Open your arms to me, Dense, spreading forest! The realism movement in Russian art of the 19th century was so powerful that all outstanding artists experienced its influence in their work. In the poetry of A. A. Fet, this influence of realism was especially evident in poems about nature. Fet is one of the most remarkable Russian landscape poets. In his poems, the Russian spring appears in all its beauty - with blooming trees, the first flowers, with cranes calling in the steppe. It seems to me that the image of cranes, so beloved by many Russian poets, was first depicted by Fet. In Fet’s poetry, nature is depicted in detail. In this regard, he is an innovator. Before Fet, generalization reigned in Russian poetry addressed to nature. In Fet's poems we meet not only traditional birds with the usual poetic aura - like a nightingale, a swan, a lark, an eagle, but also such simple and unpoetic ones as an owl, a harrier, a lapwing, a swift.

For example: And in a dewy setting I hear corncrakes croaking in a low voice - It is significant that here we are dealing with an author who distinguishes birds by their voice and, moreover, notices where this bird is located. This, of course, is not just a consequence of a good knowledge of nature, but the poet’s love for it, long-standing and thorough. Apparently, when working on poetry about nature, the author must have extraordinary taste. Because otherwise he immediately risks falling into imitation folk poetry, which is replete with such options.

S. Ya. Marshak is right in his admiration for the freshness and spontaneity of Fetov’s perception of nature: “His poems entered Russian nature, became its integral part, wonderful lines about spring rain, about the flight of a butterfly, soulful landscapes.” In my opinion, Marshak accurately noticed and another feature of Fet’s poetry: “His nature is as if on the first day of creation: thickets of trees, a light ribbon of a river, a nightingale’s peace, a sweetly murmuring spring... If annoying modernity sometimes invades this closed world, then it immediately loses its practical meaning and acquires a decorative character." As an important facet of Feta the landscape painter, I would like to note his impressionism. The impressionist does not shy away from the outside world; he vigilantly peers into it, depicting it as it appears to his immediate gaze. The impressionist is interested not in the object, but in the impression: You alone glide along the azure path; Everything around is motionless...

May the night pour down upon us with its bottomless urn myriads of stars. It is clear to the reader that the outside world is depicted here in the form in which the poet’s mood gave it. Despite all the specificity of the description of details, nature still seems to dissolve in Fet’s lyrical feeling. The poet’s nature is humanized like none of his predecessors. His flowers smile, the stars pray, the pond dreams, the birches wait, the willow is “friendly with painful dreams.” The moment of nature’s “response” to the poet’s feelings is interesting: ... in the air behind the nightingale’s song, anxiety and love are heard.

Leo Tolstoy wrote about this couplet: “And where does this good-natured fat officer get such incomprehensible lyrical audacity, a property of great poets?” One must assume that Lev Nikolaevich Tolstoy, at the same time “grumbling,” recognized Fet as a great poet. He was not mistaken. Fet is strong and in love lyrics. His landscape background came in handy in his romantic love poems.

I would say that he always chose only beauty as a theme for his poems - in nature, in man. The poet himself was sure: “without a sense of beauty, life comes down to feeding hounds in a stuffy, fetid kennel.” The beauty of its rhythms and landscapes will always decorate our lives.

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1. Loading... In his work, A. A. Fet (1820-1892) proceeded from the recognition of the high and enduring significance of poetry, sharply contrasting it with real reality, which seemed to him “a world of boredom...


2. Loading... 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 you turn...


3. Loading... A. A. Fet is deservedly and widely known as a subtle lyricist, a sensitive artist who created bright, unforgettable pictures of nature, reflecting the most complex experiences of the human soul. Feta lyrics are not...


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5. Loading... A. A. Fet is one of those Russian poets whose fame was not loud either during his life or after his death. He wrote in a non-poetic...

In his poems, the Russian spring appears in all its beauty - with blooming trees, the first flowers, with cranes calling in the steppe. It seems to me that the image of cranes, so beloved by many Russian poets, was first depicted by Fet.

In Fet's poetry, nature is depicted in detail. In this regard, he is an innovator. Before Fet, generalization reigned in Russian poetry addressed to nature. In Fet's poems we meet not only traditional birds with the usual poetic aura - like a nightingale, a swan, a lark, an eagle, but also such simple and unpoetic ones as an owl, a harrier, a lapwing, a swift.

“And I hear in the dewy voice

In another famous poem “Whisper, timid breathing...” The human condition develops parallel to the state of nature:

"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

Purple roses in smoky clouds

The reflection of amber

And kisses and tears,

And dawn, in vain!..”

There is not a single verb in the poem, and yet it is filled with movement. Fragmentary images (the life of the heart, the life of nature) fit together, like pieces of a mosaic, into a single picture. Fet does not describe the whole picture, but will give several precise strokes so that the “mixing of colors” into a single “tone” occurs in the reader’s imagination.

Many of Fet's works are devoted to the theme of spring(“The willow is all fluffy...”, “It’s still spring, as if unearthly...”, “What an evening! And the stream...”, “It’s still fragrant spring bliss...” and others). In them, as always with the poet, images of nature are compared with experiences and the psychological mood of a person.

Fet is strong and in love lyrics. His landscape background came in handy in his romantic love poems. I would say that he always chose only beauty as a theme for his poems - in nature, in man. The poet himself was sure " Without a sense of beauty, life comes down to feeding hounds in a stuffy, stinking kennel.".

Fet's lyrics allow us to perceive both nature and man in harmonious unity, in a totality of inseparable manifestations. The main thing is not the picture of the world around us, but the poetic feeling that it awakens in us. Nature is only an occasion, a means of expressing poetic thinking. It is no coincidence that Fet calls himself “an idle spy on nature.” For him, nature is not just a landscape, it is an atmosphere spread both inside and outside human life, permeating everything around.

Poetics. For the poet, everything that was close had special value. means of musical influence: rhythm, selection of sounds, melodies of poetry, techniques of musical composition.
In Russian literature of the 19th century there is no other poet with such a desire for the rhythmic individuality of his works - above all, with such a variety of strophic forms. The vast majority of his poems do not know strophic standards. Most of the stanzas he uses appear once in his poetry. Fet seems to want to find his own individual drawing, his own special musical harmony for each new poem.
Fet builds multi-line stanzas using doubled and tripled rhymes. He uses unusual alternating meters, achieves a special rhythmic effect, connecting long lines with very short ones.

Fet's rhyming methods are original. He rhymes odd verses, not even rhyming(“Like the news of a cloudless night...”, “They started playing the piano...”), leaves a couple of adjacent verses without rhyme, rhyming the neighboring pair (“Why are you, my dear, sitting thoughtfully...”).

Fet's poetry is characterized by combination of sound and rhythmic techniques.

A. A. Fet - criticism
Fet was favored by critics almost throughout his entire career. Already in the 40s of the 19th century Belinsky called Fet the most “gifted” Moscow poet.
Belinsky’s flattering reviews served as a good “start to life” for him. Fet was published in the most fashionable and popular magazines of that time - “Otechestvennye zapiski”, “Moskvityanine”, etc. Moreover, each new poem aroused delight among both readers and critics.
In the 50s the attention of literary critics was focused on works of a different order. The public was excited by socio-political ideas(about to be canceled serfdom), A Fet's poetics consisted of Nature and Love.
For a long time, Fet collaborated with Sovremennik, which was headed by Turgenev. Turgenev(together with critics V.P. Botkin and A.V. Druzhinin) “cleaned up” Fetov’s first collection and made Fet's poetry the battle banner of “pure art”. In connection, critics appeared who considered Fet a “dreamer”, divorced from reality.

Ticket number 12

Dostoevsky "Crime and Punishment". Epoch in literature. Reflection of the ideas of time. Conflict in the work, character system.

Epoch. The reform of 1861, in fact, abolished serfdom, which, of course, can be considered a benefit for the people. However, along with the abolition of serfdom, many equally important changes took place in society.

Firstly, Russia has finally embarked on the capitalist path of development. She very quickly began to move from one model of society to another. But the speed of transition turned out to be too high not to produce side effects. After all, Russia did in a decade what many European countries needed centuries to do. Moreover, ours is already the shaky economy has suffered another crisis.

All this gave rise to a huge wave of unemployment, prostitution and drunkenness. The problem of “sobriety” has acquired national significance. Most writers of that time, one way or another, addressed this problem. Fyodor Mikhailovich Dostoevsky put it most poignantly in his work “Crime and Punishment.”

Dostoevsky’s novel “Crime and Punishment” is a work dedicated to how long and difficult it was for the restless human soul to comprehend the truth through suffering and mistakes.

Crime is the very life of society, where the sinister power of money reigns, where everything is bought and sold and takes on a decent form of legal lawlessness - a society where almost everyone faces the need to “transcend” moral norms, Raskolnikov, Luzhin, Svidrigailov “transgressed” them in their own way.

Idea. The most difficult ideological struggle found its reflection on the pages of the novel. The theory of “strong personality”, the idea closest to the author about happiness through suffering, patience, faith. The bearers of these ideas were bright, amazingly polished images of Raskolnikov, Sonya, Luzhin, Svidrigailov, Lebezyatnikov. The author considered the theory of a “strong personality” to be a “sign of the times”, an expression of ideological and moral knowledge characteristic of a significant number of young people. In the first two parts of the book, the writer traces the conditions in which such an idea could arise.

Dostoevsky wrote a particularly subtle psychological portrait of Raskolnikov. He is a naturally gifted, honest and courageous person. The work of the hero’s thoughts is complex and contradictory, causing him a lot of suffering. He is painfully proud, proud, and considers himself an exceptional person. Raskolnikov is completely absorbed in the idea of ​​independently finding a way out of the social and spiritual dead ends of society.

So first there was the Word. Raskolnikova comes to the conclusion that there is a difference between two categories of people - “ordinary” and “extraordinary”. The first - the absolute majority - are material that “serves solely for the generation of their own kind,” people living in obedience. The second are “the people themselves” - those who have the gift or talent to say a “new word”. All of them are more or less criminals. Indeed, in science, art, and politics, every extraordinary person oversteps established norms. It is these people who are the future, they “move the world and lead to the goal.” Raskolnikov believes that in the name of their idea, in the name of the best, they have the moral right to crime, to blood, to murder.

2. After the Word comes Deed - the murder of an old woman. In addition to the moneylender, who was killed “according to plan,” Raskolnikov kills—“accidentally”—Lizaveta. “Accidentally” Mikolka takes the blame upon himself - another nearly ruined life. “Accidentally” because of her son’s crime, the hero’s mother goes crazy and dies. Raskolnikov is a matricide.

Dostoevsky does not show the moral resurrection of Raskolnikov, because that’s not what the novel is about. The writer’s task was to show what power an idea can have over a person and how terrible and criminal this idea can be.

Sonya. Raskolnikov turns to Sonya for help, but the “weak” and “unwise” Sonya does not understand his “lofty idea” and refutes it. It is Sonya who will become the salvation for Rodion’s soul. It destroys, destroys the uncertainty and confusion of his spirit. It is no coincidence that on the day of the resurrection of Rodion’s murdered soul, the theme of the sun sounds, which seemed to have gone out for him forever. Instead of nightmares - a spring morning. Instead of a coffin there is “a boundless steppe drenched in the sun.”

Character system. Other characters in the novel are depicted in such a way that, without losing much independent significance, they, each in their own way, “explain” the drama that unfolds in Raskolnikov’s mind between thoughts and soul. Raskolnikov becomes the spiritual and ideological center of the novel. Dostoevsky shows us a whole series of characters. Some: such as Luzhin and Svidrigailov, - are peculiar the embodiment of life according to Raskolnikov's theory. Others such as Sonya and Porfiry Petrovich are shown in the novel in order to debunk this theory. All of them are peculiar “doubles” of the main character. Dostoevsky reveals their characters to us.

Raskolnikov sees a reflection of his theory in Luzhin and Svidrigailov. This powers that be.

Luzhin. According to Luzhin’s theory, “people can be cut,” but also according to Raskolnikov’s theory. It turns out that Luzhin and Raskolnikov are birds of a feather. Luzhin's theory frees a person from the false idea of ​​love for other people, from the consciousness of the individual's duty to society. Discarding all morality, she proclaims that man's only duty is to take care of “personal interest,” which should become a guarantee of “general prosperity.” Luzhin is hated and disgusting by the readers, and Raskolnikov, as it were, no longer has the moral right to despise Luzhin.

Svidrigailov is the “negative double” of Raskolnikov. But Arkady Ivanovich has already made his choice: he is on the side of evil and has no doubts. He considers himself free from the moral law. But this realization does not bring joy to the hero. He experiences world boredom. Svidrigailov is having fun as best he can, but nothing helps. The indistinguishability of good and evil makes Svidrigailov's life meaningless. Deep in his soul he condemns himself and feels guilty. We can say that the moral law, contrary to the will of Svidrigailov, dominates this hero. Arkady Ivanovich also does good things: he helps settle Marmeladov’s children, takes care of a little girl in a hotel. But his soul is dead. As a result, he commits suicide with a revolver shot.

Sonechka... she could save, forgive, sacrifice herself for anyone who needed compassion. Her soul, a pure, faithful soul, was ready to take off and give herself entirely to the world: to help everyone in distress, to intercede, to have mercy, to forgive, to help. She believes with all her soul that every person is beautiful, she is deeply convinced that a completely spoiled person can be put on the right path, and this can be done through mercy. The image of Sonya in the novel personifies the light and Sunday that Rodion Raskolnikov strived for. Sonya's whole life shows the superficiality and infidelity of Raskolnikov's theory.

The central idea, which plays a significant role in Crime and Punishment, is the Christian idea of ​​free human unity, universal brotherhood in the name of Christ.…

Porfiry Petrovich brings Raskolnikov to this idea. He began a conversation about the resurrection of Lazarus, thereby prompting the hero to read the Gospel and see the path to the salvation of his soul. Nice to the investigator main character, understands that salvation is possible only through repentance. And the first step to repentance is turning yourself in. It is this appearance that Porfiry Petrovich insists on.

Ticket No. 13

Petersburg by Dostoevsky. Symbolism in the image of St. Petersburg. Dostoevsky’s Petersburg. Symbolism in the image of St. Petersburg. Petersburg by Dostoevsky. Symbolism in the image of St. Petersburg.

In the novel "Crime and Punishment" the image of St. Petersburg occupies a special place. This image is important for understanding both the novel “Crime and Punishment” and the entire work of the great writer. Petersburg appears gloomy, painful, hostile to people. This is Petersburg of narrow, cramped streets populated by artisans and impoverished officials, dirty courtyards, wells, in which everyday tragedies are played out. This painful, gray metropolitan landscape becomes the background, the concrete everyday environment in which the action of the novel unfolds, gives it a particularly tense and gloomy flavor.

But Petersburg by Dostoevsky- this is not only the background against which dramatic events unfold, but also, as it were, the soul of these events, a symbol of an abnormal life, dysfunctional, immoral. The entire action of the novel takes place in the part of the city where the poor lived. This is a city in which there are drinking bars on every corner, inviting the poor to drink their grief, drunken crowds on the streets, prostitutes, women throwing themselves from the bridge into the water, this is a terrible kingdom of poverty, lawlessness, and disease. In such conditions, an inhuman theory was born.

1. Stuffiness. This feeling of stuffiness becomes the leitmotif of the novel and acquires a comprehensive meaning. It is no coincidence that the author puts the same words into the mouths of Svidrigailov and Porfiry Petrovich about the lack of air.

2. It is just as hard for a disadvantaged person in rooms, Where does he live. In a closet that looked like a closet or a coffin, where he lay for hours and thought about his grave Raskolnikov's thoughts, the idea of ​​murder matured in him. In the same way as the embodiment of the mistress's unfortunate fate, the room is depicted Sony, oblique, dark, unpleasant in all respects. It was in such a room that Raskolnikov’s terrible confession should have been heard.

3. The characteristic by which we recognize the situation and people affected by the disease is irritating, intrusive, unhealthy yellow color. Yellow color enhances the atmosphere of ill health, sickness, and disorder. The dirty yellow, dull yellow, sickly yellow color itself evokes feelings internal oppression, mental instability, general depression. Yellow wallpaper, furniture, faces, walls of houses reflect the tense, hopeless atmosphere of the existence of the main characters of the work, and are harbingers of bad events.

4 rooms St. Petersburg houses compared to coffins. Murders are planned and committed in them. Crossroads - cross. Square is a place that symbolizes repentance. In the room, Raskolnikov is sure that he will be able to commit murder by going outside, and considers his recent reasoning ridiculous. From this we can conclude that St. Petersburg for Dostoevsky is a city of murder, horror and human loneliness.

City life is tragic. Wandering around it, Raskolnikov sees this boundless grief of people: either a 15-year-old girl who was drunk and deceived, or the bourgeois Afrosinyushka, who throws herself from a bridge into the water.
In Dostoevsky's St. Petersburg, life takes on fantastically ugly shapes and the real often seems like a nightmare vision, and delirium and dreams - reality. On the night after the murder, Raskolnikov woke up from his oblivion and heard “terrible, desperate screams from the street”: “drunk people are coming out of taverns.” This is reality. But his delirium is just as realistic: “He woke up in complete twilight from a terrible scream...” In his delirium, Raskolnikov imagines an ugly scene of the beating of his mistress. Obviously, he had witnessed similar scenes in reality more than once.

And here is another scene: “bending over the water,” Raskolnikov looks “at the last pink glow of the sunset.” Suddenly he shuddered, struck by “one wild and ugly phenomenon.” But this time it’s not nonsense, but a very real episode: a drunk woman threw herself from a bridge into the water. Reality and delirium, reality and nightmare - everything is intertwined in St. Petersburg, which Svidrigailov called “the city of half-crazy people.”
As mentioned above, the novel takes place on the seedy side of the city. This gloomy arena is, as it were, squeezed by the dead ring of ceremonial Petersburg, dominating the people. Only once, but very expressively, is its panorama drawn before Raskolnikov’s eyes, when he looks from the Nikolaevsky Bridge to St. Isaac’s Cathedral and Winter Palace.
“An inexplicable chill blew over him from this magnificent panorama; This magnificent picture was full of a dumb and deaf spirit for him.” Before Raskolnikov and all the heroes of the novel, Petersburg is a “mute and deaf” city, crushing all living things. The picture of people moving chaotically around Sennaya Square resembles an anthill, in which the weak die and the strong become even more embittered.
In the image of St. Petersburg, its second, distant plan appears: In this fantastic image of the city, hostile to man and nature, embodies the protest of a humanist writer against the prevailing evil and, against the abnormally structured contemporary society.

The image of the city is important compositional meaning. Throughout the novel there are pictures of cramped conditions, crowds, dirt, and stench. The spiritual atmosphere of St. Petersburg is a world of general irritation, anger, and ridicule. Dostoevsky's Petersburg is the personification of moral ugliness, spiritual emptiness, crime and cruelty.

The image of St. Petersburg becomes not only an equal hero of the novel, but also central, because it largely explains Raskolnikov’s duality, provokes him to commit a crime, and helps him understand the other heroes of the novel.

Artistic detail(fr. detail- part, detail) - a particularly significant, highlighted element of an artistic image, an expressive detail in a work, carrying a significant semantic and ideological-emotional load. A detail is capable of conveying the maximum amount of information with the help of a small amount of text; with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), the interior, the setting.

Ticket No. 14

Ticket No. 15

1) Murderer and harlot.
Rodion Raskolnikov and Sonya Marmeladova are the two main characters of this work. It is their worldview that forms the ideological part of the novel “Crime and Punishment.” Sonya Marmeladova plays the most important role in the novel. It is she who first of all personifies Dostoevsky’s truth. If you define Sonya’s nature in one word, then this word will be “loving.” Active love for one’s neighbor, the ability to respond to someone else’s pain (especially deeply manifested in the scene of Raskolnikov’s confession of murder) make the image of Sonya “ideal.” It is from the standpoint of this ideal that the verdict is pronounced in the novel. For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. A sin remains a sin, no matter who commits it and for what purpose. Personal happiness cannot be a goal. A person has no right to selfish happiness, he must endure, and through suffering he achieves true, non-selfish happiness. In the epilogue of the novel we read: “They were resurrected by love...” A person, if he is a person, feels responsible not only for his own actions, but also for all the evil that occurs in the world. That is why Sonya feels that she is also to blame for Raskolnikov’s crime, that is why she takes this crime so close to her heart and shares his fate with the “crime.” Dostoevsky wrote: “Sonya is a hope, the most unrealizable.” Sonya's meekness, her sympathy for the humiliated, her compassion for them - these qualities were brought up in her by a democratic environment. It is Sonya who reveals Raskolnikov his terrible secret. Sonya's love revived Rodion, resurrected him to a new life. This resurrection is expressed symbolically in the novel: Raskolnikov asks Sonya to read the Gospel scene of the resurrection of Lazarus from the New Testament and relates the meaning of what she read to herself. Touched by Sonya’s sympathy, Rodion “goes to her for the second time as a close friend, he himself confesses to her the murder, tries, confused about the reasons, to explain to her why he did it, asks her not to leave him in misfortune and receives a command from her: go to the square, kiss the ground and repent before all the people.” In this advice to Sonya, it is as if the voice of the author himself is heard, striving to lead his hero to suffering, and through suffering - to atonement. Sacrifice, faith, love and chastity - these are the qualities that the author embodied in Sonya. Being surrounded by vice, forced to sacrifice her dignity, Sonya retained the purity of her soul and the belief that “there is no happiness in comfort, happiness is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always through suffering.” And so Sonya, who also “transgressed” and ruined her soul, a “man of high spirit”, of the same “class” as Raskolnikov, condemns him for his contempt for people and does not accept his “rebellion”, his “axe”, which, as it seemed to Raskolnikov , was raised in her name. The heroine, according to Dostoevsky, embodies the national principle, the Russian element: patience and humility, immeasurable love for man and God. Therefore, the clash between Raskolnikov and Sonya, whose worldviews are opposed to each other, is very important. The idea of ​​Rodion’s “rebellion,” according to Dostoevsky, is an aristocratic idea, the idea of ​​a “chosen one”—unacceptable for Sonya. Only the people in the person of Sonya can condemn Raskolnikov’s “Napoleonic” rebellion, force him to submit to such a court and go to hard labor - “accept suffering.” Sonya hopes for God, for a miracle. Raskolnikov, with his angry, sharpened skepticism, is sure that there is no God and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. Moreover, Raskolnikov even tells Sonya about the uselessness of her compassion, about the futility of her sacrifices. It is not the shameful profession that makes Sonya a sinner, but the futility of her sacrifice and her feat. Raskolnikov judges Sonya with different scales in his hands than the prevailing morality; he judges her from a different point of view than she herself. The hero’s heart is pierced by the same pain as Sonya’s hearts, only he is a thinking person who generalizes everything. Raskolnikov bows before Sonya and kisses her feet. “I didn’t bow to you, I bowed to all human suffering,” he said somehow wildly and walked away to the window. Seeing Sonya's meekness, Raskolnikov understands that she is not humble in a slavish way. Driven by life into the last and already completely hopeless corner, Sonya tries to do something in the face of death. She, like Raskolnikov, acts according to the law of free choice. But, unlike Rodion, Sonya has not lost faith in people; she does not need examples to establish that people are naturally good and deserve a bright share. The entire Marmeladov family is kind, including the weak-willed father and Katerina Ivanovna, who pushed her onto the panel. Sonya is able to sympathize with Raskolnikov, since she is not embarrassed by either physical deformity or the ugliness of social fate. It penetrates “through the scab” into the essence of human souls. Seeing an evil person, he is in no hurry to condemn; the heroine feels that behind the external evil there are hidden some unknown or incomprehensible reasons that led to the evil of Raskolnikov and Svidrigailov. Sonya internally stands outside of money, outside the laws of the world tormenting her. Just as she, of her own free will, went to the panel, so herself, of her own firm and indestructible will, she did not commit suicide. Sonya was faced with the question of suicide; she thought about it and chose an answer. Suicide, in her situation, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from a fetid pit. Sonya's measure of will and determination was higher than Rodion could have imagined. Raskolnikov rejected the shackles of the old morality, understanding who benefits from it and who it binds. Sonya was at the mercy of the old morality, she recognized all its dogmas, all the rules of church prescriptions. To keep herself from committing suicide, she needed more stamina, more self-reliance than to throw herself “headfirst into the water.” What kept her from drinking water was not so much the thought of sin as “about them, our own.” For Sonya, debauchery was more bitter than death. In the developing romance between Raskolnikov and Sonya, mutual respect and mutual cordial delicacy, so sharply different from the mores of that society, play a huge role. Rodion was able to confess to Sonya the murder because he loved her and knew that she loved him too. Thus, in the novel Crime and Punishment, love is not a duel of outcasts, brought together by fate into a single union and choosing which way to go to a common goal - a duel between two truths. The presence of lines of contact and a line of unity made Sonya’s struggle with Raskolnikov not hopeless, and if Sonya in the novel itself, before its epilogue, did not defeat and regenerate Raskolnikov, then she, in any case, contributed to the final collapse of his inhuman idea.

2) The Raising of Lazarus.

At the center of “Crime and Punishment” is an episode of reading the XI chapter of the Gospel of John about the resurrection of Lazarus. This scene forms the rest of the fabric of the novel around itself.

Raskolnikov committed a crime, he must “believe” and repent. This will be his spiritual cleansing. The hero turns to the Gospel and, according to Dostoevsky, must find answers there to the questions that torment him, must gradually be reborn, move into a new reality for him. Dostoevsky pursues the idea that a person who has committed a sin is capable of spiritual resurrection if he believes in Christ and accepts his moral commandments.

The image of Raskolnikov's resurrection is indeed connected with the Gospel story of the resurrection of Lazarus by Christ, which Sonya reads to Raskolnikov. While reading, Sonya herself mentally compares him with the Jews who were present at the unheard-of miracle of the resurrection of the already stinking Lazarus and who believed in Christ. And at the end of the novel, when Sonya from afar accompanies Raskolnikov, who set out on his way of the cross - to voluntarily confess to the crime he committed and suffer the appropriate punishment, the main character is clearly compared with Christ, who was followed from afar by myrrh-bearing women on His way of the cross.

It turns out that Raskolnikov in the novel embodies three characters at once: Lazarus himself, and the doubting Jews, and even Christ. Crime and punishment are only a minor part of the gospel story. The novel ends at the moment when “the dead man came out” and Jesus said: “Unbind him; Let him go". The last words read by Sonya to Raskolnikov are no longer about the novel’s plot, but about the impact it should have on readers. It is not for nothing that these words are highlighted in Dostoevsky’s italics: “Then many of the Jews who came to Mary and saw what Jesus had done believed in Him.”

For Dostoevsky, the use of biblical myths and images served as illustrations for his thoughts about the tragic fate of the world, Russia and the human soul as part of world civilization. Dostoevsky considered the key to the revival of all this to be an appeal to the idea of ​​Christ.

3) The role of artistic details in the novel “Crime and Punishment”.

Almost immediately the reader notices Raskolnikov’s room: “It was a tiny cell, about six steps long, which had the most pitiful appearance with its yellow, dusty wallpaper that was falling off the wall everywhere, and so low that even a slightly tall person felt terrified in it. and it seemed like you were about to hit your head on the ceiling.” All this cramped space and poverty put pressure on Raskolnikov, who was already unwell and was hatching his own theory.
Already at the beginning of the work, you can notice the richness of color symbolism, which allows you to better reveal the mental state of the heroes. The color yellow predominates throughout the city, which emphasizes the ill health and morbidity of society: “The bright yellow wooden houses with closed shutters looked sad and dirty.” One can also especially highlight Sonya’s “blue eyes”, meaning purity and purity, despite the humiliations that she had to endure. The portrait plays a huge role in this work. Although the portrait is somewhat static and descriptive, the main thing stands out - the eyes, which are constantly changing: “beautiful dark eyes", "inflamed gaze", "feverishly shine", "the gaze becomes dry, sharp", "dead eyes", "tears of happiness in the eyes"; this is how Rodion Raskolnikov's eyes change throughout the novel. This also indicates that thinking the main character changed, his theory was refuted by life itself.
Not only the eyes, but also the nature described in the novel speak about the collapse of Raskolnikov’s theory. “Stuffiness, heat” reigns in St. Petersburg when the theory is born, and after the murder of the old money-lender is committed.
It is when Svidrigailov’s suicide occurs that the reader sees a thunderstorm: “In the midst of darkness and night, a cannon shot was heard, followed by another.” Here the thunderstorm is not only a symbol of purification, but also as the beginning of something new, and also as a symbol of destruction, that is, the eradication of evil in Raskolnikov’s soul.
Almost at the very end of the work we see “Siberia. On the banks of a wide, deserted river stands a city.” It is at this moment that we notice that Raskolnikov has seen the light and realized his guilt. Dostoevsky also put great meaning into the hero’s surname. This surname comes from the word “schism”, which occurs in his theory: he understands that he was wrong, that he has no right to be a ruler, “Napoleon”. A split also occurs in his family: he himself leaves his relatives. A split also occurs in the soul of Rodion Romanovich, and because of this he cannot find peace, live the same way as before, and maybe even calmer. Well, the most important split that the author wanted to show us is a split in society, the imperfection of the world, the division of this world.
The composition of the novel is not accidental: the crime is committed during the first part, and the punishment is committed from the second to the sixth and in the epilogue. This is very significant because the author wanted to show the reader that it is important not only criminal penalty, but also the punishment to which the hero himself condemns himself. Dostoevsky also shows Raskolnikov surrounded by people: Svidrigailov, mother, Dunya, Sonya, Luzhin, Porfiry Petrovich, Razumikhin, Lebezyatnikov. Afterwards the hero remains only surrounded by Svidrigailov and Sonya. Sonya brings goodness with her, and Svidrigailov brings evil. The evil in Raskolnikov's soul dies with Svidrigailov's suicide. And only Sonya remains with Rodion Romanovich, who carries purity and purity. The work contains many symbols that carry their own meaning. The cross that Sonya gives to Raskolnikov is a symbol of faith and renewal. The blade of the ax, which, during the murder of the old woman, is directed at Raskolnikov, as a sign of confrontation, a sign that the hero is destroying himself. Raskolnikov's dreams symbolize the collapse of the theory.
The work contains Christian motifs in the novel, which made it possible to better express Dostoevsky’s views. "The Raising of Lazarus", when Raskolnikov reads the bible, is a symbol of Raskolnikov's resurrection at the end of the novel.
Sonya is saved by her faith in God. The novel contains phrases such as “a terrible sin”, “there is no cross on you”, “God punished you and the devil betrayed you”.
Dostoevsky, with the help of artistic details: color, descriptions of nature, symbols and composition, most vividly presented the novel and its meaning to the reader.
Ticket No. 16

Ticket No. 17
Critics about the novel “Crime and Punishment.”

No one in 1866 imagined that Dostoevsky’s novel would be included in the literature 105 years later. school curriculum, and even earlier its author will gain world fame. Only N.N. Strakhov, a most insightful critic,” was able to understand and appreciate the complex issues of the novel; the rest of those who wrote about Crime and Punishment were unable to do this.

Let's start with a journal entry that, as far as I can tell, was not included in the Crimes and Punishments bibliography. We are talking about the New Year's edition of the illustrated ladies' magazine "New Russian Bazaar"; The magazine was published three times a month, we are interested in No. 2, dated January 1, 1867. The review “Capital Life”, signed “K. Kostin”, says:

“The novel published in Russky Vestnik does not represent the interest that a novel should represent as a depiction of the spirit of one or another time or persons of a general, typical character...

The hero of the new novel by F.M. Dostoevsky is a moral monster. Of course, freaks can be very interesting, however, they should not be the heroes of a novel, just as a criminal case should not be its basis. The guiding idea of ​​this work, as the title itself shows, is the commission of a crime and then its punishment; and, as an interesting process from criminal practice, this work, in addition to its serious, everyday meaning, is read with interest, because the author has processed it in such a way psychological side of this matter, he follows with such anatomical detail all the movements of the nerves of his exceptional hero that the reader will not doubt for a minute that the author has considerable talent and knows how to arouse the reader’s attention to the point of painfulness, forcing him to see tangibly all the heartfelt drama that Raskolnikov is experiencing - the main character who committed the murder. In addition to this face, there are others that are masterfully outlined. But there are also deliberate caricatures, executed by modern life and rumors...” (p. 19).

So, first: the heroes of the novel are atypical - a most characteristic reproach to Dostoevsky (we find a similar one in Eliseev’s review, published in the second issue of Sovremennik for 1866); Let us also remember his dispute with Goncharov or the beginning of The Brothers Karamazov. “Raskolnikov,” writes A.S. Suvorin in the newspaper “Russian Invalid” is not at all a type, not the embodiment of some direction, some kind of mindset adopted by the multitude.” And further: “Raskolnikov, as a painful phenomenon, is subject to psychiatry rather than literary criticism” (1867, No. 63, March 4/16). Suvorin will express the same considerations a few days later in the newspaper St. Petersburg Vedomosti (this review is also not noted in the bibliographic reviews); in “Weekly Sketches and Pictures,” signed “Stranger,” the critic remarked:

“Mr. Dostoevsky in his novel “Crime and Punishment” brought before us<...>an educated killer who decides to commit a crime for some philanthropic reasons and justifies himself with the examples of great people who did not hesitate to commit atrocities to achieve their goals. Obviously, the murderer of Mr. Dostoevsky, Raskolnikov, is a completely fantastic person, having nothing in common with reality, which continues to give us murderers, educated and uneducated, guided in their actions solely by the spirit of acquisition. Enlightenment, even half-enlightenment, has nothing to do with it; if it can put some sophisms into the hands of a murderer, then it also takes them away from him, because it never teaches anyone about atrocities: you have to be either a completely depraved nature, or a nature sick to the point of insanity, in order to find material for justification in books criminal offenses. Meanwhile, there were people who were ready to point to Raskolnikov as a representative of a certain part of the youth who received a harmful education. But where is the evidence, where is the shadow of evidence? We met the Bazarovs in real life, but neither real life nor criminal practice introduced the Raskolnikovs to us” (March 12, 1867).

The conversation about typicality, which for contemporaries was completely devoid of any kind of academicism (remember the relatively recent discussions of books and films from the point of view of “it happens in life or it doesn’t happen”) in this case had a special poignancy - after all, G.Z. Eliseev in Sovremennik accused Dostoevsky of slandering the younger generation (“a whole corporation of young boys is accused of a general attempted murder with robbery”). And in the newspaper “Public Court”, objections to Eliseev are made, like Suvorin’s, with emphasis on the madness of the main character: “<...>even if the author in the person of Raskolnikov really wanted to recreate a new type, then this attempt failed. His hero is simply a crazy person, or rather a delirious person, who, although he acts as if consciously, is, in essence, acting in delirium, because at these moments everything appears to him in a different form” (Public Court. 1867 . March 16/28. No. 159. From the column “Notes and various news”). And only Strakhov managed to understand the meaning of the hero’s character and the author’s attitude towards him: “He portrayed nihilism to us not as a pitiful and wild phenomenon, but in a tragic form, as a distortion of the soul, accompanied by cruel suffering. According to his usual custom, he introduced us to the person in the murderer himself, just as he knew how to find people in all the harlots, drunkards and other pathetic persons with whom he surrounded his hero.

For many of Dostoevsky’s contemporaries, the plot of his novel and its main character are the embodiment of a sick fantasy. Readers not only do not see the deepest problems and the most complex ideology in Crime and Punishment, but also deny it simple verisimilitude.
Later articles by critics contained both positive and negative opinions.

Critical articles.

ü N.N. Strakhov (Pochvennik in views) “Our belles-lettres.” The article was published in 1866 in the Russian Bulletin.

ü G.Z. Eliseev (revolutionary democrat). The article was published in 1866.

ü Annensky (did not belong to any movement) “Dreamers and Chosen Ones”, “Dostoevsky in Fiction” (1908)

ü Aikhenwald (conservative) “Dostoevsky” (1913).

Ticket No. 18

Ticket No. 19

Ticket No. 20
Female images in the novel.

Female characters in the novel "War and Peace" play important role. When depicting his heroines, the writer used the technique of opposition. By comparing girls who were completely different in character, upbringing, aspirations and beliefs - Natasha Rostova, Marya Bolkonskaya and Helen Kuragina, Tolstoy sought to express the idea that behind external beauty there is often hidden emptiness and pretense, and behind visible ugliness - the wealth of the inner world.

Natasha Rostova and Maria Bolkonskaya are Tolstoy’s favorite heroines with opposite characters. Emotional, charming, full of life and movement, Natasha immediately stands out among the reserved, well-mannered noble girls. She first appears in the novel as a thirteen-year-old, black-eyed, ugly, but lively girl who, flushed from running fast, literally bursts into the living room, where adults are having a boring conversation. Together with Natasha, a fresh breath of life bursts into this orderly world. More than once Tolstoy will emphasize that Natasha was not beautiful. She can be beautiful, or she can be ugly - it all depends on her state of mind. In her soul, hard work, inaccessible to prying eyes, does not stop for a second.

Natasha's spiritual beauty, her love of life, her thirst for life spread to people close and dear to her: Petya, Sonya, Boris, Nikolai. Prince Andrei Bolkonsky unwittingly found himself drawn into this same world. Boris Drubetskoy, a childhood friend with whom Natasha was bound by a childhood oath, could not resist her charm. Natasha dates Boris when she is already 16 years old. “He traveled with the firm intention of making it clear to both her and her family that the childhood relationship between him and Natasha could not be an obligation for either her or him.” But when he saw her, he lost his head, because he also plunged into her world of joy and goodness. He forgot that he wanted to marry a rich bride, stopped going to Helen, and Natasha “seemed to still be in love with Boris.” In any situation, she is extremely sincere and natural, there is not a shadow of pretense, hypocrisy or coquetry in her. In Natasha, according to Tolstoy, “an inner fire was constantly burning and the reflections of this fire imparted to her appearance something better than beauty.” It is no coincidence that Andrei Bolkonsky and Pierre Bezukhov love Natasha, and it is no coincidence that Vasily Denisov falls in love with her. The development of these qualities of the heroine is facilitated by the atmosphere of the Rostov house, full of love, respect, patience and mutual understanding.

A different atmosphere reigns on the Bolkonsky estate. Princess Marya was raised by her father, a proud and self-satisfied man with a difficult character. It is worth remembering the lessons of mathematics, which he not so much taught as tormented his daughter. Princess Marya inherited his secrecy, restraint in expressing her own feelings and innate nobility. The old Prince Bolkonsky is despotic and strict with his daughter, but he loves her in his own way and wishes her well. The image of Princess Marya is not particularly attractive. The author constantly reminds of her ugly face, but the reader completely forgets about it in those moments when the best part of her spiritual being emerges. In the portrait of Marya Bolkonskaya, extremely laconic, one remembers her radiant eyes, which made the princess’s ugly face beautiful in moments of strong spiritual uplift.

Marya Bolkonskaya is the owner of a lively mind. Her father, who attached great importance to education, made a significant contribution to the development of her mental abilities. Natasha Rostova has a slightly different mindset. She does not reflect on events the way Marya does, seriously and deeply, but with her heart and soul she understands what another person cannot understand. Pierre answers the question about Natasha Rostova’s intellectual abilities perfectly: she “does not deign to be smart” because she is much higher and more complex than the concepts of intelligence and stupidity. Natasha differs from the searching, intelligent and educated heroes in that she perceives life without analyzing it, but experiences it holistically and imaginatively, like an artistically gifted person. She dances superbly, causing the delight of those around her, as the plastic language of dance helps her express her fullness of life, the joy of merging with it. Natasha has a beautiful voice that enchants listeners not only with its beauty and sonority, but also with the strength and sincerity of the feeling with which she devotes herself to singing. When Natasha sings, for her the whole world lies in sounds. But if this impulse is interrupted by someone else’s intrusion, for Natasha it is blasphemy, a shock. For example, after her enthusiastic younger brother ran into the room while she was singing with the news of the arrival of the mummers, Natasha burst into tears and could not stop for a long time.

One of Natasha's main character traits is falling in love. At her first adult ball in her life, she entered the hall and felt in love with everyone. It cannot be otherwise, because love is the essence of her life. But this concept in Tolstoy has a very broad meaning. It includes not only love for the groom or husband, but also love for parents, family, art, nature, homeland, and life itself. Natasha acutely senses the beauty and harmony of nature. The charm of a moonlit night evokes in her a feeling of delight that literally overwhelms her: “Oh, how lovely! “Wake up, Sonya,” she said almost with tears in her voice. “After all, such a lovely night has never, never happened.”

In contrast to the emotional and lively Natasha, the meek Princess Marya combines humility and restraint with a thirst for simple human happiness. Unable to experience the joys of life, Marya finds joy and consolation in religion and communication with God's people. She meekly submits to her eccentric and oppressive father, not only out of fear, but also out of a sense of duty as a daughter who has no moral right to judge her father. At first glance, she seems timid and downtrodden. But in her character there is hereditary Bolkon pride, an innate sense of self-esteem, which manifests itself, for example, in her refusal of Anatoly Kuragin’s proposal. Despite the desire for quiet family happiness, which this ugly girl deeply conceals within herself, she does not want to become the wife of a socially handsome man at the cost of humiliation and insult to her dignity.

Natasha Rostova is a passionate, impetuous person who cannot hide her feelings and experiences. Having fallen in love with Andrei Bolkonsky, she could not think about anything else. Separation becomes an unbearable test for her, because she lives every moment and cannot postpone happiness for any set period. This quality of Natasha’s character pushes her to betrayal, which in turn gives rise to a deep feeling of guilt and remorse in her. She judges herself too harshly, refusing joys and pleasures, because she considers herself unworthy of happiness.
Natasha is brought out of her state of painful crisis by the news of the threat of the French approaching Moscow. A common misfortune for the whole country makes the heroine forget about her sufferings and sorrows. Like other positive heroes of the novel, the main thing for Natasha is the thought of saving Russia. In these difficult days, her love for people and her desire to do everything possible to help them becomes especially strong. This selfless love of Natasha finds its highest expression in motherhood.

But, despite the external differences, the dissimilarity of characters, Natasha Rostova and Princess Marya have a lot in common. Both Marya Bolkonskaya and Natasha are endowed by the author with a rich spiritual world, the inner beauty that Pierre Bezukhov and Andrei Bolkonsky loved so much in Natasha and which Nikolai Rostov admires in his wife. Natasha and Marya completely surrender to each of their feelings, be it joy or sadness. Their spiritual impulses are often selfless and noble. They both think more about others, loved ones and loved ones, than about themselves. For Princess Marya, all her life God remained the ideal to which her soul aspired. But Natasha, especially during difficult periods of her life (for example, after the story with Anatoly Kuragin), gave herself over to a feeling of admiration for the Almighty. They both wanted moral purity, a spiritual life, where there would be no place for resentment, anger, envy, injustice, where everything would be sublime and beautiful.

Despite all the dissimilarities in their characters, Marya Bolkonskaya and Natasha Rostova are patriots, pure and honest natures, capable of deep and strong feelings. The best features of Tolstoy's favorite heroines were especially clearly manifested in 1812. Natasha took to heart the disaster that befell Russia with the advent of Napoleon. She committed a truly patriotic act, forcing them to throw off their property from the carts and give these carts to the wounded. Count Rostov, proud of his daughter, said: “Eggs... eggs teach a chicken.” With selfless love and courage, amazing those around her, Natasha looked after Prince Andrei until the last day. The strength of character of the modest and shy Princess Marya manifested itself with particular force these days. A French companion suggested that Princess Bolkonskaya, who found herself in a difficult situation, turn to the French for help. Princess Marya considered this proposal an insult to her patriotic feelings, stopped communicating with Mademoiselle Burien and left the Bogucharovo estate.

The human essence of Tolstoy’s heroines is defined by the word “femininity.” This includes Natasha’s charm, tenderness, passion, and the beautiful, radiant eyes of Marya Bolkonskaya, filled with some kind of inner light. Both of Tolstoy's favorite heroines find their happiness in the family, caring for their husband and children. But the writer takes them through serious trials, shocks and mental crises. When they first met (when Natasha was the bride of Prince Andrei), they did not understand each other. But having gone through a difficult path of disappointment and resentment, Princess Marya and Natasha became related not only by blood, but also by spirit. Fate accidentally brought them together, but they both realized that they were close to each other, and therefore they became not just true friends, but spiritual allies with their enduring desire to do good and give light, beauty and love to others.
The family life of Marya and Natasha is an ideal marriage, a strong family bond. Both heroines devote themselves to their husbands and children, devoting all their mental and physical strength to raising children and creating home comfort. Both Natasha (now Bezukhova) and Marya (Rostova) are happy in their family life, happy with the happiness of their children and beloved husbands. Tolstoy emphasizes the beauty of his heroines in a new capacity for them - a loving wife and a tender mother. Natasha Rostova in the finale of the novel is no longer a charming thin and active girl, but a mature one Strong woman, loving wife and mother. She devotes her whole being to caring for her husband and children. For her, her whole life is centered on the health of her children, their feeding, growth, and upbringing. Their relationship with Pierre is surprisingly harmonious and pure. Natasha's spontaneity and heightened intuition perfectly complement Pierre's intelligent, searching, analyzing nature. Tolstoy writes that Natasha is not particularly versed in political activity husband, but she feels and knows the main thing - her kind, fair basis. Another happy union is the family of Marya Bolkonskaya and Nikolai Rostov. Princess Marya's selfless, tender love for her husband and children creates an atmosphere of spirituality in the family and has an ennobling effect on Nicholas, who senses the high morality of the world in which his wife lives.

Natasha Rostova and Marya Bolkonskaya are contrasted in the novel by Helen Kuragina. Behind the external brilliance of this heroine hides an evil and immoral creature. Before the readers' eyes, Helen consistently commits several betrayals. Like all representatives of the Kuragin family, she lives by the unchanging law of fulfilling personal desires and does not recognize any moral standards. Helen marries Pierre only for the purpose of enrichment. She openly cheats on her husband, not seeing anything shameful or unnatural in this. She doesn't want to have children because family means nothing to her. The consequence of her intrigues in the world is death. The author does not see a future for this heroine.

Helen's coldness and selfishness are contrasted with Natasha's naturalness and changeability. Helen, unlike Natasha, is not able to feel guilt or condemn herself. The image of Helen embodied external beauty and internal emptiness. More than once in the novel we see her “monotonous,” “unchanging smile,” and more than once the author draws our attention to the “antique beauty of her body.” But not a word is said about Helen’s eyes in the novel, although it is known that they are the mirror of the soul. But Tolstoy writes with great love about the eyes of his beloved heroines: Princess Marya’s are “big, deep,” “always sad,” “more attractive than beauty.” Natasha’s eyes are “lively”, “beautiful”, “laughing”, “attentive”, “kind”. Both Natasha and Marya’s eyes are a reflection of their inner world.

The epilogue of the novel reflects the writer's idea of ​​the true purpose of a woman. According to Tolstoy, it is inextricably linked with the family, with caring for children. Women who find themselves outside this sphere either turn into emptiness, or, like Helen Kuragina, become carriers of evil. L.N. Tolstoy does not idealize family life, but shows that it is in the family that all eternal values ​​are contained for people, without which life loses its meaning. The writer sees the highest calling and purpose of a woman in motherhood, in raising children, for it is a woman who is the keeper of family foundations, that bright and good beginning that leads the world to harmony and beauty.

The Rostov family, the Bolkonsky family, the Kuragin family.
Characterization of the main characters through their families is one of the main literary devices Tolstoy. “Family thought” is the most important theme in the novel. It is inextricably linked with the writer’s idea of ​​the world. Peace is not only love and harmony, but also individual worlds - human associations (families, secular circles, regiments, partisan detachments, etc.). And among all human associations, the main ones for Tolstoy are families. Family for him is the basis of all foundations. Each family presented in the novel has special features that leave an imprint on all its representatives.

ü The Rostov family.

Family members: Count and Countess Rostov, Nikolai Rostov, Vera Rostova, Natasha Rostova, Sonya (the Count's niece), Petya Rostov, Andryusha Rostov (Nicholas' son)

The Rostovs live the “life of the heart,” treating life’s troubles with ease and ease. Their main features are sincerity, naturalness, simplicity, frankness, and selflessness. Telling his family about this, Tolstoy described his ideal.

ü Bolkonsky family.

Family members: Prince Nikolai Andreevich, Princess Marya, Prince Andrei, Nikolenka (son of Prince Andrei).

Distinctive features are aristocracy, intelligence, genuine concern for state interests, breadth of political thought, strict demands on oneself and people, and pride. In the family, reason reigns, not feelings. Such qualities as duty, honor, nobility, patriotism are passed down in the family from generation to generation.

ü The Kuragin family.

Family members: Prince Vasily, Anatole, Hippolyte, Helen.

There are no spiritual ties in this family; people living in it are related only by blood. The lack of spiritual kinship makes the family a formal association, unable to foster a moral attitude towards life. The members of this family turn out to be capable only of destruction: Anatole caused the breakup of Prince Andrei and Natasha, Helen almost ruined Pierre’s life. They are selfish, deprived mutual respect and are immersed in the abyss of lies and falsehood. The family fits organically into the society of the regulars at Anna Pavlovna Scherer's salon with its intrigue, artificiality and false patriotism.

ü Ticket No. 21

The theme of the people.

“War and Peace” is one of the brightest works of world literature, revealing the extraordinary richness of human destinies, characters, an unprecedented breadth of coverage of life phenomena, and the deepest depiction of the most important events in the history of the Russian people. The basis of the novel, as L.N. Tolstoy admitted, is “folk thought.” “I tried to write the history of the people,” said Tolstoy. The people in the novel are not only peasants and peasant soldiers in disguise, but also the Rostovs' courtyard people, and the merchant Ferapontov, and the army officers Tushin and Timokhin, and representatives of the privileged class - the Bolkonskys, Pierre Bezukhov, the Rostovs, and Vasily Denisov, and the field marshal Kutuzov, that is, those Russian people for whom the fate of Russia was not indifferent. The people are opposed by a bunch of court aristocrats and a “big-faced” merchant, worried about his goods before the French capture Moscow, that is, those people who are completely indifferent to the fate of the country.

The epic novel has more than five hundred characters, describes two wars, the events unfold in Europe and Russia, but like cement, all the elements of the novel are held together by “popular thought” and “the author’s original moral attitude to the subject.” According to L.N. Tolstoy, an individual person is valuable only when he is an integral part of a great whole, his people. “His hero is an entire country fighting the invasion of the enemy,” wrote V. G. Korolenko. The novel begins with a description of the 1805 campaign, which did not touch the hearts of the people. Tolstoy does not hide the fact that the soldiers not only did not understand the goals of this war, but even vaguely imagined who Russia’s ally was. Tolstoy is not interested in the foreign policy of Alexander I; his attention is drawn to the love of life, modesty, courage, endurance, and dedication of the Russian people. Tolstoy's main task is to show the decisive role of the masses in historical events, to show the greatness and beauty of the feat of the Russian people in conditions of mortal danger, when psychologically a person reveals himself most fully.

Speaking about his novel, Tolstoy admitted that in “War and Peace” he “loved popular thought.” The author poetizes the simplicity, kindness, and morality of the people. Tolstoy sees in the people the source of morality necessary for the whole society.

S.P. Bychkov wrote: “According to Tolstoy, the closer the nobles are to the people, the sharper and brighter their patriotic feelings, the richer and more meaningful their spiritual life. And, on the contrary, the further they are from the people, the drier and callous their souls , the more unattractive they are moral principles ".

Lev Nikolayevich Tolstoy denied the possibility of an individual’s active influence on history, since it is impossible to foresee or change the direction of historical events, because they depend on everyone and no one in particular. In his philosophical and historical digressions, Tolstoy considered the historical process as a sum consisting of “countless amounts of human arbitrariness,” that is, efforts

each person. The totality of these efforts

results in a historical necessity that no one can cancel. According to Tolstoy, history is made by the masses, and its laws cannot depend on the desire of an individual historical person. Lydia Dmitrievna Opulskaya wrote: “Tolstoy refuses to recognize as the force guiding the historical development of mankind any kind of “idea,” as well as the desires or power of individual, even “great” historical figures.” There are laws that govern events, partly unknown , partly groped by us, writes Tolstoy. “The discovery of these laws is possible only when we completely renounce the search for causes in the will of one person, just as the discovery of the laws of planetary motion became possible only when people renounced the idea of ​​the solidity of the Earth.” Tolstoy sets the task for historians “instead of finding reasons... finding laws." Tolstoy stopped in bewilderment before realizing the laws that

determine the “spontaneous-swarm” life of the people. According to his view, a participant in a historical event cannot know the meaning and meaning

nor - especially - the result of the actions performed. Because of this, no one can intelligently direct historical events, but must submit to their spontaneous, unreasonable course, just as the ancients obeyed fate. However, the internal, objective meaning of what was depicted in “War and Peace” led closely to the awareness of these patterns. In addition, in explaining specific historical phenomena, Tolstoy himself came very close to determining the actual forces that guided events. Thus, the outcome of the war of 1812 was determined, from his point of view, not by a mysterious fate inaccessible to human understanding, but by the “club of the people’s war,” which acted with “simplicity” and “expediency.”

Tolstoy's people act as the creator of history: the millions of ordinary people, and not heroes and generals, create history, move society forward, create everything valuable in material and spiritual life, accomplish everything great and heroic. And Tolstoy proves this thought - “people's thought” using the example of the War of 1812.

Lev Nikolayevich Tolstoy denied the war, heatedly argued with those who found the “beauty of horror” in war. When describing the war of 1805, Tolstoy acts as a pacifist writer, but when describing the war of 1812, the author switches to the position of patriotism. The War of 1812 appears in Tolstoy's depiction as a people's war. The author creates many images of men and soldiers, whose judgments together make up the people's perception of the world. The merchant Ferapontov is convinced that the French will not be allowed into Moscow,

“They shouldn’t,” but, having learned about the surrender of Moscow, he understands that “Race has decided!” And if Russia is dying, then there is no point in saving your property. He shouts to the soldiers to take his goods, so that the “devils” don’t get anything. The men Karp and Vlas refused to sell hay to the French, took up arms and became partisans. In times of difficult trials for the Fatherland, the defense of the Motherland becomes a “people's matter” and becomes universal. All the heroes of the novel are tested from this side: are they animated by a national feeling, are they ready for heroism, for high sacrifice and self-sacrifice.

Club of the people's war.

Of course, the most grandiose work of our truly great writer L.N. Tolstoy is the epic novel “War and Peace.” From the title, one of the main themes of the novel is immediately clear - the theme of war. Tolstoy said that war is always a “terrible thing,” noting that participation in this “terrible thing” can be a great crime, or maybe forced self-defense. This is exactly what it turned out to be for Russia Patriotic War 1812. But the main thing is that by its nature this war was a people's war. Not only the army, but the entire Russian people took part in it: some peasants and nobles directly bore military service, merchants donated some of their income to the needs of the army, and many peasants became partisans. It should be noted that one hundred methods on this scale guerrilla warfare were introduced for the first time. Detachments of ordinary Russian people, united by one noble goal - to defend their Motherland, under the leadership of the later famous partisan Vasilisa Kozhina, Lieutenant General, who also became a partisan, Denis Davydov, independently rise to fight the invaders. All these historical figures were the prototypes of the heroes of the novel. Lev Nikolaevich shows us the elder Vasilisa, and the partisan detachments that Denisov and Dolokhov create. Tolstoy notes that among the partisans the most irreplaceable person was Tikhon Shcherbaty, who proved himself to be an incredibly brave intelligence officer without any outward show of heroism. There were many like this simple Russian man, who stood up to defend his Fatherland, in other detachments. It’s impossible to count them all.

The leading representative of the people's war, of course, is the commander-in-chief of the Russian army, wise by experience, M.I. Kutuzov. Mikhail Illarionovich took his position only by the will of the people, since, being a person close to ordinary people, enjoyed respect and love among the people and understood that the outcome of the war depended on ordinary Russian people. Just look at the image of the merchant Ferapontov, who set fire to his barns and gave all his supplies to the soldiers so that they would not go to the enemies.

Lev Nikolaevich paints us a large-scale image of the Russian people, who raised their simple weapon - an ordinary club, the club of the liberation war against the invasion of Napoleonic army. “...The club of the people’s war rose with all its formidable and majestic power, Ir, without asking anyone’s tastes and rules, with stupid simplicity, but with expediency, without considering anything, nailed the French until the entire invasion was destroyed.” Napoleon's army of conquest turned out to be powerless against the mighty spirit of ordinary Russian people fighting for the liberation of their great Motherland.

Ticket No. 22
Kutuzov and Napoleon.

L.N. Tolstoy's novel ranks among the best works of world literature. It superbly depicts significant historical events of the early 19th century, illuminates aspects of Russian life, views, ideals, life and morals of various strata of society.
The main artistic device used by L.N. Tolstoy in this work is antithesis. The concepts in the title of the novel (“war” and “peace”), the battles of Austerlitz and Borodino, Moscow and St. Petersburg, the author’s favorite and least favorite heroes, etc. are contrasted.
Antithesis for Tolstoy is the main way of expressing philosophical and historical thought. The images of the two great commanders, also opposed to each other, represent the psychological and moral poles of the work. Kutuzov and Napoleon are the light and shadow of the novel.
Napoleon acts as the bearer of the “idea of ​​power”, carried away by the thought of his superiority and the desire to subjugate people. For Tolstoy, he is the personification of evil and violence, aggression

Related information.

Fet is without a doubt one of the most remarkable Russian landscape poets. In his poems, the Russian spring appears before us - with fluffy willows, with the first lily of the valley asking for the sun's rays, with translucent leaves of blossoming birches, with bees crawling “into every carnation of fragrant lilacs,” with cranes calling in the steppe. And the Russian summer with sparkling, burning air, with a blue sky covered in haze, with the golden tints of ripening rye in the wind, with the purple smoke of sunset, with the aroma of mown flowers over the fading steppe. And Russian autumn with colorful forest slopes, with birds stretching into the distance or fluttering in leafless bushes, with herds on trampled stubble. And Russian winter with distant sleighs running on shiny snow, with the play of dawn on a snow-covered birch tree, with frost patterns on the double window glass.

Love for nature is felt already in Fet’s early poems; nevertheless, the landscape does not appear immediately in his poetry. In the poems of the 40s, the images of nature are general, not detailed even in such successful poems as “Wonderful Picture...”, where the image of a bright winter night is created by such features as “a white plain, full moon, the light of the high heavens, and the shining snow." The main thing here is emotional expression, excited by nature; there is no close “peering” yet.

At least now: I’ll look outside the window at the cheerful greenery

Spring trees, but suddenly the wind will carry it to me

The morning smell of flowers and birds, sonorous songs -

So he would have rushed into the garden shouting: let's go, let's go!

(“A strange feeling took over for a few days...”)

Fet describes natural phenomena in more detail and appears more specific than those of his predecessors. In Fet’s poems we will meet, for example, not only traditional birds that have received the usual symbolic coloring, such as the eagle, nightingale, swan, lark, but also such as the harrier, owl, little black owl, sandpiper, lapwing, swift, etc. And each the bird is shown in its originality. When Fet writes:

("Steppe in the evening")

Here poetry includes the observations of a person who determines by voice not only which bird is singing, but also where it is located, and what the strength of the sounds is in relation to the normal strength of its voice, and even what the meaning of the sounds heard is. Indeed, in another poem (“I’m waiting, overwhelmed with anxiety...”) in the impenetrable darkness of the night, the crake “hoarsely called out to his friend.”

And a distant unknown cry.

Night flowers sleep all day long,

The leaves are quietly opening,

And I hear my heart bloom.

The author teaches us to open our hearts to nature, to let it into our souls, to enrich ourselves spiritually, returning this beauty to those around us. Being able to appreciate all the diversity of the world, you become richer and purer - isn’t this the main value of communicating with the poetry of a great master.

Words cannot express anyone!

Streams spin into foam!

In the ether the song trembles and melts,

“You’ll survive another spring!”

Nature in the poems of Afanasy Afanasyevich is not deserted, it is filled with the presence of man, his familiar world of sounds, smells, forms. You can really feel it, it “responds” to any touch: with a word, with a hand, with a thought... It is a great joy to communicate with the work of A. A. Fet.

Of course, Fet’s poems about nature are strong not only in their specificity and detail. Their charm lies primarily in their emotionality. Fet combines the concreteness of his observations with the freedom of metaphorical transformations of words and the bold flight of associations. In addition to phenological signs, the feeling of spring, summer or autumn can be created by, say, images of “day”:

Light as a light dream,

From the bright east the days flew wider and wider...

("Sick")

And in front of us on the sand

The day was golden all around.

("One more acacia...")

The last radiant day has faded.

("Poplar")

When the end-to-end web

Spreads threads of clear days...

(in autumn")

The novelty of Fet’s depiction of natural phenomena is associated with a bias towards impressionism. The poet vigilantly peers into the outside world and shows it as it appears to his perception, as it seems to him at the moment. He is interested not so much in the object as in the impression made by the object. Fet says so: “For an artist, the impression that caused the work is more valuable than the thing itself that caused this impression.”

A fire blazes in the forest with the bright sun,

And, shrinking, the juniper cracks;

Like drunken giants, a crowded choir, Flushed, staggers the spruce forest.

It is natural to understand this picture in such a way that the spruce trees are swaying in the wind. But what kind of storm does it take to make the trees in the forest stagger like drunken people! However, the final stanza, which closes the poem “in a ring,” again connects the “staggering” of the spruce forest only with the light of the fire:

But the night will frown - the fire will flare up,

And, curling, the juniper will crackle,

And, like drunken giants, a crowded choir,

Blushing, the spruce forest staggers.

This means that the spruce tree is not actually shaking, but only seems to be shaking in the uncertain glow of the fire. Fet describes the “apparent” as real. Like an impressionist painter, he finds special conditions light and reflection, special angles in which the picture of the world appears unusual.

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 forest is described as it appeared to the poet’s eyes: the forest and its reflection in the water are given as one whole, like a forest curved between two peaks, drowned in the dawn of two heavens. Moreover, by juxtaposing “the swan reached out” and “the forest overturned,” the last verb is given a parallel meaning to the first one of the action that has just taken place: the forest seemed to overturn under the gaze of the poet. In another poem:

The sun, shining from the transparent skies.

Quiet streams overturned the forest.

(“Noisy herons waved from their nests...”)

The vault of heaven is overturned in the water,

Speckles the bay with blush.

(“How beautiful it is on a slightly shimmering morning...”)

It must be said that in general the motif of “reflection in water” is found unusually often in Fet’s works. Obviously, an unsteady reflection provides more freedom to the artist’s imagination than the reflected object itself:

I'm on fire in the water...

(“After early bad weather...”)

In this mirror under the willow tree

My jealous eye caught

Lovely features...

Softer is your proud gaze...

I'm shaking, looking happy,

Just like you tremble in the water.

Fet depicts the outside world in the form that the poet’s mood gave it. For all the truthfulness and concreteness of the description of nature, it primarily serves as a means of expressing lyrical feelings.

Native nature in its immediate real life appears in Fet’s poetry as the main sphere of manifestation of beauty. But “low life,” the boredom of long evenings, the languid melancholy of everyday monotony, the painful disharmony of the soul of the Russian Hamlet become the subject of poetic comprehension in his work.

One of Fet’s poems speaks about the special nature of the poet’s aesthetic perception of nature, that the gloomy and disharmonious elements of the northern landscape seem beautiful to him, that this feeling of beauty is inseparable from his love for his homeland:

I'm Russian, I love the silence given to the nasty,

Under the canopy of snow, monotonous death,

Forests under the caps or in gray frost,

Yes, the river is ringing under the dark blue ice.

Winded ditches, blown mountains,

Sleepy blades of grass - or among the naked fields,

Where the hill is bizarre, like some kind of mausoleum,

Sculpted at midnight - the whirling of distant whirlwinds

And a solemn shine at the sounds of funeral!

The poet's spiritual world, reflected in this poem, is paradoxical. Fet creates a tragic, disharmonious image of the nature of the north. The desolation, deadness of the winter expanse and the loneliness of a person lost in it are expressed in this poem both through the general coloring of the picture and through every detail of it. A snowdrift that has appeared overnight is likened to a mausoleum, fields covered with snow, with their monotony, evoke the thought of death, the sounds of a snowstorm seem like a funeral chant. At the same time, this nature, meager and sad, is infinitely dear to the poet. The motives of joy and sadness are merged in the poem. The lyrical hero, and ultimately the poet himself, admires the gloomy expanse of the icy desert and finds in it not only a unique ideal of beauty, but moral support. He is not abandoned, not “imprisoned” in this harsh world, but generated by it and passionately attached to it.

In this regard, the poem “I am Russian, I love the silence of the vile night...” can be compared with the famous “Motherland” written shortly before by Lermontov.

The difference between Fet’s perception of his native space and that expressed in his works by Lermontov and (in “ Dead souls ah") Gogol, consists in the greater spatial limitation of his images. If Gogol, in the lyrical digressions of “Dead Souls,” looks around, as it were, the entire Russian plain from a point of view elevated above it, and Lermontov sees a vast panorama of his homeland through the eyes of a person traveling along her endless roads and fields of the wanderer, Fet perceives the nature directly surrounding his sedentary life, his home. His vision is closed by the horizon, he notes the dynamic changes of dead winter nature precisely because they occur in an area well known to him in the smallest details:

How they love to find thoughtful gazes

Winded ditches, blown mountains<...>

or among the naked fields,

Where is the fancy hill<...>

Sculpted at midnight, -

whirling of distant whirlwinds..."

A poet writes who knows where there were ditches covered with snow, noting that a flat field was covered with snowdrifts, that a hill that was not there grew up overnight.

The poet is surrounded by a special sphere, “his own space,” and this space is for him the image of his homeland.

This circle of lyrical motifs is reflected, for example, in Fet’s poem “Sad Birch...”. The image of a birch tree in the poems of many poets symbolizes Russian nature. “The Couple of White Birches” also appears in Lermontov’s “Motherland” as the embodiment of Russia. Fet depicts one birch tree, which he sees every day through the window of his room, and the slightest changes on this tree, naked in winter, as if deadened by the frost, for the poet serve as the embodiment of the beauty and unique life of the winter nature of his native land.

The space surrounding the poet, akin to him, corresponds to a certain moral atmosphere. In the fourth poem of the “Snow” cycle, the picture of deathly winter nature with a troika rushing through a blizzard is given a touch of ballad mystery.

The wind is angry, the wind is steep in the field

Poured,

And a snowdrift on the steppe will

Curls.

When there is moonlight, it's frosty a mile away -

With lights.

The wind carried the news about the living

With vertebrae.

Here, as in the poem “I am Russian, I love...”, the poet creates a picture of the Russian winter with the help of images of a snowdrift inspired by a blizzard, a snow blizzard in a field.

Pushkin and Gogol saw the pillars measuring miles on the main road through the eyes of a traveler racing on a greyhound troika:

And miles, delighting the idle gaze,

They flash in your eyes like a fence.

(Pushkin. "Eugene Onegin")

Fet sees them while wandering around the field on foot at night. In front of him is one pillar covered with “lights” of frost. The troika rushes past him, and only the wind carries the ringing of bells, announcing that the unknown and instant visitor to the deserted corner native to the poet has rushed further to “count the miles.”

The originality of Fet's poetic perception of nature is conveyed in his poem "Village". In its compositional structure and, to a large extent, in its poetic idea, it is close to the first poem of the “Snow” cycle (the theme of love for one’s native places).

I love your sad shelter,

And the evening of the village is deaf...

The poet loves the village as the world surrounding the girl he loves, which is her “sphere”. The poet’s gaze seems to circle around this sphere, first describing its outer boundary along the horizon, then approaching a small circle inside this circle - the house, looking into it and finding another one in this circle - a “close circle” of people at the tea table. The poet loves nature and the people surrounding the girl, the sounds and play of light around her, the aromas and movement of the air of her forest, her meadows, her home. He loves the cat that frolics at her feet and the work in her hands.

All this is her. The listing of objects that fill “her space”, details of the situation and landscape cannot be considered as fractional elements of the description. It is not for nothing that the poem bears the collective title “Village”, i.e. a world constituting a living and organic unity. The girl is the soul of this unity, but she is inseparable from it, from her family, her home, her village.

Therefore, the poet speaks of the village as a shelter for the whole family (“I love your sad shelter...”). Within this poetic circle, there is no hierarchy of objects for the poet - they are all equally dear to him and important to him. The poet himself becomes part of it, and he opens a new attitude towards himself. He begins to love himself as a part of this world, to love his own stories, which from now on become part of the moral atmosphere surrounding the girl, and give him access to the center of the circle - her eyes, to her spiritual world. At the same time, although the work depicts “space” - and this is its main poetic image - the poet perceives it in time. This is not only a “village”, but also a “deaf village evening”, and the poetic image conveys the flow of this evening from. "blagovesta" before the sunrise of the month, a time that gives the opportunity to refill and drink the samovar more than once, tell "fairy tales" of "your own invention", exhaust the topics of conversation ("speech in slow motion") and finally ensure that the "sweet, shy granddaughter" raises eyes on the guest. Here the parallelism of the “fading birds” and the slow conversation of people, as well as the light of the moon and the shaking of cups in this light has a double meaning. These are phenomena located “nearby” in space and time. Fet demonstrated the extraordinary acuteness of the sensation of movement in nature and the amazing novelty of the techniques of its poetic recreation in the poem “Whisper, timid breathing...”. The first thing that catches the eye and what was immediately noticed by readers is the absence of verbs in this poem, which conveys the dynamics of the night life of nature and human feelings. The poet depicted the night as a succession of meaningful moments full of content, as a flow of events. The poem tells how night gives way to dawn and clarity comes in the relationship between lovers after an explanation. The action develops in parallel between people and in nature. Parallelism in the depiction of man and nature as typical feature Fet's poetry has been noted more than once by researchers of Fet's work (B. M. Eikhenbaum, B. Ya. Bukhshtab, P. P. Gromov). In this case, this parallelism acts as the main constructive principle of constructing the poem. Having created a clear, extremely naked composition and using a special method of description, as if “highlighting” the most significant, “talking” details of the picture, the poet puts a very broad content into an extremely compressed, almost incredibly small volume of the poem. Since in non-anthological, lyrical poems, Fet considers kineticity, the movement of image objects, to be a more significant feature of them than plasticity and form, he replaces detailed description a catchy detail and, activating the reader’s imagination with the understatement, some mystery of the narrative, forces him to fill in the missing parts of the picture. But these missing parts of the picture are not so important for Fet. After all, the action develops, as if “pulsing”, and he notes those meaningful moments, when changes occur in the state of nature and man. The movement of shadows and light “marks” the passage of time. The month illuminates objects differently at different periods, moments of the night, and the appearance of the first rays of the sun announces the onset of the morning. The same is the expression of the night illuminated by the changing light. In the morning, the woman’s face reflects the vicissitudes of the feelings experienced during the night. The very conciseness of the poetic story in the poem conveys the brevity of the summer night and serves as a means of poetic expressiveness.

In the last line of the poem there is a final merging of a laconic narrative about the events in the lives of people and nature. “Dawn” is the beginning (of a new day in the life of nature and human hearts. This line, ending the poem with “open breathing,” is more like a beginning than an end in the usual sense of the word. This feature of the endings of poems is characteristic of Fet, who considers any mental state or any picture of nature as a fragment of an endless process. In the poem “Whisper, timid breathing...”, a summer night full of lyrical events is depicted as a prelude, the beginning of happiness and a joyful day of a new life.

The flowering of life, its beauty and its movement are the content of art. The secret of art lies in the fact that it conveys the beauty of life, its dynamics, but also preserves the perfection of the form that has once arisen, gives eternity to a beautiful moment of the highest flowering, making it imperishable. After all, every transition from one state to another gives rise to new beauty.

Fet sees the vastness of the flood of one river, the Dnieper, in the place that he crosses on a sailboat. He sees it from coast to coast, recording all the variety of pictures that change as he overcomes this large space - and thus conveys its extent. He depicts the riot of elemental forces through an unusual, “paradoxical” landscape.

The first stanza, unexpectedly cutting through the metaphor and giving it an even stranger sound, sets up a keen perception of the amazing picture and recreates with its somewhat difficult syntax the effort that is required to overcome the resistance of the river rapids and cast off from the shore.

It was getting light. The wind bent the elastic glass

Dnieper, still in the waves without awakening a sound.

The old man set sail, leaning on his oar,

Meanwhile, he grumbled at his grandson.

Further stanzas convey all the vicissitudes of the struggle with the river, all the changing “relationships” of the sailboat and the water element as it moves along it. At the same time, they paint pictures that open up as the boat speeds up and the point of view changes:

And there the flooded forest flew towards...

Mirror bays burst into it;

There the poplar was green above the sleepy moisture,

The apple trees called and the willows trembled.

In the first publication in the Sovremennik magazine, a powerful panorama of the river flood was followed by an expanded lyrical ending, revealing the feelings of the poet who, admiring the pictures of nature, renounces the bustle of city life. This ending, along with many others, was abolished on the advice of Turgenev in the publication of the poems in 1856, and here only one line remained from it, commenting on the subtext of the entire poetic description and turning out to be quite sufficient to clarify it:

I would stay here to breathe,

watch and listen forever...

Fet's nature is always calm, quiet, as if it had frozen. And at the same time, it is surprisingly rich in sounds and colors, living its own life. It is filled with enchanting romance:

What is that sound in the evening twilight?

God knows! - Either the sandpiper moaned or the owl.

There is parting in it,

and there is suffering in him,

And a distant unknown cry.

Like sick dreams of sleepless nights

In this crying sound merged...

Fet’s nature lives its own mysterious life, and a person can be involved in it only at the peak of his spiritual development:

Night flowers sleep all day long,

But as soon as the sun sets behind the grove, the leaves quietly open,

And I hear my heart bloom.

Over time, in Fet’s poems we find more and more parallels between the life of nature and man. A feeling of harmony fills the poet’s lines:

The sun is gone, there is no day of tireless striving,

Only the sunset will burn slightly visibly for a long time;

Oh, if only the sky promised without heavy languor

It’s the same for me, looking back at life, to die!..

Fet does not sing of passionate feelings; in his poems we do not find words of deep despair or delight. He writes about the simplest things - about rain and snow, about the sea and mountains, about the forest, about the stars, conveying to us his momentary impressions, capturing moments of beauty. Such poetic masterpieces of Afanasy Fet as “Whisper, timid breathing...”, “I came to you with greetings...”, “At dawn, don’t wake her up...”, “Dawn bids farewell to the earth” are filled with light and peace. ..." and others.

Nature in the poems of Afanasy Afanasyevich is not deserted, it is filled with the presence of man, his familiar world of sounds, smells, forms. You can really feel it, it “responds” to any touch: with a word, with a hand, with a thought... It is a great joy to communicate with the work of A. A. Fet. The poet notices subtle transitions in the state of nature, and nature in Fet’s lyrics does not exist on its own, it reflects the internal state of the author or his lyrical hero. Sometimes they are so close that it is difficult to understand where, whose voice is. Very often poems sound dissonant, but this the world invades poetry.

I'll just meet your smile

Or I’ll catch your joyful glance, -

In you I sing a song of love,

And your beauty is indescribable.

It seems that the poet is omnipotent, any “peaks and depths” are available to him. This is the ability of a genius to speak the familiar Russian language. Nature itself, harmony and beauty sing in his soul.

The night was shining. 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 were trembling,

Just like our hearts follow your song.

Starting from a concrete and real picture, the poet moves on to a lyrical symbol. Addressing readers, “I” brings my creation closer to millions of poetry lovers, forcing them to perceive the beauty and charm of natural science, which was so clearly revealed to the author.

Fet's poems are natural, like all the surrounding nature.

Sounded over the clear river,

It rang in a darkened meadow,

Rolled over the silent grove,

It lit up on the other side.

To know, flowers that are not more cherished,

Have you blossomed into self-willed bliss?

To know, and the hundred-year-old cactus turned white,

And a banana and a praying lotus?

The removal of this sphere, which emphasized the objectivity of the miracle occurring in nature, its reality, did not change the general meaning of the poem, but increased its fantastic nature. Meanwhile, the stanza about the blooming of “cherished” flowers connects this poem with Fet’s late story “Cactus”, where the poet in a direct, declarative form expresses the idea of special meaning rare, exceptional moments in the life of nature, about the deep meaning of the moment of flowering.

Faith in the infinity of nature's life and in the possibility of man's harmonious fusion with it permeates many of the poems in the collection of 1850 and, being their philosophical basis, gives them a bright, peaceful sound.

The flowering of life, its beauty and its movement are the content of art. The secret of art lies in the fact that it conveys the beauty of life, its dynamics, but also preserves the perfection of the form that has once arisen, gives eternity to a beautiful moment of the highest flowering, making it imperishable. After all, each transition from one state to another gives rise to new beauty, but also brings loss. Fet's anthological poems are permeated with this feeling.

The approach of spring and autumn withering, a fragrant summer night and a frosty day, an endless rye field and a dense shady forest - he writes about all this in his poems. Fet's nature is always calm, quiet, as if it had frozen. And at the same time, it is surprisingly rich in sounds and colors, living its own life.

Fet’s depiction of nature is filled with enchanting romance:

What is that sound in the evening twilight?

God knows! - Either the sandpiper moaned or the owl.

There is parting in it, and there is suffering in it,

And a distant unknown cry.

Like sick dreams of sleepless nights

In this crying sound merged...

The poet notices the slightest changes in her:

End of the alley

Again in the morning he disappeared into the dust,

Silver snakes again

They 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 against the storm

It flaps its wings heavily.

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,

The soul will become younger again,

Again the native will see the land,

Where storms fly by

Where the passionate thought is pure -

And only visibly to the initiates

Spring and beauty are blooming." (1862)

Fet’s nature lives its own mysterious life, and a person can be involved in it only at the peak of his spiritual development:

Night flowers sleep all day long,

But as soon as the sun sets behind the grove,

The leaves are quietly opening,

And I hear my heart bloom.

A. Fet does not sing of passionate feelings; in his poems we do not find words of deep despair or delight. He writes about the simplest things - about rain and snow, about the sea and mountains, about the forest, about the stars, conveying to us his momentary impressions, capturing moments of beauty. The poet conveys in his poems the “fragrant freshness of feelings” inspired by nature. His poems are imbued with a bright, joyful mood, the happiness of love. Even the slightest movements of the human soul do not escape the attentive gaze of the poet - he unusually subtly conveys all the shades of human experiences.

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.”

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. Fet, seeing the beauty of the world, tries to preserve it in his poems. The poems of A. A. Fet show the beautiful and pure world of nature, its artless beauty and freshness. And it is not so important how they are conveyed, as long as it is true, it comes from the depths of the soul. The author teaches us to open our hearts to nature, to let it into our souls, to enrich ourselves spiritually, returning this beauty to those around us. Being able to appreciate all the diversity of the world, you become richer and purer - isn’t this the main value of communicating with the poetry of a great master.

How the chest breathes freshly and capaciously -

Words cannot express anyone!

As loud as the ravines at noon

Streams spin into foam!

In the ether the song trembles and melts,

“You’ll survive another spring!”

The poet shows the close relationship between man and nature - this is the spring from which you can draw strength endlessly if you treat it with care and soul. But nature is also surprisingly vulnerable, it is easy to destroy and cause irreparable damage. You understand this acutely when reading Fet’s wonderful poems. His poetic world is surprisingly diverse and fragile, and his subtle lyricism makes one understand the full depth of the changes taking place.

She covered the path for me with her sleeve.

Wind. In the forest alone it is dark, and creepy, and sad, and fun, -

I do not understand anything.

The wind, everything around is humming and swaying,

Leaves are spinning at your feet.

And there, in the distance, you suddenly hear

Subtly calling horn.

Fet’s nature is a living being, it is filled with the presence of man, his familiar world of sounds, smells, forms. You can really feel it, it “responds” to any touch: in a word, with a hand, with a thought... The poet conveys human properties to nature (“tired and the color of heaven”)

Nature, life, love are one. Life-affirming, shining with the happiness of life, overflowing with the joy of love and enjoyment of nature - this is

Fet's lyrical landscape

Many poets have experienced extraordinary creative inspiration when in contact with nature. For Fet, the charm of nature is always a stimulus for creativity, while the delight that nature evokes evokes in the poet a powerful impulse for creativity, perhaps unclear to him:

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 from everywhere

It blows over me with joy,

That I don’t know myself that I will

Sing - but only the song is ripening.

Personification of nature as the poet’s favorite technique

In him, nature appears to the reader as a living being, but the poet does not transfer the feelings of people to nature, he simply feels the life of nature as the life of a living being:

Flowers look with the longing of a lover,

Sinlessly pure, like spring...

And nearby, the native bush is confusing,

And trying, and afraid to fly,

Young birdie family

Calling a caring mother...

Motives of eternity

Nature is an opportunity for a person to touch eternity. Sometimes a simple walk on the sea can evoke thoughts of eternity in a poet. His feelings in the poem “On the Ship” are heightened, hence the feeling of flight, the rapid disappearance of the earth and the thought of the day when the poet himself will cross the threshold of eternity. But the interesting thing is that thoughts about the eternal, about death, do not cause Fet either horror or gloom. The transition to another world is bright and beautiful, just as this trip by sea is beautiful:

Let's fly! A foggy line

The earth is running away from my eyes.

Under continuous foot

Boiling up the white ridge,

The alien element is trembling.

She seems to be imagining things in advance

That day when without a ship

I'll rush through the ocean of air

And will disappear into the fog

My native land is behind me.

Fet's theme of love

The feeling of love is always associated with a feeling of beautiful nature, the nuances of human feelings in the undertones of natural movements. In the poem “Whisper, Timid Breathing...”, the poet miraculously, without using verbs, managed to convey the facets of changes from evening to night, from night to morning. These changes in nature also accompany the gradation of human feelings, feelings of love and passion.

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

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

The movements of nature, color, sounds, smells, rustles - everything makes up the author’s natural world. Usually poets notice color changes in nature, sometimes sounds; for Fet, the amazing world of nature is diverse, it is filled with smells, sounds, color, play of shadows and light

Your luxurious wreath is fresh and fragrant,

In it you can smell incense of all colors.

The rye is ripening over the hot fields,

And from the field to the field

The whimsical wind blows

Golden shimmers.

A fire burns bright gold in the forest,

And, shrinking, the juniper cracks,

A choir crowded like drunken giants,

Flushed, the spruce tree staggers.

Feeling in the poet's lyrics

Fet is a poet of sublime joyful feeling, which is why there are so many exclamatory sentences in his poems. Perhaps, no other Russian lyricist has such intonations; the poet’s feelings resonate in nature

What a night! The transparent air is constrained;

The aroma swirls above the ground.

Oh now I'm happy, I'm excited

Oh, now I'm glad to speak!

What a night! What bliss there is in everything!

Thank you, dear midnight land!

From the kingdom of ice, from the kingdom of blizzards and snow

How fresh and clean your May leaves!

The world of nature and feelings are intertwined, and it is sometimes difficult or impossible for a poet to separate them

How a lily looks into a mountain stream,

You stood over my first song,

And was there a victory, and whose?

Is it near a stream from a flower, is it near a flower from a stream?

A poet can find a sweet feeling even in a season like autumn. Traditionally, autumn is depicted in poetry as a time of dying, autumn evokes thoughts about death, about eternity, but in Fet we even find in the description of autumn: “In the forest alone it is noisy, and creepy, and sad, and fun,” but in the forest it sounds inviting horn, and the poet’s heart trembled:

Sweet is the sound of the copper herald to me!

The sheets are dead to me!

It seems from afar as a poor wanderer

You greet tenderly.

As a result, let us refer to the words of the great Russian writer:

“Fet is a one-of-a-kind poet who has no equal in any literature, and he is much higher than his time, which does not know how to appreciate him” (L.N. Tolstoy)

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The realism movement in Russian art of the 19th century was so powerful and significant that all outstanding artists experienced its influence in their work. In the poetry of A. A. Fet, the influence of realism was especially evident in poems about nature. Fet is one of the most remarkable Russian landscape poets. In his poems, the Russian spring appears in all its beauty, with blooming trees, the first flowers, and cranes calling in the steppe. Apparently, the image of cranes, so beloved by many Russian poets, was first depicted by Fet.

In Fet's poetry, nature is depicted in detail. In this regard, he is an innovator. Before Fet, generalization reigned in Russian poetry addressed to nature. In Fet we encounter not only traditional birds surrounded by the usual poetic aura (nightingale, swan, lark, eagle), but also seemingly simple and unpoetic ones (owl, harrier, lapwing, swift). For example:

It is significant that the author distinguishes birds by their voice and can determine where this bird is located. This means not just a good knowledge of nature, but the poet’s love for it, long-standing and thorough. Undoubtedly, the author of poetry about nature must have extraordinary taste, otherwise he risks falling into imitation of folk poetry, which abounds in such images.

S. Ya. Marshak was right when he admired the freshness and spontaneity of Fetov’s perception of nature and argued that the poet’s poems entered Russian nature, became its integral part, wonderful lines about spring rain, the flight of a butterfly, and soulful landscapes. Marshak, in addition, accurately noticed one more feature of Fet’s poetry, arguing that his nature is exactly like on the first day of creation: thickets of trees, a light ribbon of a river, a nightingale’s peace, a sweetly murmuring spring...

As an important facet of Feta’s talent as a landscape painter, one cannot fail to note his characteristic

creativity impressionism. The poet does not shy away from the outside world; he vigilantly peers into it, depicting it as it appears to his immediate gaze. The impressionist is not interested in the subject, but in the impression:

You alone glide along the Azure path;

Everything around is motionless...

Let the night pour in its bottomless urn

Myriads of stars are coming to us.

The external world in these lines is depicted in the form that the poet’s mood gave it. Despite all the specificity of the description of details, nature still seems to dissolve in the author’s lyrical feeling. Fet's nature is humanized like none of his predecessors. His flowers smile, the stars pray, the pond dreams, the birches wait, the willow is “friendly with painful dreams.” The moment of nature’s “response” to the poet’s feelings is interesting:

In the air behind the nightingale's song, anxiety and love are heard.

This couplet delighted Leo Tolstoy, and he wondered where this “good-natured fat officer got such incomprehensible lyrical audacity, a property of great poets.” Lev Nikolaevich Tolstoy, at the same time grumbling, recognized Fet as a great poet. And he was not mistaken. Fet also truly succeeded in love lyrics. His landscape background came in handy in his romantic love poems. He always chose only beauty as a theme for his poems - both in nature and in man. The poet himself was sure that “without a sense of beauty, life comes down to feeding hounds in a stuffy, fetid kennel.” The beauty of its rhythms and landscapes will always delight the reader.