Impressionism and landscape lyrics by A.A. Feta "Poet - Artist"

In the works of A. A. Fet

Afanasy Afanasyevich Fet (1820-1892) is one of the outstanding lyricists of the 19th century, a representative of late Russian romanticism. Fet's work is usually attributed to the romantic movement. As mentioned above, in romanticism there are often inclusions and entire layers of impressionism; this trend did not bypass Afanasy Afanasyevich. Fet's poetic position was interpreted incorrectly for a long time. He was considered a “priest of pure art,” but, however, if we turn to his work, even Fetov’s programmatic statement: “I myself don’t know what I will sing - but only the song knows,” should be understood not as a poetic “whim,” but as the poet’s responsiveness to changes in the world around him. The public's attitude towards Fet's work was very ambiguous, and, for the most part, his work in non-literary, philistine circles remained underestimated. And this is the first small point that makes him similar to the French impressionists.

Open your arms to me,

Dense, spreading forest!

So that in the face and in the hot chest

Your sigh flowed like a cold wave,

So that I too can breathe sweetly;

Let me touch you with my lips and eyes

At the roots I have the key to water!

(“The sun lowers its rays into a plumb line...”, 1863) 11

Peculiarities of the themes of A. Fet's poetry

RESPONSE PLAN

Question 29. The main motives of A. A. Fet’s lyrics.

A. A. Fet

1. A word about the poet.

2. Features of the themes of A. Fet’s poetry.

3. Impressionism in the lyrics of A. Fet.

4. Musicality of A. Fet’s poetry.

5. A. Fet about the vocation of a poet.

1. In Russian poetry it is difficult to find a poet more “major” than Afanasy Afanasyevich Fet (1820-1892). This is the poetry of life-affirming power, with which every sound is filled with pristine freshness and fragrance. Fet's poetry is limited to a narrow range of topics. It lacks civic motives and social issues. The essence of his views on the purpose of poetry is to escape the world of suffering and sadness of the surrounding life - immersion in the world of beauty. It is beauty that is the main motive and idea of ​​​​the work of the great Russian lyricist. Beauty, revealed in Fet's poetry, is the core of existence and the world. The secrets of beauty, the language of its consonances, its many-sided image are what the poet strives to embody in his creations. Poetry is the temple of art, and the poet is the priest of this temple.

The heart flutters joyfully and painfully,

Eyes are lifted and hands are raised,

Here I am on my knees, as if involuntarily,

As always, before you, poets.

The main themes of Fet's poetry are nature and love, as if fused together. It is in nature and love, as in a single melody, that all the beauty of the world, all the joy and charm of existence are united. In 1843, Fet’s poem appeared, which can rightfully be called his poetic manifesto:

I came to you with greetings

Tell me that the sun has risen

What is it with hot light

The sheets began to flutter;

Tell me that the forest has woken up,

All woke up, every branch,

Every bird was startled

And full of thirst in spring;

Tell me that with the same passion,

Like yesterday, I came again,

That the soul is still the same happiness

And I’m ready to serve you;

Tell me that from everywhere

It blows over me with joy,

That I don’t know myself that I will

Sing - but only the song is ripening.

Three poetic subjects - nature, love and song - are closely interconnected, penetrate each other, forming Fetov’s universe of beauty. Using the technique of personification, Fet animates nature, it lives with him: “the forest woke up”, “the sun rose... fluttered”. And the poet is full of thirst for love and creativity.

The poet’s impressions of the world around him are conveyed in vivid images:

A fire blazes in the forest with the bright sun,

And, shrinking, the juniper cracks;

A choir crowded like drunken giants,

Flushed, the spruce tree staggers.

A strange picture... One gets the impression that a hurricane is raging in the forest, shaking the mighty trees, but then you become more and more convinced that the night depicted in the poem is quiet and windless. It turns out that it is just the glare from the fire that gives the impression that the trees are shaking. But it was precisely this first impression, and not the giant spruce trees themselves, that Fet sought to capture in his poem. Fet deliberately depicts not the object itself, but the impression that this object makes. He is not interested in details and details, he is not attracted to motionless, complete forms, he strives to convey the variability of nature, the movement of the human soul. This creative task is helped to be solved by unique visual means: not a clear line, but blurred contours, not color contrast, but shades, halftones, imperceptibly turning into one another. The poet reproduces in words not an object, but an impression. We first encounter such a phenomenon in literature in Fet’s poetry. (In painting, this direction is usually called impressionism.) Familiar images of the surrounding world acquire completely unexpected properties. And although Fet’s poems contain a lot of very specific flowers, trees, and birds, they are depicted in an unusual way. And this unusualness cannot be explained only by the fact that Fet widely uses personification:

The last flowers were about to die

And we waited with sadness for the frost...

Flowers look with the longing of a lover,

Sinlessly pure, like spring...

Fet does not so much liken nature to man as fill it with human emotions, since the subject of his poetry is most often feelings, and not the phenomena that cause them. Art is often compared to a mirror that reflects reality. Fet in his poems depicts not an object, but its reflection; landscapes, “overturned” into the choppy waters of a stream or bay, seem to double; motionless objects vibrate, sway, tremble, tremble:

Over the lake a swan reached into the reeds,

The forest overturned in the water,

With the jagged peaks he sank at dawn,

Between two curving skies.

The meeting of lovers by the pond in the poem “Willow” is so trembling that, afraid to look at his beloved, the young man peers at her reflection in the water, and just as her reflection trembles and flickers, the excited soul of the lovers trembles.

In this mirror under the willow tree

You caught my jealous glance

Lovely features...

Softer is your proud gaze...

I'm shaking, looking happy,

Just like you tremble in the water.

Fet's poems are saturated with aromas, the smell of herbs, “fragrant nights”, “fragrant dawns”:

Your luxurious wreath is fresh and fragrant.

You can smell the incense of all the flowers in it...

For Fet, sometimes it is not so important to trace the development of feelings or events as to capture a fleeting state, stop a moment, delay it:

Every bush was buzzing with bees,

Happiness weighed on my heart,

I trembled, so that from timid lips

Your confession did not fly away.

………………………………………..

I wanted to talk - and suddenly,

Scaring with an unexpected rustle,

At your feet, on a clear circle,

A golden bird flew away.

With what timidity of love we

Hold your breath!

It seemed to me that your eyes

They begged her not to fly away.

The hero seeks to prolong the moment preceding recognition, when the inexpressible feeling is clothed in verbal form.

But sometimes the poet still manages to stop the moment, and then the poem creates a picture of a frozen world:

The mirror moon floats across the azure desert,

The steppe grasses are covered with evening moisture,

The speech is abrupt, the heart is again more superstitious,

Long shadows in the distance sank into the hollow.

Here, each line captures a brief, complete impression, and there is no logical connection between these impressions.

But in the poem “Whisper, timid breathing...,” the rapid change of static pictures gives the verse amazing dynamism, airiness, and gives the poet the opportunity to depict the subtlest transitions from one state to another:

Whisper, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

In the smoky dots there is a purple rose,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

Without a single verb, only with short descriptive sentences, like an artist with bold strokes, Fet conveys an intense lyrical experience. The poet does not depict in detail the development of relationships in poems about love, but reproduces only the most significant moments of this great feeling.

Impressionism in the lyrics of A. Fet. - concept and types. Classification and features of the category "Impressionism in the lyrics of A. Fet." 2017, 2018.

Impressionism in A. Fet's poetry and painting

Vernissage lesson

Goals and objectives:

introduce students to the complex world of Fet’s poetics, show the features of A. Fet’s poetic talent;

identify impressionistic techniques associated with the creation of poetic images;

learning to analyze a lyrical work;

development of monologue and dialogic speech of students, their creative abilities, attention to the word, its expressive capabilities;

acquaintance with impressionism as an artistic movement, showing the interaction of painting and poetry.

Decor:

exhibition of reproductions of paintings by impressionist artists (C. Monet, Renoir, Grabar, Korovin, etc.), poems by A. Fet; presentation.

recording of R. Pauls' song "Vernissage".

Lesson assignments:

prepare an expressive reading of Fet’s poems about nature;

analyze the poem “Whisper, timid breathing...”, based on the questions: What is the peculiarity of the syntactic structure of the poem? Is it static or dynamic in nature? What is the author's attention focused on: on objects of the external world or on the feelings and experiences associated with them? What is this poem about? Determine its topic.

Individual tasks – prepare messages and multimedia presentations

1. the emergence of impressionism in painting and its features;

2. K. Korovin as a representative of Russian impressionism;

During the classes:

He is in a world of dreams and dreams,

Loving the play of rays and shadows,

Noticed the fugitive features

Elusive sensations

Elusive beauty.

A.M. Zhemchuzhnikov

The musical epigraph of the lesson is the song “Vernissage”.

Our vernissage is quite unusual: it presents not only works of painting, but also poetry. What unites them is a special view of the world, the subjective perception of reality by their authors, based on fleeting impressions, instantaneous and random snapshots of memory.

Let's look at one of the exhibits at the exhibition. This is A. Fet’s poem “Whisper, Timid Breathing...”, published in 1850 and later revised by the author.

Reading a poem by heart.

For a century and a half, the poem was the subject of study, controversy, caused the most controversial opinions and, in fact, became a kind of Fet’s calling card.

Let's try to penetrate the secret of this very original poetic miniature.

Educational conversation with elements of poem analysis.

From the very beginning, the poem amazes with its unusualness.

What are the features of the syntactic structure of the poem?

All 12 lines are one complex sentence consisting of 13 parts. All parts are nominal sentences, among them there are also uncommon ones.

Is the poem static or dynamic in nature?

Based on the peculiarities of the syntactic structure of the poem, many researchers believed that it was static.

But is it? What are the dynamics?

Change of pictures, states, movement of time. Usually movement is indicated by a verbami. Fet is unconventional. In the poem, movement is concentrated in nouns: whispering, breathing, trills, swaying, light, shadows - all these are designations of actions, changing phenomena that directly speak of the movement of the poem (“a series of magical changes in a sweet face”). And finally, the last line “And dawn, dawn!” cannot be perceived except in motion simply because the sun, rising above the horizon, cannot stop.

What is the author's attention focused on: on objects of the external world or on the feelings and experiences associated with them?

Despite the abundance of named objects and phenomena, the poem cannot be called substantive. This is the most unexpected and surprising thing. Fet's objects seem to be non-objective. They do not exist on their own, but as signs of feelings and states. By naming this or that thing, the poet evokes in the reader not a direct idea of ​​the thing itself, but those associations that may be associated with it. The main semantic field of the poem is between the words, behind the words.

What is this poem about? Determine its topic.

Behind the words, the main theme of the poem develops - love. The feeling itself is not even named. The most subtle feeling, inexpressible in words, inexpressibly strong. No one had written about love like this before Fet.

Fet's poetic style, as revealed in the poem “Whisper, Timid Breathing...”, is called impressionistic.

Let's turn to the explanatory dictionary.

Impressionism (French impression) is a movement in literature and painting that emerged in the second half of the 19th century. first in France and then in other countries. The impressionists sought to convey immediate impressions, the smallest shades of personal experiences, sensations, and moods.

Impressionism as an artistic movement arose and was formed in painting. Let's turn to our art experts for help.

Student reports, presentations:

1. The emergence of impressionism and its features;

2. K. Korovin as a representative of Russian impressionism.

The main features of perception and depiction of the surrounding world, characteristic of the impressionists, are named. They are formulated more specifically and fully on information sheets.

After listening to the students' messages, can we supplement them with anything by turning to the information sheets?

(Brushstroke technique; decomposition of light into its main components: red, yellow, blue; fusion of genre painting with landscape painting.)

In your opinion, are any techniques of pictorial impressionism applicable when creating lyrical works and poetic images?

(Using the information sheet, students name some of the listed features of impressionism, the use of which is possible in poetry.)

As in painting, impressionism in poetry is the depiction of objects not in their integrity, but as if in instantaneous and random snapshots of memory. Objects are not so much depicted as recorded. Individual fragments of phenomena pass before us (hence the fragmentation of the composition), but these same fragments, taken together, perceived together, form an unexpectedly integral and psychologically very reliable picture. It turns out approximately as described by L.N. Tolstoy: “You look at how a man seems to smear paints indiscriminately, and these strokes seem to have no relationship with each other. But if you go some distance away and look, you get a complete impression.”

This is said about a work of painting, but the same can be applied to a poetic work created according to the laws of impressionism. Specifically, this can be applied to many of Fet’s poems.

When talking about impressionism in Fet’s poetry, we primarily mean his landscape lyrics.

Expressive reading by students of A. Fet’s poems(“Willow”, “In the moonlight”, “The rye is ripening under the hot field...”, “This morning, this joy...”, “It’s still a May night”).

Perhaps one of the most striking impressionist paintings created by Fet can be found in the poem “Above the lake a swan stretched into the reeds...”.

Reading of the poem by the teacher, followed by a teaching conversation with elements of analysis of the poem on the questions of the information sheet.

As a result of the conversation, the following should be clarified:

The poem does not contain a consistent, complete description of the surrounding world. It seems to be fragmented, falling apart into small fragments: a lake, a swan swimming in the reeds, a coastal forest, evening, a river, the approaching night. These are fleeting impressions snatched from the surrounding reality.

The mobility of the life of nature is reflected primarily in the flow of time: at the beginning of the poem it is evening (“evening shadows have fallen,” “evening path”), then night comes (“the stars have already begun to flicker in the skies”). The swan is moving; “Shining with scales,” the river runs quickly, “like a golden serpent”; the motley flag flutters; the feelings and sensations of the lyrical hero are replaced, i.e. a dynamic picture has been created.

The state of nature is not always in harmony with the feelings of the lyrical hero, the life of his heart. First - a feeling of harmony: evening comes, silence, peace, serenity and the hero’s state (“we were carried in the boat, like in a cradle”). Then - dissonance: with the onset of night comes not sleep, but an explosion of feelings (“I don’t remember how I threw the oar”, “I don’t remember... where we were carried”).

The vocabulary of color in the poem is interesting: only one adjective is used - golden, in other cases nouns and even a verb are used. The perception of the color palette is designed for our associative imagination: lake, sky - blue, blue, reeds, forest - green, swan - white, river, “golden serpent” - gold, yellow, blushing - red.

The most interesting image of the first stanza is the forest. Fet captures it from an unexpected angle: “the forest has overturned.” We see not the forest itself, but its reflection in the lake, the blue surface of which is compared to the heavens.

The poem is unfinished. The incompleteness and openness of the finale is consistent with the aesthetics of impressionism: the subject of the image is a moment of life, followed by others. Incompleteness and vagueness are characteristic not only in the transmission of images of the external world, but also in the transmission of feelings and sensations.

A. Grigoriev wrote about Fet’s poems: “The feeling in some of Fet’s poems does not seem to mature to complete completeness and clarity - and clearly the poet himself did not want to bring it to such a definite, publicly accessible state.” But it was precisely in such a “fluctuating” image that, according to the critic, some “new, yet unknown opportunity to reveal that whimsical logic of human sensations that cannot be revealed in any other way” opened up.

Fet himself persistently emphasized another feature of his poetic world: in his poems there is no need to look for “so-called content”; in them, tone and music are more important than thought. The “objective” element of lyrical creativity (what the poet writes about) in this case becomes only a reason for emotional experience and takes on a random, “disheveled”, illogical character.

Let's look at another exhibit from our exhibition:

What sadness! End of the alley

Again in the morning he disappeared into the dust,

Againsilver snakes

They crawled through the snowdrifts.

I invite students to “decipher” the poetic image of “silver snakes.”

Dark paths in white snowdrifts? Sleigh track? Or perhaps traces of drifting snow swirling between the snowdrifts? We can find a discussion on this matter from N. Aseev, a poet of the 20th century: “Silver snakes” seemed to V. Bryusov like garden paths in deep snow. I imagined them as writhing ribbons of dry snow dust raised by drifting snow.”

For Fet, this, in essence, does not matter. “Silver Snakes” is not at all the subject of a poetic image, it is only a starting point for expressing feelings, evidence of a state of mind. These signs of mental state can change, as a person changes, “flows”, as his feelings develop. That is why in Fet’s poems there are so frequent direct enumerations of details, changing and disappearing images, united by the integrity of the poetic impulse (as in the poem “Whisper, timid breathing ...”).

A change in details also reinforces a change in mood. In this regard, the poem is interesting“On the chair, falling back, looking at the ceiling...”

The details are apparently random, taken by surprise by a sudden feeling, but these details cannot be replaced by any others. They contain the limit of that poetic inspiration, which Pushkin called “the disposition of the soul to the liveliest acceptance of impressions.”

Throughout his work, Fet felt the impossibility of purely verbal means to convey all the depth and richness of his own, and indeed the human inner world, his elusively musical feelings, impressions, experiences.

I read Fet's poem“How poor our language is...”I pause so that the students have the opportunity to think about its content.

In some difficult to explain way, Fet knew how to overcome this “poverty”, going beyond the boundaries of poetry in his poems, becoming a poet-artist, poet-musician, causing delight, bewilderment, reproaches, and misunderstanding among readers.

A peculiar controversy arose between Fet and Polonsky in connection with the poem “Cuckoo”. One of the epithets seemed unfortunate to Polonsky.

Let's carefully read this poem and try to determine the appropriateness of using which of the epithets, in your opinion, could raise doubts in Polonsky?

Students express their assumptions and justify them. It is likely that the sought-after epithet “golden coo-coo” will also be named.

From a letter to Fet: “For the life of me, I don’t understand how “peek-a-boo” can be golden?”Fet replied to Polonsky: “Both the Romans and the Russians readily call everything expensive and bright gold, and I could, hugging you, ... exclaim: “my gold,” without at all wanting to say that you were gilded through fire or with the help of electroplating.”Polonsky Fetu:“My dear - dear, golden Afanasy Afanasyevich! That the epithet my golden can be applied to the people you love, I proved this to you at the beginning of my letter. You can even say golden dog – i.e. It’s amazing how he searches for game and barks at thieves at night - but one can hardly say “golden song” or “golden cuckoo!”

In this curious dialogue, Polonsky is too straightforward, does not want to take into account the polysemanticism of the word and the diversity of the image, the associativity of perception, with what constitutes the originality of Fet, who strives to express a feeling in words and instill this feeling in others. Thanks to the expressive epithet, the expressiveness of the image “like gold, peek-a-boo” turns into its impressiveness. Most likely, the aesthetically sensitive Polonsky showed insensitivity in this case.

At the end of the lesson, we will conduct a small experiment. Try to guess who owns the poem that I am about to read. Pay attention to vocabulary, poetic images and the manner of their creation.

The nights flowed - the stars trembled into the abyss

scattered their rays...

Tears fell, love sobbed, and blushed

Hot dawn, and those dreams that are in the heart

we secretly cherished

The trill of the nightingale carried - and made a noise like a storm

The seas of angry waves - thoughts were ripening, and -

flew

Gray gulls...

Most likely, the students will name Feta.

Please justify this assumption.

(Vocabulary characteristic of Fet can be noted: night, the tremulous radiance of stars, the trill of a nightingale, tears; “bold” images: the nights flowed, love wept, the red of the hot dawn; lack of plot; impressionistic manner of depiction; fragmentation.)

All this is certainly present in the poem. But this is not Fet. It may seem strange and unlikely, but its author is Polonsky. He dedicated this poem to Fet on his fiftieth birthday and wrote it in the artistic manner of the addressee, creating a unique stylization. The author managed to express the very essence of Fetov’s poetics in a brilliant artistic form.

Fet's poetry in many ways anticipated the artistic quest of poets who entered literature at the turn of the century - 19th and 20th (V. Solovyov, V. Bryusov, A. Blok, A. Bely) - and at a later time (S. Yesenin, B. Pasternak , N. Rubtsova). Fet influenced Russian poetry with his pristine freshness of paintings, feelings, thoughts, his stylistic system, and a special structure of artistic means and techniques, including impressionist ones.

The words of L.N. Tolstoy turned out to be prophetic, who, in a letter to Fet dated January 27, 1878, noted that the radiance from his poems was very distant.

Homework:Using the lesson material, formulate in writing the features and techniques of impressionism in Fet’s lyrics. From this point of view, analyze one of the poems about nature.

Information leaflet

Artistic features of impressionism:

mobility, variability, fleetingness of impressions;

imbalance, fragmentation of the composition;

an unexpected point of view on the world, unconventional angles, cross-sections of figures;

creating the impression of a sparkling sunny day;

richness of colors in the depiction of nature;

the dissolution of volumetric forms in the vibration of light and air, which gives the image

elusive, mysterious, blurry character;

great emotionality, subjectivity of the image.

Over the lake a swan reached into the reeds,

The forest overturned in the water,

With the jagged peaks he sank in the water,

Between two curving skies.

And in the air there is a slightly tired chest

I was breathing comfortably. Lay down

Evening shadows. - My evening journey

Blushing between the trees in the distance.

And we, we sat on the boat together,

I boldly leaned on the oar,

You silently and submissively controlled the steering wheel,

We were carried in the boat as if in a cradle.

And the child's boat was guided by a hand

There, where glistening with scales,

There's a fast river along the sleepy bank

She ran like a golden snake.

The stars have already begun to flicker in the skies...

I don't remember how I threw the oar,

I don’t remember what the motley flag whispered,

Where the stream carried us!

Is the description of the external world consistent, holistic, or are these fleeting impressions snatched from the surrounding reality by the will of the author?

Name the images associated with the material, objective world.

Show mobility and variability in the life of nature. Is the image of nature always in harmonious unity with the life of the human heart, or can dissonance be noticed?

Name the color vocabulary in the poem. Have you noticed the play of light and shadow? If so, what color does this give to the image of nature?

Do images of nature and experiences have completeness in development? Is the entire poem complete? How does this relate to impressionist aesthetics?

Full name Chikrina Vera Alexandrovna

Place of work, position Municipal educational institution Secondary School No. 12 with in-depth study of the English language in the city of Chistopol, Republic of Tatarstan, teacher of Russian language and literature of the highest qualification category

Mailing address 422981 Tatarstan, Chistopol, st. Engelsa, 123, apt. 4

Email address vera - chikrina @ yandex . ru

Used teaching aids Unfortunately, city schools, including the one where I work, do not have a wide selection of teaching aids. The teacher is often forced to rely on those available in the school library. For grades 5-9 this is a set edited by V.Ya. Korovina, in the 10th grade I use Lebedev’s textbook, in the 11th grade Chalmaev. In high school, I use textbooks sporadically, because... do not contain the required material. Very often I prepare handouts myself, information sheets, task cards, I recommend books and manuals to students that can be used to prepare for the lesson, and I give individual assignments.

Brief description of teaching experience

I grew up in a family of teachers, but when I entered the university to study at the Faculty of Philology, I didn’t seriously think about working at school... And now I’ve been living according to the school schedule for more than twenty years. School is the source of my joys and sorrows, small victories, inspiration and desire to work. I feel in demand by my colleagues, my students, their parents... By and large, I am doing what I love: there is an amazing world of literature and culture around me, which I am still interested in, which I try to teach my students to understand and love.

I am sure that many, like me, are haunted by the thought of how to successfully achieve the transfer of “all moral and mental principles from one generation to the next generation” (A.S. Khomyakov), i.e. how to make a school (not one, not two, not a dozen, but our domestic school in general) the way it should be. How to ensure that the subject, which I consider, not only due to passion, to be perhaps the most important - literature - is taught at the proper level.

A variety of teaching materials, numerous methodological developments and recommendations, and the Internet provide rich material for reflection, personal searches and findings, but in general do not solve the problem of moving school humanities education to a qualitatively new level.

Experience shows that a more successful teacher is one who in his practice is not limited to “standards”, uses curriculum and teaching materials in a varied manner, and actively implements his own developments.

I consider the broad integration of academic disciplines in teaching the Russian language and literature to be a distinctive feature of my teaching experience.

First of all, this is a convergence in the school study of the Russian language and literature, which is designed to help students understand the connection between language and literature, to perceive a work of art as the result of the creative use of language, as the art of words, as a norm and example of language proficiency.

There are great opportunities for work in this direction literature lessons, helping to clarify the very essence of language and literature, their organic connection. I have been practicing such lessons for several years, starting in the 8th grade, and most actively use their capabilities when studying a literature course in the 10th grade. Here are the topics of some of them: “Features of the speech organization of a literary text”, “Expressive possibilities and the role of proper names in the text of a work of art” (based on the novel “Oblomov” by I.A. Goncharov), “The role of landscape and the means of its creation in the novel I .WITH. Turgenev “Fathers and Sons”, “Poetics of Dreams in the Novel “Crime and Punishment”

Analysis of the episode “Dream of Killing a Horse”, etc.

Such lessons help to realize the beauty of language, its inexhaustible possibilities in expressing any thought, any feeling, enrich the philological knowledge of students, allow them to learn the laws of using various styles of speech, and actively use the riches and capabilities of language in their own statements. I proceed from the fact that along with practical literacy in modern life, speech literacy is also necessary - the ability to coherently and adequately express one’s thoughts, to construct communicatively expedient statements in oral and written form (this is what the task of part C of the new form of final certification - the Unified State Exam) focuses on. .

At the same time, the children acquire literary skills and learn to understand the meaning of a work through its language. When reading a work of art, the student masters the author's thought through the verbal fabric, going from the word, from the verbal organization of the work to the image, composition, plot, idea. This is how the most important reading skill is formed - to understand the content of an artistic form. This approach reveals the beauty of the literary word and helps you fall in love with reading.

Experience in this direction was summarized by the city department of education in 2004 in the brochure “Literature Lessons”, which received reviews from associate professors of the department of teaching Russian language and literature at the Institute of Pedagogical Education of the Republic of Tatarstan, Kazan G.Kh. Akhbarova and T.O. Skirgailo. Literature lessons were repeatedly presented at city and regional seminars for teachers of Russian language and literature. Comparative analysis of texts at the lexical and semantic level formed the basis for the development of a literature lesson in grade 10 “The Image of St. Petersburg in the works of A.S. Pushkin and A. Grigoriev”, published in the collection “Features of teaching Russian language and literature in modern schools”: Materials of a scientific-practical conference. – Moscow-Kazan: RIC “School”, 2004.

In psychology, there are three stages of understanding a text: first, I read the text and did not understand everything in it; second - I read the text and understood only what is in it; third - I read the text and understood even what was not in it. A talented reader always tries to rise to the third level of understanding the text, that is, read not only the text, but also the subtext, “between the lines.” Such a reading is possible only if the work is considered in a broad cultural and historical context, therefore it turns out to be very appropriate and productive to involve history, philosophy, local history, painting, architecture, sculpture, music, theater, cinema, computer science, i.e. use of meta-subject connections.

I consider the most successful and interesting in my practice to be the development and conduct of just such lessons; they are remembered for a long time by students, because they update their knowledge acquired in lessons in other disciplines, broaden their horizons, introduce them to culture in the broad sense of the word, of which are both language and literature.

A specific topic of a lesson can be included in a single larger topic related to the study of not only domestic but also world culture, for example: an extracurricular reading lesson in the 7th grade “The Image of Ivan the Terrible in Literature and in Painting”, literature lessons in the 9th grade “Classicism in the World” culture”, in the 10th grade “Impressionism in painting and in the poetry of A. Fet”, in the 11th grade “Intellectuals and revolution”, etc.

The ability to use multimedia technologies in the classroom gives a lot to the teacher and students. Self-created presentations, slide films, interesting material found on the Internet - all this enriches the lesson, diversifies the forms of its implementation, and contributes to the formation of practical skills in students. Presentations prepared by students on various topics become teaching aids that can be used in other lessons.

In his poems, A. Fet wrote about the simplest things - about pictures of nature, about rain, about snow, about the sea, about mountains, about forests, about stars, about the simplest movements of the soul, even about momentary impressions. His poetry is joyful and bright, it is characterized by a feeling of light and peace. Beauty,...

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   Afanasy Fet is one of the outstanding Russian poets of the 19th century. The heyday of his work came in the 1860s - a period when there was an opinion that the main purpose of literature was to depict complex social phenomena and social problems....

Most of all, Fet becomes close to Turgenev. Fet's first acquaintance with Turgenev took place in May 1853 in Volkovo. Then Fet, at the invitation of Turgenev, visited his estate Spasskoye-Lutovinovo, where Turgenev was in prison by government sentence...

Fyodor Ivanovich Tyutchev, a nobleman, was a diplomat, 22. He served abroad, but he remembered Russia, which is why many of his poems are about Russian nature: “Why are you crying over the waters of Willow, bowing your head and with trembling leaves, as if with greedy lips, you are catching a runaway stream.”...

Others have inherited from nature a prophetically blind Instinct: They smell, hear the waters And in the dark depths of the earth. Beloved by the great mother, Your destiny is enviable a hundredfold: More than once, under the visible shell, You have seen it. F.I. Tyutchev Afanasy Afanasyevich Fet was...

Stranger to everyone, With everyone in the world - Such is the poet. Your lot in the world! A. Fet The biography of a poet is, first of all, his poems. This fully applies to Afanasy Afanasyevich Fet. By his poems one can judge not only his affections and friends...

The poetic position of Afanasy Afanasyevich Fet (1820, Novoselki, Oryol province - 1892, Moscow) was interpreted incorrectly for a long time. Fet was considered a “priest of pure art”, however, if we turn to his work, even Fet’s programmatic statement: “I myself don’t know what I will sing - but only the song knows” - can be understood not as a poetic “whim”, but as responsiveness poet on changes in the world around him. The poetic instrument is very sensitive; any fluctuation in nature, change in the state of the soul will immediately respond in poetry. Feta the poet is led forward by the impression of the world around him, this impression is conveyed in living images to the person reading his poems. Based on the impression, he creates a whole bright, rich world around the reader.

The poet’s art has magical power, it subdues a person, guides him through everyday adversity: “Carry my heart into the ringing distance, Where, like a moon behind the grove, there is sadness: In these sounds, the smile of love gently shines on your hot tears.

O child! how easy it is, among the invisible swells, to trust me in your song.”

(“To the Singer”, 1857) The purpose of the poet is to embody the unembodied, to be a connecting link between disparate parts of the world and human souls: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s as your own, Whisper about something before which the tongue is numb, Intensify the battle fearless hearts - This is what only a chosen singer possesses, This is his sign and crown! (“With one push to drive away a living boat...”, 1887) Fet is also known as a singer of nature. Indeed, nature in his poems is subtly captured, the poet notices the slightest changes in it: “Night light, night shadows, Shadows without end, A series of magical changes in a sweet face.

In the smoky clouds there is a purple rose, A reflection of amber, And kisses, and tears, and dawn, dawn!..” (“Whisper, timid breathing...”, 1850) Fet in his verse plays on every string of the soul, making them sound beautiful music. Changes in the “sweet face" and changes in nature - such parallelism is typical of Fet’s poems. Fet, seeing the beauty of the world, tries to preserve it in his poems. I think that the poet introduces this connection between nature and love because to express his feelings and impressions can only be made by talking about the beautiful and eternal, and love and nature are the two most beautiful things on earth, and I don’t know anything more eternal than nature and love. Expressing his impressions, he increases the acuity of perception several times by introducing this link.

Not only the state of nature is reflected in the state of the human soul. Nature and people are components of a single world, and through nature a person understands himself better, describing it, he can more fully express his own psychological state. But nature is eternal, the trees “will remain with their cold beauty to frighten other generations” (“Pines”, 1854), and man is mortal, and yet he can learn from nature perseverance, hope for the best: “Don’t trust spring. Genius will rush through it, Again breathing warmth and life.

For clear days, for new revelations, the grieving soul will recover."

(“Learn from them - from the oak, from the birch”, 1883) The combination of several of the most important motifs of Fetov’s lyrics can be traced in the following poem: “What sadness! The end of the alley Again in the morning disappeared into the dust, Again silver snakes crawled through the snowdrifts.

There is not a shred of azure in the sky, In the steppe everything is smooth, everything is white, Only one raven flaps its wings heavily against the storm.

And it doesn’t dawn on the soul: It’s the same cold that’s all around.

Lazy thoughts fall asleep Over dying labor.

And all the hope in the heart is smoldering, That, perhaps, even by chance, Again the soul will become rejuvenated, Again the dear one will see the land, Where storms fly by, Where the passionate thought is pure - And spring and beauty are only visibly blooming for the initiated.”

(1862) The picture of nature (winter, silver snakes of drifting snow, gloomy sky) is at the same time, as it were, a picture of the human soul. But nature is changing, the time will come when the snow will melt and, the lyrical hero hopes, “the soul will become younger again.” And besides, art is that “native land” where there are no storms, where “spring and beauty bloom.”

A.A. Fet was one of the founders of Russian impressionism, which appeared as a style in Europe at the end of the 19th century. His works influenced not only Russian but also world culture.

Fet's influence is clearly visible if we consider the work of poets and artists of the 20th century. Among the authors of the early twentieth century, Blok can be distinguished. His poetry is very similar to Fet's poetry. Especially Blok’s poem “Autumn Will” reminds me of Fet, although the surrounding reality wedges more into this work.

Before I read Fet for the first time at the age of twelve, I had been to many painting exhibitions, but I did not understand the section reserved for the impressionists. After reading Fet, I was able to understand the meaning of this direction, its ideas, tasks, which expanded my horizons and forced me to change my views on some things.