: “It is a moving unity in fusion, a fluid integrity in diversity. This is the universal internal fluid unity of all objects, all possible items. That is why music can cause tears - no one knows about what subject; capable of evoking courage and courage - it is unknown for whom and for what; capable of inspiring awe - it is unknown to whom. Here everything is merged, but merged into some kind of indivisible existential essence”; “She is madness, living a gigantically strong life. She is an entity seeking to give birth to her face. She is the unidentified essence of the world, its eternal desire for the Logos ( higher meaning. - A.R.), and - the torment of the nascent Concept"; characteristic of music " PRINCIPALLY NON-SEPARATE ORGANIC FUSION AND INTERACTION K n u t y h a s t e y of life"; “The fusion of suffering and pleasure in music is especially striking. You can never say about piece of music what it causes, suffering or pleasure. People cry and rejoice from music at the same time. And if you look at how the feeling evoked by music is usually depicted, then in most cases you can always notice in the foreground some special connection between pleasure and pain, given as a kind of new and ideal unity of them, which has nothing in common with either pleasure or pain. suffering, nor with their mechanical sum" (Losev A.F. Music as a subject of logic // Losev A.F. From early works. M., 1990. P. 211, 214, 230, 232).

In letters to Countess S.A. Tolstoy dated January 23, 1883, drawing a parallel between musical bars and meter in verse, Fet mentions the name of the ancient Greek philosopher Pythagoras, who saw music as the basis of the universe and existence: “I recognize him (Count L.N. Tolstoy. - A.R.) and in his sermon against poetry and I am sure that he himself admits the inconsistency of the argument that a certain meter and, perhaps, rhyme prevent poetry from speaking out. After all, he won’t say that measures and musical divisions interfere with singing. To pull these conditions out of music means to destroy it, and by the way, Pythagoras considered this cadence to be the secret soul of the universe. Therefore, this is not such an empty thing as it seems. It’s not for nothing that the ancient sages and legislators wrote in verse” (A.A. Fet. Works: In 2 vols. T. 2. P. 312).

These ideas and images were also common in German romantic literature. “In the era of romanticism, music is understood as music existence itself- or something common that underlies being, permeates it, connects it into a single whole. Hence the search for the musical in all arts<…>"(Mikhailov A.V. About Ludwig Tieck // Tieck L. The Wanderings of Franz Sternbald / Edited by S.S. Belokrinitskaya, V.B. Mikushevich, A.V. Mikhailov. M., 1987 (series “Literary Monuments”) . p. 320). Indicative, for example, is the statement of Cyprian, one of the heroes of “The Serapion Brothers” by E.T.A. Hoffmann, about “wonderful, mysterious sounds that permeate our whole life and serve for us as an echo of that wondrous music of the spheres, which constitutes the very soul of nature” (Hoffman E.T.A. The Serapion Brothers: Works: In 2 vols. / Translated from German by A. Sokolovsky, edited by E. V. Stepanova, V. M. Oreshko, Minsk, 1994, Vol. 1, p. 207).

Priest P.A. Florensky gave the following philosophical interpretation of Fetov’s musicality: “But there are sounds of Nature - everything sounds! - sounds are less defined, sounds coming from the depths; Not everyone hears them and it is difficult to respond to them. Chaikovsky wrote about the gift inherent in a musician, “in the absence of sounds, in the silence of the night, one can still hear some sound, as if the earth, rushing through the heavenly space, is playing some kind of low bass note.” How to call this sound? How name <…>music of the spheres (heavenly - A.R.)? What can we call the roaring and intertwining, ringing and fluttering sounds of the night that Tyutchev and, especially, Fet lived by?” (Florensky P.A.. Thought and language. 3. Antinomies of language // Florensky P.A. Works: In 2 volumes. M., 1990. T. 2. At the watersheds of thought. P. 167, highlighted in the original).

P.A. Florensky noted that “Fet’s poetry, stuttering, with incorrect syntax, and sometimes opaque in its verbal attire, has long been recognized as a kind of “over-smart (so! - A.R.) language”, as the embodiment of the extra-verbal power of sound, hastily and only approximately covered by the word” (Ibid. p. 169).

The art of love, equated to life itself, is eternal (“there is no end to life”) and resists the passage of time, “languorous and boring years”; two meetings, two singings are conceived as variants of one eternal event.

It is impossible to agree with the statement that in the poem “the understanding of the powerlessness of art determines the tragic coloring of the experiences of the lyrical hero” (Buslakova T.P. Russian literature XIX century: Educational minimum for applicants. M., 2005. P. 240). The tears in Fetov’s work are not tears of powerlessness, but of fullness of feelings. This word is often found in this meaning in Fet: “These dreams are pleasure! / These tears are grace!” (“These thoughts, these dreams…”, 1847); “Herbs in Weeping” (“In the Moonlight”, 1885); “The night cries with the dew of happiness” (“Don’t blame me for being embarrassed...”, 1891), “a quiet tear of bliss and languor” (“No, not even when, with an airy foot...”, 1891). This interpretation of tears is typical of the romantic tradition. Examples are “tears” in Pushkin’s “I remember a wonderful moment...” or an entry in V.A.’s diary. Zhukovsky: “An amazing evening on the shore of the lake, which touched the soul to tears: playing on the waters, a wonderful change, inexplicability” (entry dated August 27, 1821; quoted from: Veselovsky A.N. V.A. Zhukovsky. Poetry of feeling and “heartfelt imagination" / Scientific ed., preface, translations by A.E. Makhov. M., 1999. P. 382).

Figurative structure. Vocabulary

The poem interweaves images from several semantic spheres: nature (moonlit night turning into dawn), music (an open piano, trembling strings), singing (“sobbing sounds”, “sighs”)<…>sonorous”, “voice”), feelings of the singer and those listening to her, first of all the lyrical “I” (trembling hearts, desire for love and crying).

The image that opens the poem is paradoxical - the oxymoron “bright, shining night” instead of the usual “dark night” (“The night shone”). Thus, the poem opens with a picture of a miraculously transformed nature, which seems to foreshadow transformative music and song. The mention of the moonlit garden opens the space outward, beyond the boundaries of the house; the garden seems to become one of the listeners of song and music. The semantics of opening, “revealing” is then repeated in the compound nominal predicate related to the piano: it “was completely open.” Obviously, what is important for Fet is not the objective reference to the raised lid of the piano (there is nothing unusual in this, in addition, the pronoun “all” in this case is simply unnecessary: the piano can be either “opened” or “closed”). For Fet, additional shades of meaning determined by the context are important: “opened”, as the soul, heart, hearing “open” towards singing). Subject phrase "strings"<…>trembled" is correlated with the metaphor "[trembled] hearts." (Compare a similar metaphor: “And the chest trembles from inevitable passion” (“A Friend from the South”, 1854); cf. also: “And youth, and trembling, and beauty” (poem “Student”, 1884).) Thus , on the one hand, the piano is endowed with animation, “heartfelt”, and on the other hand, the hearts of those listening to the song are likened musical instrument; music not only sounds from the outside, but also seems to pour straight from the hearts. (Cf.: “I sound with my soul / I am looking for what dwells in the soul” (“As a child will dawn…”, 1847), the soul “will tremble sonorously, like a string” (“Sonnet”, 1857)).

The dawn is also not only objective, but also endowed with metaphorical shades of meaning: it is associated with the awakening and transformation of the soul. The movement of time from night to dawn symbolizes the increase in feeling, the inspired delight of the singer and her listeners. The movement of time and changes in the landscape (from moonlit night to dawn) and in the poem “Whisper, timid breathing...” are presented in a similar way.

According to the fair remark of I.I. Kovtunova, in Fet’s depiction of nature, “images of night and dawn predominate. Keywords- images - trembling, trembling as a state of nature and the corresponding state of the poet’s soul. Both music and song make the heart tremble<…>"(Kovtunova I.I. Essays on the language of Russian poets. M., 2003. P. 81, here are examples from poetic texts).

The poetic dictionary of the poem includes lexemes that are repeated in Fetov’s lyrics: “shone”, “trembled” (in a metaphorical meaning or with metaphorical shades of meaning), “sound” (as a designation for music, poetry, true life), “sigh” (in a metaphorical meaning or in a literal sense, but with additional shades of meaning - as a sign of life, an expression of the soul, poetry), “crying” (mainly in a metaphorical meaning, more often as an expression of delight than grief).

This vocabulary is generally characteristic of Fet's lyrics. Here are some parallels.

SHINE / SHINE. In the poem “In the Moonlight”, 1885, in which, in addition to the title, the words “in the Moonlight” are repeated three times - at the end of each of the three quatrains.

SHAKE. “And the chest trembles from inevitable passion” (“A friend from the south”, 1854), “On the air the song trembles and melts” (“Spring is outside”, 1855), “They tremble” (about birch trees - “Still May Night”, 1857); “Trembling tunes” (“Now”, 1883), “The soul is trembling, ready to flare up purer” (“Another forgetful word...”, 1884), “The leaves trembled, flew around...” (1887), “A fallen leaf trembles from our movement ..." (1891). If we take into account the use of the word “awe”, which is close in meaning and has the same root, the number of examples will be much greater.

SOUND. The metaphor of creativity for Fet is a song and the sound synonymous with it. So, he writes: “A song in the heart, a song in the field” (“Spring in the South”, 1847); “I will rise again and sing” (“March 9, 1863”, 1863), “Like a lily looks into a mountain stream, / You stood over my first song” (“Alter ego” [“Second me. - lat. - A.R.], 1878), “And my chants will murmur” (“The day will wake up - and human speech ...”, 1884); “And, shuddering, I sing” (“No, I haven’t changed. Until deep old age...”, 1887, thirty-sixth poem from the third issue of “Evening Lights”); “To interrupt a sad dream with a single sound” (“With one push to drive away a living boat...”, 1887); “I fly in and sing and love” (“Beyond the mountains, sands, seas...”, 1891, poems - from the perspective of a spring bird, but symbolizing the lyrical “I”).

It is very significant that Fet’s visual and tactile impressions are often “translated” into sound ones, becoming part of the sound code, the perception of the world in sounds: “chorus of clouds” (“Air City”, 1846); “I hear trembling hands” (“To Chopin”, 1882), the line is repeated in the poem “Lounging on an armchair, I look at the ceiling...”, 1890); “I want to hear your caresses” (“The dawn goes out in oblivion, half asleep”, 1888). Sounds can act as an “accompaniment” to the main theme: “And behind you is a lagging swarm, swayed by movement, / Of unclear sounds” (“In a Dream,” 1890).

Speak to my soul;

What cannot be expressed in words -

There is no need to understand the word sound in its narrow meaning: “What does it mean to bring sound to the soul?” Selection of sounds, onomatopoeia? Not only this. Fet's word “sound” has a broad meaning; here it is not particular features that are meant, but the principle of poetic creativity in general. “Rational” poetry is contrasted with “song,” and the logical principle with “musical.”

Sign songs Fet considers such changes in the meaning and purpose of a word in which it becomes an exponent not of thought, but of feeling” (Bukhshtab B.Ya. Fet. P. 42).

SIGH. “So a maiden sighs for the first time<…>And a timid sigh is fragrant” (“The First Lily of the Valley”, 1854), “The sighs of the day are in the breath of the night” (“Evening”, 1855), “So the maiden sighs for the first time<…>And a timid sigh is fragrant” (“The First Lily of the Valley”, 1854), “the sigh of a night village” (“This morning, this joy...”, 1881 (?)), “I heard your sweetly sighing voice” (“I saw your milky, baby hair...", 1884), "Oh, I am blessed in the midst of suffering! / How glad I am, having forgotten myself and the world, / I am holding back the approaching sobs / Hot to hold back the tide!” (“Reproach, pity inspired...”, 1888), “So after death I will fly to you in poetry, / To the ghosts of the stars I will be the ghost of a sigh” (“To the Faded Stars”, 1890).

CRY. “The autumn night wept with icy tears”, “night sobs” (“The shaggy branches of the pine trees were torn apart from the storm...”, late 1860s (?)), “The grasses are sobbing” (“In the moonlight”, 1885). If we take into account the use of the word “crying”, which is close in meaning and has similar roots, then the number of examples will be much greater.

Meter and rhythm

The poem is written in iambic hexameter. Metrical scheme of iambic hexameter: 01/01/01/01/01/01 (for odd lines in Fet's poem: 01/01/01/01/01/01/0). The rhyme, as usual in Fet, is cross (ABAB); odd lines are connected by a feminine rhyme, even lines by a masculine rhyme. The obligatory caesura after the sixth syllable, characteristic of this meter, dividing the verse into two equal three-foot hemistiches, is also in this poem: “The rays at our feet / in the living room without lights” (6 + 6 syllables) or: “The piano was all open, / and the strings in it trembled” (6 + 7 syllables). The exception is the first line, in which poetic tradition dictates a pause - a caesura after the word “moon”: “The night shone. The garden was full of the moon; were lying." Thanks to this arrangement of the caesura, the image of moonlight is especially highlighted. However, the syntax prompts us to make the first pause after the word “night” (the first sentence ends here), and the second not after the word “moon,” which is the complement in the sentence “The garden was full of the moon,” but at the border of the second and third sentences: “The night was shining. / The garden was full of the moon; / were lying."

Since the first decades of the 19th century. iambic hexameter penetrates philosophical lyrics (Gasparov M.L. Essay on the history of Russian verse: Metrics. Rhythm. Rhyme. Strophic. M., 1984. P. 111). Therefore, writing the poem “The night shone. The garden was full of moonlight; lay..." in iambic six-foot, perhaps intended to emphasize its philosophical orientation. In the 1840s. and later, iambic hexameter is quite often found in descriptive landscape lyrics, among examples is Fetov’s poem “The lake has fallen asleep; the black forest is silent..." (1847) (see: Gasparov M.L. Essay on the history of Russian verse. P. 165), and, accordingly, in Fet’s poem the role of landscape is significant, although it cannot be classified as landscape lyricism in the proper sense of the word . M.L. Gasparov, however, considers “The Night Shined. The garden was full of moonlight; lay..." as an example of the new use of iambic hexameter, its application to the poetic form of romance: in the 1840s - 1880s. “elegies have not even completely gone out of use; such sections were in the collections of Maykov and Fet<…>but what was more important was that they conveyed their size<…>the growing romance (“The night was shining. The garden was full of the moon. They were lying...” and many of Fet’s later “elegies”)<…>"(Ibid. p. 165). However, romance can be considered as a variation of elegy, which is what the researcher does by classifying some of Fet’s later poems, somewhat conventionally called elegies, as this poetic form.

Syntax. Melodica

Syntactically and, accordingly, intonationally (melodically), the second stanza “repeats the melody of the first, but develops it at a higher intonation and therefore adjoins it, the third returns to the original pitch,” so that an expectation of a quick completion is created - a deceptive expectation. "<…>The melody grows and captivates<…>fourth stanza" (Eikhenbaum B. Melodics of Russian lyric verse. Petersburg, 1922. P. 171). The repetition of the same verse “Love you, hug you and cry over you” in the eighth and sixteenth, last, lines clearly divides the text into two parts, but “the last line is in a different intonation-syntactic situation compared to the same eighth: here it continues the movement of infinitives that had already begun earlier (“as soon as one believes”) and therefore sounds especially tense and pathetic<…>. Let us also note that the increase in emotions is preparatory “and”, but the decisive moment in this sense is the last line of the third stanza, which in its rhythmic-intonation type and lexical composition corresponds (correlates. - A.R.) with the second line of the second stanza, but intonationally it is also much more emphatic (emphasized by expressiveness, emotionality. - A.R."(Ibid. p. 172).

Thus, it turns out that the compositional scheme dividing the text of the poem into two parts “is overcome here, so that in fact the poem is composed of three moments - three melodic stanzas: I + II + (III + IV). The intonation gradually increases, turning into a developed melody towards the end. In this regard, the fragmentation of the initial line into small sentences, which do not coincide with the rhythmic division of iambic hexameter, is very characteristic. The result is a caesura enjambement (inter-verse transfer. - A.R.) verse (lay - rays). The intonation takes on the character of an introductory narrative. This is also reflected in the placement of the predicate before the subject, with the last predicate (“lying.” - A.R.), thanks to enjambement, especially stands out for its prosaic, narrative intonation. The transition to melodization is made gradually. The more harsh the end is<…>"(Ibid. p. 173).

Sound system

Contemporaries were unanimous in their opinion about the special musicality of Fet's poems. Literary critic and philosopher N.N. Strakhov wrote: “Fet’s verse has a magical musicality and, at the same time, constantly varied; for every mood of the poet’s soul there is a melody, and in terms of the richness of the melody no one can equal him” (Notes about Fet by N.N. Strakhov. II. Anniversary of Fet’s poetry // Strakhov N.N. Literary criticism: Collection of articles / Intro. article and compilation by N.N. Skatov, commentary by V.A. Kotelnikova, St. Petersburg, 2000, p. 425). He addressed the poet: “You have the secret of intoxicating sounds, inaccessible to anyone else” (letter dated May 13, 1878; quoted from: Blagoy D.D. The World as Beauty. P. 578). The remarks of N.N. are also indicative. Strakhov about individual poems and lines. About the line “The grasses are sobbing” from the poem “In the Moonlight” (1885) he wrote: “What a sound” (letter to Fet dated January 21, 1886; quoted from: [Blagoy D.D. The World as Beauty. P. 598 ).

The special melody and musicality of the poem “The night was shining. The garden was full of moonlight. They lay...", expressing at the phonetic level the motive of the transformative and bewitching influence of music and sound, is created thanks to the emphasized repetitions of sonorant consonants "l", "n", "r" and the open vowel "a". Sonorant “l” and “n” and a whistling “s” accompany the theme of nature, moonlit night at the beginning of the poem; The accented “a” also stands out:

WITH And yal A n oh L at n oh I wish l By l O n sa d. L hedgehog al And

L learn from on shih n og in go With you n oh no og n to her.

The letter “I” in this word “shone” and further in the word “ro” I l" corresponds to the sounds. The frequency of the sound "l" associated with " l una" and radiance ("this l a") and the fullness of being ("by l he") in the first line is higher than in all subsequent ones (six uses per verse).

The third and fourth lines introduce the theme of the music (“ R oyal”, etc.) and spiritual trepidation (“ d gave birth", "se R dtsa"), expressed by the sound “r” (five uses in the third line), which was absent in the first two verses. “L” and “n” do not disappear, but their frequency decreases (seven “l” and seven “n” in the first two verses and two “l” and four “n” in the third and fourth); the frequency of the stressed open “a” remains the same (four and four). The frequency of “s” increases:

R O Yal would l ve sya R A With To R yt, and With T R at n s in n eat d R cool al And,

Like With e R dc A at n A With for ne sn Iu of yours.

Further in the text, the sonorant sounds “l” and “r” retain their significance, but never reach such a high frequency as in the first stanza. But now “l” accompanies the theme of art, delight and love (“ne l a", "b c l ezah", " l love" and words with the same root), and "r" - the theme of nature ("for R And"). The sound complex “vz” and its mirror “zv” are emphasized, as well as the sound “v”:

AND V from V quiet night t V oh I hear a voice V But ve ,

AND V it's like it was back then V O vz dozens of these sound scientific...

The later poem “The Night Was Shining” was written by A. Fet on August 2, 1877. The poet created it under the impression musical evening and dedicated it to Tatyana Bers (married to Kuzminskaya). The sister of L. Tolstoy’s wife and the prototype of the image of Natasha Rostova in the novel “War and Peace,” Tatyana sang wonderfully at this evening, and the poet’s feelings for her formed the basis of the poem. The poem was originally titled "Again". It was first published in the collection of poetry “Evening Lights” (1883). The work opened the “Melodies” section, which included texts united by the motif of the song.

In a poem dedicated to music and singing, the two are closely intertwined. main themes– love and art. Fet uses the poetic form of romance for the work. Work, main plot which constitutes a love meeting in the garden, is written in the first person, in the form of a monologue-memory of love. Image of love-memories, over which time has no power, dominates the elegy.

In its compositional design, the poem “The Night Was Shining” is close to Pushkin’s “I Remember a Wonderful Moment...”. The work consists of 4 stanza-quatrains, each of which has its own sound signature. The symmetrical composition divides the poem into two semantic parts: the first two stanzas are dedicated to the heroine’s first singing, the third and fourth stanzas tell about her repeated performance of the song many years later. The narration proceeds with increasing intensity, leading to the highest point of the plot - the last quatrain.

In the first part, a magnificent landscape sketch plays the role of exposition to the entire poem. Fet uses image of a moonlit night as a symbol of a love date. He creates a picturesque and expressive image using an oxymoron, emphasized by inversion ( "The Night Shined"), sound writing, alliteration. The repetition of the sound “l” conveys the lightness of moonlight, the tenderness and smoothness of its sliding rays. The repetition of the sounds “r” and “zh” helps the poet convey to the reader all the trembling and excitement of the heart. In the second stanza, the intensity of passions increases: repetitions of “z” and “t” create an incredible interweaving of feelings - exhaustion from love and the desire to live, love and cry. The poet affirms the identity of singing and the singer with love ( "That you are alone - love"). Love is the meaning of existence, it is true faith.

In the second part of the poem, the description of the landscape is limited to the phrase "in the silence of the night", A "hear" it is helped by the alliteration of the “sh” sound. The “vz” and “zv” scales used phonetically reproduce human breathing. Fet here identifies singing and the heroine not only with love, but also with life itself. Art and love are eternal, they are opposed "languorous and boring years". Two meetings and two singing in Fet’s interpretation are variants of one eternal event. The desire to love is emphasized by the refrain: “Love you, hug you and cry over you”.

Main motive and the idea of the work is the transformative power of art. For Fet, music is the basis of the universe, the quintessence of existence, and the poet was able to masterfully convey his feelings in verbal form. Iambic hexameter creates the general musical background of the poem, giving amazing flexibility to poetic speech. Fet uses cross rhyme with alternating female (in odd lines) and masculine (in even lines) rhymes. The poetic dictionary includes lexemes characteristic of the poet - sound, sigh, trembling, sobbing. The repetitions of sonorous “m”, “n”, “r”, and the open vowel “a” add special melody and musicality.

To create the figurative structure of the poem, the poet uses images from different spheres - nature ( night, dawn), music and singing ( piano, strings, voice, sounds), human feelings ( trembling hearts).

The poet penetrates into the element of the feeling of love, connecting together and "sob sounds", and love, and a woman. Music, art and love are phenomena of beauty, and the highest happiness for a poet is to believe in this beauty.

Analysis of the poem by A.A. Feta “Whisper, timid breathing...”

vocals: Vera Penkova
guitar: Ovsey Fol

The night was shining. The garden was full of moonlight.
We sat in the living room without lights.

That you alone are love, that there is no other love,

Years have passed. It's tedious and boring.
And here in the silence of the night your voice again,

That you are alone - all life, that you are alone - love,

***
This poem was written on August 2, 1877, when the poet was already in his sixth decade. It is directly dedicated to music and singing, and therefore the author refers it to the “Melodies” cycle. The poem “The Night Was Shining...” was created by the poet under the impression of one musical evening with friends and dedicated to Tatyana Andreevna Bers, married to Kuzminskaya, with whom Fet was at one time infatuated, and is a work of recollection dedicated to one of the brightest and happiest periods of Fet’s life . He was young and in love, enjoying life in the company of a girl who shared his feelings. And the memory of these romantic dates formed the basis of a poem filled with joy and peace, which, however, are seasoned with an acute sense of bitterness and the realization that nothing can be returned.
The girl sang at this evening, as she was a wonderful singer and studied music professionally. Kuzminskaya, the sister of L.N. Tolstoy’s wife, became the prototype of Natasha Rostova in the novel “War and Peace.” The history of creation is described in detail in the memoirs of T.A. Kuzminskaya (Bers) "My life at home and in Yasnaya Polyana." Here is its abbreviated version: “On one Sunday in May, quite a lot of guests gathered, among whom were Fet and his wife. After dinner, the men went to smoke in the office. As I remember now, I sang a gypsy romance, “Tell me why.” Everyone returned to the living room. I thought about not singing anymore and leaving, but it was impossible, since everyone insistently asked me to continue. Tea was served, and we went into the hall. This wonderful, large hall, with large open windows into the garden, illuminated by the full moon, was conducive to singing. Marya Petrovna came up to many of us and said: “You will see that this evening will not be in vain for the gobubchik Fet, he will write something this night.” The singing continued. It was two o’clock in the morning when we parted. The next morning, when We were all sitting at the round tea table, Fet came in, followed by Marya Petrovna with a beaming smile. Afanasy Afanasyevich came up and put a piece of paper written on next to my cup: “This is for you in memory of yesterday’s Eden evening.”
The piano was all open, and the strings in it were trembling...
For Fet, love is the only content of human existence, the only faith. A rush of passion is felt in the poem “The Night Was Shining. The garden was full of moonlight. They were lying..." At the beginning of the poem, the quiet picture of the night garden contrasts with the storm in the poet’s soul: The night shone. The garden was full of moonlight. The Rays lay at our feet in the living room without lights. The piano was all open, and the strings in it trembled, Just like our hearts for your song. Nature and love are interconnected in Fet's poems. These concepts are related, and they express the essence of being. When these concepts merge into a single whole, pristine beauty is born.
A. A. Fet is a singer of the night, illuminated from within, harmonious, trembling with myriads of lights.
The poem by A. A. Fet served as excellent material for the romances of many Russian composers: Tchaikovsky, Rachmaninov... According to Saltykov Shchedrin, Fet’s romances “are sung by almost all of Russia.” The poetic world of the poem is romantic and original. This work has the extraordinary power of penetration into the element of the feeling of love.
The love lyrics of A. A. Fet make it possible to better understand his general philosophical as well as aesthetic views, to look into the world of his soul and experiences. I want to turn to his melodic poems again and again, to be filled with them, to let this simple beauty into my soul, to become better, richer and purer.

You sang until dawn, exhausted in tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

The night was shining with the moon and the garden was full. "The night was shining

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