The artistic world of feta and its features. The ideological and artistic originality of A.A. Feta. Metaphors and epithets

Fetov's lyrics could be called romantic. But with one important clarification: unlike the romantics, the ideal world for Fet is not a heavenly world, unattainable in earthly existence "the distant land of the native." The idea of ​​the ideal is still clearly dominated by signs of earthly existence. So, in the poem “Oh no, I will not call for the lost joy ...” (1857), the lyrical “I”, trying to rid myself of the “dreary life of the chain”, represents a different existence as a “quiet earthly ideal”. The “earthly ideal” for the lyrical “I” is the quiet charm of nature and the “cherishing union of friends”:

Let the sick soul, tired of the struggle,
Without a roar, the chain of a dreary life will fall,
And let me wake up in the distance, where to the nameless river
Silent steppe runs from the blue hills.

Where a plum argues with a wild apple tree,
Where the cloud creeps a little, airy and bright,
Where the drooping willow slumbers over the water
And in the evening, buzzing, a bee flies to the hive.

Perhaps ... Eyes are always looking into the distance with hope! -
A cherishing union awaits me there,
With hearts as pure as the month of midnight,
With a sensitive soul, like the songs of prophetic muses<...>

The world where the hero finds salvation from the "dreary life of the chain" is nevertheless filled with signs of earthly life - these are blossoming spring trees, bright clouds, the buzz of bees, a willow growing over the river - endless earthly distance and heavenly space. The anaphora used in the second stanza further emphasizes the unity of the earthly and heavenly worlds, which constitute the ideal towards which the lyrical "I" aspires.

Very clearly, the internal contradiction in the perception of earthly life was reflected in the poem of 1866. “The mountain is fanned by the sparkle of evening”:

The mountains are covered with glitter in the evening.
Dampness and haze run into the valley.
With a secret prayer I lift my eyes:
- “Will I leave the cold and dusk soon?”

The mood, the experience expressed in this poem - an acute longing for a different, higher world, which is inspired by the vision of majestic mountains, allows us to recall one of the most famous poems by A.S. Pushkin "Monastery on Kazbek". But the ideals of the poets are distinctly different. If for Pushkin’s lyrical hero the ideal is a “transcendental cell”, in the image of which dreams of a lonely service, a break with the earthly world and an ascent to the heavenly world, perfect, are united, then the ideal of Fetov’s hero is also a world far from “cold and dusk » valleys, but not requiring a break with the world of people. This is human life, but harmoniously merged with the heavenly world and therefore more beautiful, perfect:

I see on that ruddy ledge -
the cozy nests of the roofs have been moved;
Vaughn lit up under the old chestnut tree
Lovely windows, like faithful stars.

The beauty of the world for Fet also consisted in a hidden melody, which, according to the poet, all perfect objects and phenomena possess. The ability to hear and transmit the melodies of the world, the music that permeates the existence of every phenomenon, every thing, every object can be called one of the features of the worldview of the author of "Evening Lights". This feature of Fet's poetry was noted by his contemporaries. “Fet in his best moments,” wrote P.I. Tchaikovsky, - goes beyond the limits indicated by poetry, and boldly takes a step into our field ... This is not just a poet, but rather a poet-musician, as if avoiding even those topics that can easily be expressed in words.

It is known with what sympathy this review was received by Fet, who admitted that he was “always drawn from a certain area of ​​​​words to an indefinite area of ​​​​music”, into which he went, as far as his strength was. Even earlier, in one of the articles devoted to F.I. Tyutchev, he wrote: “Words: poetry is the language of the gods - not an empty hyperbole, but expresses a clear understanding of the essence of the matter. Poetry and music are not only related, but inseparable. "Seeking to recreate the harmonic truth, the artist's soul, - according to Fet, - itself comes into the corresponding musical system." Therefore, the word "sing" to express the creative process seemed to him the most accurate.

Researchers write about the "exceptional susceptibility of the author of "Evening Lights" to the impressions of the musical series." But the point is not only in the melody of Fet's poems, but in the poet's ability to hear the melodies of the world, which are clearly inaccessible to the ear of a mere mortal, not a poet. In an article devoted to the lyrics of F.I. Tyutchev, Fet himself noted "harmonic singing" as a property of beauty, and the ability of only a chosen poet to hear this beauty of the world. “Beauty is poured throughout the universe,” he argued. “But it is not enough for an artist to unconsciously be under the influence of beauty, or even to bask in its rays. Until his eye sees its clear, albeit subtle-sounding forms, where we do not see it or only vaguely feel it, he is not yet a poet ... ". One of Fetov's poems - "Spring and night covered the valley ..." - clearly conveys how this connection arises between the music of the world and the soul of the poet:

Spring and night covered the valley,
The soul flees into sleepless darkness,
And she clearly hears the verb
Elemental life, detached.

And unearthly existence
He speaks with his soul
And blows right at her
With its eternal stream.

As if proving Pushkin's idea of ​​a true poet-prophet as the owner of special vision and special hearing, Fetov's lyrical subject sees the existence of things hidden from the eyes of the uninitiated, hears what is inaccessible to the ear of an ordinary person. In Fet, one can find striking images that in another poet would probably seem like a paradox, perhaps a failure, but they are very organic in the poetic world of Fet: “whisper of the heart”, “and I hear how the heart blooms”, “sonorous heart ardor radiance pours around”, “the language of the night rays”, “anxious murmur of the shadow of the summer night”. The hero hears “the dying call of flowers” ​​(“Feeling the answer inspired by others ...”, 1890), “the sobbing of grasses”, the “bright silence” of twinkling stars (“Today all the stars are so magnificent ...”). The heart and hand of the lyrical subject have the ability to hear (“People are sleeping, - my friend, let's go to the shady garden ...”), the caress has the melody or speech (“The last gentle caress has resounded ...”, “Alien voices ... "). The world is perceived with the help of a melody hidden from everyone, but clearly audible by the lyrical “I”. “Chorus of lights” or “star choir” - these images are found more than once in Fetov’s works, pointing to the secret music that permeates the life of the Universe (“I stood motionless for a long time ...”, 1843; “On a haystack at southern night ... ”, 1857; “Yesterday we parted with you ...”, 1864).

Human feelings, experiences remain in the memory as a melody (“Some sounds are carried / And cling to my headboard. / They are full of languid separation, / Tremble with unprecedented love”). It is interesting that Fet himself, explaining Tyutchev’s lines “trees sing,” wrote: “We will not, like classical commentators, explain this expression by the fact that birds sleeping on trees sing here - this is too rational; No! It is more pleasant for us to understand that the trees sing with their melodic spring forms, sing with harmony, like celestial spheres.

Many years later, in the well-known article “In Memory of Vrubel” (1910), Blok would give his definition of genius and recognize the ability to hear as a distinguishing feature of a brilliant artist, but not the sounds of earthly existence, but mysterious words coming from other worlds. A.A. was fully endowed with this talent. Fet. But, like none of the poets, he had the ability to hear the "harmonic tone" and all earthly phenomena, and it was this hidden melody of things to convey in his lyrics.

Another feature of Fet's worldview can be expressed with the help of the statement of the poet himself in a letter to S.V. Engelhardt: “It is a pity that the new generation,” he wrote, “is looking for poetry in reality, when poetry is only the smell of things, and not the things themselves.” It was the fragrance of the world that Fet subtly felt and conveyed in his poetry. But here, too, one feature, which was first noted by A.K. Tolstoy, who wrote that in Fet's poems "it smells of sweet peas and clover", "the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of morning dawn pours into sound." These words truly capture the poet's ability to depict the secret life of nature, its eternal variability, without recognizing the clear boundaries between color and sound, smell and color, familiar to everyday consciousness. So, for example, in Fet’s poetry, “frost shines” (“The night is bright, the frost shines”), sounds have the ability to “burn” (“As if everything is burning and ringing at the same time”) or shine (“the heart’s sonorous ardor radiance pours around "). In the poem dedicated to Chopin ("Chopin", 1882), the melody does not stop, but rather fades away.

The idea of ​​Fet's impressionistic manner of painting the world of natural phenomena has already become traditional. This is a correct judgment: Fet seeks to convey the life of nature in its eternal variability, he does not stop the “beautiful moment”, but shows that in the life of nature there is not even an instantaneous stop. And this internal movement, “burning fluctuations”, inherent, according to Fet himself, to all objects, phenomena of being, also turn out to be a manifestation of the beauty of the world. And therefore, in his poetry, Fet, according to the exact observation of D.D. Good, "<...>even motionless objects, in accordance with their idea of ​​their "inmost essence", sets in motion: makes them oscillate, sway, tremble, tremble.

The originality of Fet's landscape lyrics is clearly conveyed by the 1855 poem "Evening". Already the first stanza imperiously includes man in the mysterious and formidable life of nature, in its dynamics:

Sounded over a clear river,
Rang out in the faded meadow,
It swept over the mute grove,
It lit up on the other side.

The absence of natural phenomena subject to description makes it possible to convey the mystery of natural life; the dominance of verbs - enhances the feeling of its variability. Assonance (o-o-o-o), alliteration (p-r-z) clearly recreate the polyphony of the world: the rumble of distant thunder, echoes to it in the meadows and groves that have subsided in anticipation of a thunderstorm. The feeling of the rapidly changing, full of movement life of nature intensifies even more in the second stanza:

Far, in the twilight, bows
The river runs away to the west;
Burning with golden rims,
Clouds scattered like smoke.

The world, as it were, is seen by the lyrical "I" from a height, his eye embraces the boundless expanses of his native land, the soul rushes after this rapid movement of the river and clouds. Fet is amazingly able to convey not only the visible beauty of the world, but also the movement of air, its vibrations, and allows the reader to feel the warmth or cold of a pre-stormy evening:

On the hillside it's damp, it's hot -
The sighs of the day are in the breath of the night...
But the lightning is already glowing brightly
Blue and green fire.

Perhaps one could say that the theme of Fetov's poems about nature is precisely variability, the mysterious life of nature in perpetual motion. But at the same time, in this variability of all natural phenomena, the poet seeks to see some kind of unity, harmony. This idea of ​​the unity of being determines such a frequent appearance in Fet's lyrics of the image of a mirror or a reflection motif: earth and sky reflect each other, repeat each other. D.D. Blagoy very accurately noticed “Fet’s predilection for reproduction, along with a direct image of the object, its reflected, mobile “double”: the starry sky reflected in the night mirror of the sea<...>, “repeating” landscapes, “overturned” into the unsteady waters of a stream, river, bay”. This motif of reflection, which is stable in Fet’s poetry, can be explained by the idea of ​​the unity of being, which Fet declaratively affirmed in his poems: “And as in a slightly noticeable dewdrop / You recognize the whole face of the sun, / So united in the depths of the cherished / You will find the whole universe.

Subsequently, analyzing Fetov's "Evening Lights", the famous Russian philosopher Vl. Solovyov defines Fetov's conception of the world as follows:<...>Not only is each inseparably present in everything, but everything is inseparably present in each<...>. True poetic contemplation<...>sees the absolute in an individual phenomenon, not only preserving, but also infinitely strengthening its individuality.

This consciousness of the unity of the natural world also determines the inclusiveness of Fetov's landscapes: the poet, as it were, seeks to capture the infinity of space in one moment of world life: the earth - the river, fields, meadows, forests, mountains, and the sky and show harmonious harmony in this boundless life. The gaze of the lyrical "I" instantly runs from the earthly world to the heavenly one, from near to the distance that goes infinitely into infinity. The originality of Fetov's landscape is clearly visible in the poem "Evening", with the unstoppable movement of natural phenomena captured here, which is opposed only by the temporary peace of human life:

Look forward to a clear day tomorrow.
Swifts flash and ring.
purple streak of fire
Transparent illuminated sunset.

Ships slumber in the bay, -
The pennant barely flutters.
The heavens are far away
And the sea distance has gone to them.

So timidly runs a shadow
So secretly the light goes away
What don't you say: the day has passed,
Do not say: the night has come.

Fetov's landscapes seem to be seen from the top of a mountain or from a bird's eye view, they strikingly merge the vision of some insignificant detail of an earthly landscape with a river rapidly running away into the distance, or a boundless steppe, or a sea distance and even more boundless heavenly space. But the small and the great, the near and the far are united into a single whole, into the harmoniously beautiful life of the universe. This harmony is manifested in the ability of one phenomenon to respond to another phenomenon, as if to mirror its movement, its sound, its aspiration. These movements are often imperceptible to the eye (the evening is blowing, the steppe is breathing), but are included in the general unstoppable movement into the distance and up:

Warm evening blows softly
The steppe breathes fresh life,
And the mounds are green
Runaway chain.

And far between the mounds
dark gray snake
To the fading mists
The native path runs.

To unaccountable fun
Rising to the sky
Throws trill after trill from the sky
Spring bird voices.

Very accurately, the originality of Fetov's landscapes can be conveyed by his own lines: "As if from a wonderful reality / You are carried away into the airy vastness." The desire to paint the constantly changing and at the same time unified life of nature in its aspirations determines the abundance of anaphoras in Fetov's poems, as if connecting all the numerous manifestations of natural and human life with a common mood.

But the whole endless, boundless world, like the sun in a drop of dew, is reflected in the human soul, carefully preserved by it. The consonance of the world and the soul is a constant theme of Fetov's lyrics. The soul, like a mirror, reflects the instantaneous variability of the world and changes itself, obeying the inner life of the world. That is why in one of the poems Fet calls the soul "instantaneous":

My horse moves slowly
Through the spring backwaters of the meadows,
And in these creeks the fire
Spring shines clouds

And refreshing mist
Rises from the thawed fields...
Dawn, and happiness, and deceit -
How sweet you are to my soul!

How gently the chest shuddered
Above this golden shadow!
How to get close to these ghosts
I want instant soul!

One more feature of Fetov's landscapes can be noted - their humanization. In one of his poems, the poet writes: "That which is eternal is humane." In an article devoted to the poems of F.I. Tyutchev, Fet identified anthropomorphism and beauty. “There,” he wrote, “where the ordinary eye does not suspect beauty, the artist sees it,<...>puts on it a purely human stigma<...>. In this sense, all art is anthropomorphism.<...>. In embodying the ideal, a person inevitably embodies a person. "Humanization" is manifested primarily in the fact that nature, like man, is endowed by the poet with "feeling". In his memoirs, Fet stated: “It is not for nothing that Faust, explaining to Margarita the essence of the universe, says:“ Feeling is everything. This feeling, Fet wrote, is inherent in inanimate objects. Silver turns black, feeling the approach of sulfur; the magnet senses the proximity of iron, etc.” It is the recognition of the ability to feel in natural phenomena that determines the originality of Fet's epithets and metaphors (meek, immaculate night; sad birch; ardent, languid, cheerful, sad and immodest faces of flowers; the face of the night, the face of nature, the faces of lightning, the dissolute shoot of prickly snow, the air is timid , joy of oaks, happiness of a weeping willow, stars pray, heart of a flower).

The expression of the fullness of feelings in Fet is “trembling”, “trembling”, “sigh” and “tears” - words that invariably appear when describing nature or human experiences. The moon is trembling (“My garden”), the stars (“The night is quiet. In the unsteady firmament”). Trembling and trembling - Fet conveys the fullness of feelings, the fullness of life. And it is precisely to the “trembling”, “trembling”, “breathing” of the world that the sensitive soul of a person responds, responding with the same “trembling” and “trembling”. Fet wrote about this consonance of the soul and the world in the poem “To a Friend”:

Understand that the heart only feels
Inexpressible by nothing
That which is imperceptible in appearance
Trembling, breathing harmony,
And in his cherished secret
Keeps the immortal soul.

Inability to "tremble" and "tremble", i.e. to feel strongly, for Fet becomes proof of lifelessness. And therefore, among the few natural phenomena negative for Fet are arrogant pines, which “do not know awe, do not whisper, do not sigh” (“Pines”).

But trembling and trembling is not so much a physical movement as, using the expression of Fet himself, “the harmonic tone of objects”, i.e. captured in physical movement, in forms, inner sounding, hidden sound, melody. This combination of “trembling” and “sounding” of the world is conveyed in many poems, for example, “On a haystack at southern night”:

On a haystack at southern night
I lay face to the firmament,
And the choir shone, lively and friendly,
Spread around, trembling.

Interestingly, in the article “Two Letters on the Significance of Ancient Languages ​​in Our Education,” Fet asked himself how to know the essence of things, say, one of a dozen glasses. The study of form, volume, weight, density, transparency, - he argued, - alas! leave "the secret impenetrable, silent, like death." “But now,” he writes further, “our glass trembled with all its inseparable essence, trembled in the way that only it tends to tremble, due to the combination of all the qualities we have studied and not explored. She is all in this harmonic sound; and one has only to sing and reproduce this sound with free singing, so that the glass instantly trembles and answers us with the same sound. You undoubtedly reproduced its separate sound: all other glasses like it are silent. Alone she trembles and sings. Such is the power of free creativity." And then Fet formulates his understanding of the essence of artistic creativity: "It is given to a human artist to fully master the most intimate essence of objects, their quivering harmony, their singing truth."

But for the poet, the ability not only to tremble and tremble, but also to breathe and cry becomes evidence of the fullness of the being of nature. In Fet’s poems, the wind (“The sun will sink its rays into a plumb line ...”), the night (“My day rises like a miserable worker ...”), the dawn (“Today all the stars are so magnificent ...”), the forest ( “The sun will sink with its rays into a plumb line ...”), the sea bay (“Sea Bay”), spring (“At the Crossroads”), the wave sighs (“What a night! How clean the air ...”), frost (“September Rose ”), noon (“The Nightingale and the Rose”), the night village (“This is morning, this joy ...”), the sky (“It has come - and everything around is melting ...”). In his poetry, grasses are crying (“In the moonlight ...”), birches and willows are crying (“Pines”, “Willows and birches”), lilacs are trembling in tears (“Don't ask me what I'm thinking about ...”) , “shine” with tears of delight, roses cry (“I know why you are a sick child ...”, “It’s full of sleep: you have two roses ...”), “the night cries with dew of happiness” (Do not reproach me for being embarrassed. ..”), the sun is crying (“Here the summer days are diminishing ...”), the sky (“Rainy summer”), “tears tremble in the eyes of the stars” (“The stars are praying, twinkling and glowing ...”).

The world is equally beautiful in all its parts.

Beauty is spilled throughout the universe and, as

all the gifts of nature, affects even those who

some people don't recognize it...

A.A. Fet

Afanasy Fet is one of the outstanding Russian poets of the 19th century. The heyday of his work came in the 1860s - a period when there was an opinion that the main purpose of literature is to display complex social phenomena and social problems. Fet's special understanding of the essence and purpose of art is inseparable from the poet's rejection of social reality, which, in his deep conviction, distorts a person's personality, suppresses his ideal spiritual properties, divine natural forces. Fet did not see the ideal in the contemporary social world order and considered fruitless attempts to change it.

That is why Fet's work as a singer of "pure art" is closed from the intrusion of everyday life, worldly fuss, rough reality in which "nightingales peck butterflies." The poet deliberately excludes the concept of "topicality" from the content of his lyrics, choosing "eternal" human feelings and experiences, the secrets of life and death, complex relationships between people as the subject of artistic depiction.

According to the poet, true, deep knowledge of the world is possible only in free intuitive creativity: "Only an artist can smell the beauty of everything." Beauty for him is the measure of all things and the true value:

A whole world of beauty

From big to small

And you're looking in vain

Find its beginning.

The hero of Fet is "dreamily devoted to silence", "full of tender excitement, sweet dreams." He is interested in "whispers, timid breathing, trills of a nightingale", the ups and downs of the creative spirit, fleeting impulses of "unspoken torment and incomprehensible tears." His ideal season is spring (“A warm wind blows softly ...”, “Spring thoughts”, “Still fragrant bliss of spring ...”, “This morning, this joy ...”, “First lily of the valley”, “Spring in the yard”, “Spring rain”, “The depth of heaven is clear again...”, “To her”); favorite time of the day - night (“Fragrant night, blessed night ...”, “Quiet, starry night ...”, “Still May night”, “What a night! How clean the air ...”, “Azure night looks at mowed meadow..."). His world is "the kingdom of rock crystals", "a shady garden at night", "an impregnable pure temple of the soul". His goal is to search for the elusive harmony of the world, the ever-elusive beauty:

Letting my dreams shine

I indulge in sweet hope

What, maybe, on them furtively

A smile of beauty shines.

As the poet himself noted, the sign of a true lyricist is the readiness to “throw himself upside down from the seventh floor with an unshakable belief that he will soar through the air”:

I light up and burn

I break and soar...

And I believe with my heart that they are growing

And immediately they will take to the sky

Spread my wings...

Beauty for Fet is not unshakable and unchanging - it is fleeting and instant, felt like a sudden creative impulse, inspiration, revelation. A vivid illustration of this thought is the poem "Butterfly", reflecting the uniqueness, self-worth and at the same time the fragility, fragility, causelessness of beauty:

Don't ask: where did it come from?

Where am I in a hurry?

And here I am breathing.

Therefore, it is natural that the lyrical hero Fet experiences confusion of feelings, feeling the inconstancy, variability, fluidity of the world, living in a state of expectation, a premonition of beauty:

I'm waiting.. nightingale echo

Rushing from the shining river

Grass under the moon in diamonds,

Fireflies burn on cumin;

I'm waiting... Dark blue skies

Both in small and large stars,

I hear a heartbeat

And trembling in the hands and feet.

Let's pay attention: beauty, according to Fet, is present everywhere, spilled everywhere - both in the "brilliant river" and in the "dark blue sky". This is a natural and, at the same time, divine force that connects heaven and earth, day and night, external and internal in a person.

In Fet's poetry, the most abstract, intangible pictures and images come to life, visibly appear:

That silent kiss of the wind,

That smell of violets at night,

That glitter of frozen distance

And whirlwind midnight howl.

According to the poet, the essence of real art is the search for beauty in everyday objects and phenomena of the world, simple feelings and images, the smallest details of everyday life - the sound of the wind, the smell of a flower, a broken branch, a sweet look, a touch of a hand, etc.

The landscape painting of Fetov's lyrics is inseparable from the painting of the experiences of the soul. The lyrical hero Fet is, first of all, a singer of “thin lines of the ideal”, subjective impressions and romantic fantasies (“Bees”, “Bell”, “September #rose”, “Flipped off in an armchair, I look at the ceiling, “Among the stars”).

Fetov's muse is demonically changeable and romantically elusive: she is either "the meek queen of a clear night", "a cherished shrine", then "a proud goddess in an embroidered coat", "a young mistress of the garden" - but at the same time she is invariably "heavenly", "invisible to the earth", always inaccessible to worldly fuss, rough reality, constantly forcing "languish and love."

In this regard, Fet, like no other Russian poet of the 19th century, was close to Tyutchev's idea of ​​"silence" ("silentium"): "How poor our language is! .."; “People’s words are so rude ...” - his lyrical hero exclaims in despair, to whom “an angel whispers unspeakable verbs.” Just meet your smile ... "). However, unlike Tyutchev, Fet is devoted to the romantic belief in the possibility of creative insight, reflection in poetry of a complex palette of feelings and sensations:

Only you, poet, have a winged word sound

Grabs on the fly and fixes suddenly

And the dark delirium of the soul and herbs, an indistinct smell ...

Afanasy Afanasyevich Fet (1820 - 1892) - poet, translator. He began to write his first poems in his youth. First published in the collection "Lyrical Pantheon" in 1840.

Poetry features:

It glorifies the beauty and uniqueness of every moment of human life, the unity of nature and man, personality and the universe

The functions of the landscape are universal: these are just sketches, and a holistic picture of the universe, and a tiny detail of the familiar world.

The world is full of rustles, sounds that a person with a less refined soul does not hear.

It is difficult to determine the addressee of the poems, the focus is on the lyrical hero himself

The images of the hero and heroine in Fet are completely devoid of everyday life, earthiness, social and everyday certainty, they are filled with love, melody, and a special tact. All the poetry of A. A. Fet is filled with melody, a special rhythm, tact, his verse flows like a song that you want to sing again and again. Relating to the poets of "pure" art, Fet devoted most of his works to love, nature and art. The close interweaving of these motives gives us the opportunity to feel all the beauty, spirituality, lyricism of the feelings of a man in love, a man who is madly in love with his country, nature, the world around him. (" The night shone”, “Learn from them”).

L. Tolstoy spoke about the “poetic audacity” of Fet, who was delighted with Fet’s poems. It is impossible not to feel in his exclamation the emotional excitement caused by Fet's poetic talent and familiar to everyone who has ever come into contact with Fet's muse. The source of Fet's lyrical audacity, purity, sincerity, freshness and unfading youth of his poetry is in the unquenchable and bright flame that omnipotent nature endowed him with.

Impressionism means an impression, that is, an image not of an object as such, but of the impression that this object makes. Fet's desire to show the phenomenon in all its variety of changeable forms brings the poet closer to impressionism. He is interested not so much in the object as in the impression made by the object. For all their truthfulness and concreteness, descriptions of nature primarily serve as a means of expressing lyrical feelings.

Fet believed that the purpose of the poet is "to embody the unembodied." He understood that the poet sees what is inaccessible to an ordinary person, sees in a way that an ordinary person cannot without a hint. Where the first sees grass, the poet contemplates diamonds. Only a poet is able to embody in words spring, autumn, wind, sunset, hope, faith, love.

An admirer of Pushkin, Tyutchev, he never imitated other authors.

Fet's poetry, not so broad in subject matter, is unusually rich in various shades of feeling, emotional states. It is unique in its melodic pattern, full of endless combinations of colors, sounds and colors. In his work, the poet anticipates many discoveries of the "Silver Age". The novelty of his lyrics was already felt by his contemporaries, who noted “the poet’s ability to catch the elusive, to give an image and a name to what before him was nothing more than a vague fleeting sensation of the human soul, a sensation without an image and a name” (A.V. Druzhinin ).

Indeed, Fet's lyrics are characterized by impressionism (from the French impersion - impression). This is a special quality of the artistic style, which is characterized by associative images, the desire to convey primordial impressions, fleeting sensations, “instantaneous memory snapshots” that form an integral and psychologically reliable poetic picture. These are, in fact, all Fet's poems.

The poet's words are polyphonic and ambiguous, epithets show not so much direct as indirect signs of the objects to which they refer ("melting violin", "incense speeches", "silver dreams"). So the epithet “melting” to the word violin conveys not the quality of the musical instrument itself, but the impression of its sounds. The word in Fet's poetry, losing its exact meaning, acquires a special emotional coloring, while blurring the line between direct and figurative meaning, between the external and internal worlds. Often the whole poem is built on this fluctuation of meanings, on the development of associations (“The fire is blazing in the garden with the bright sun ...”, “Whisper, timid breathing ...”, “The night shone. The garden was full of moon ...”). In the poem “I’m falling back in an armchair, I’m looking at the ceiling ...” a whole series of associations are strung on top of each other: a circle from a lamp on the ceiling, slightly spinning, evokes associations with rooks circling over the garden, which, in turn, evoke memories of parting with beloved woman.

Such associativity of thinking, the ability to convey moments of life, fleeting, elusive feelings and moods helped Fet come close to solving the problem of “inexpressibility” in the ethical language of the subtlest movements of the human soul, over which Zhukovsky, Lermontov, Tyutchev fought. Feeling, like them, “how poor our language is,” Fet moves away from words into the element of musicality. Sound becomes the basic unit of his poetry. Composer P.I. Tchaikovsky even called Fet a poet-musician. The poet himself said: “Seeking to recreate the harmonic truth, the artist’s soul itself comes into the corresponding musical system. There is no musical mood - there is no work of art. The musicality of Fet's lyrics is expressed in the special smoothness, melodiousness of his verse, the variety of rhythms and rhymes, the art of sound repetition. material from the site

We can say that the poet uses musical means of influencing the reader. For each poem, Fet finds an individual rhythmic pattern, using unusual combinations of long and short lines (“The garden is in bloom, / The evening is on fire, / So refreshingly joyful to me!”), sound repetitions based on assonances and consonances (in the poem “Whisper, timid breathing ...” assonances in -a: nightingale - stream - end - face - amber-rya - dawn), various sizes, among which trisyllabic ones stand out, perfectly fitting into the tradition of romances (“ At dawn, you don’t wake her up ... ”, written in anapaest). It is no coincidence that many of Fet's poems were set to music.

Fet's artistic discoveries were accepted by the poets of the Silver Age. Alexander Blok considered him his direct teacher. But far from immediately, such an unusual, unlike anything Fet's lyrics won the recognition of readers. Having released the first collections of his poems back in the 1840s-1850s, Fet retired from literature for a long time. life and remains known only to a narrow circle of connoisseurs. Interest in him increased at the turn of the century, during the new flowering of Russian poetry. It was then that Fet's work received a well-deserved appreciation. He was rightfully recognized as the one who, according to Anna Akhmatova, discovered in Russian poetry "not a calendar, the real twentieth century."

Department of Education and Science of Primorsky Krai

Regional state budgetary

professional educational institution

"Ussuriysk Agro-Industrial College"

The structure of the teacher's lesson plan

Lesson Plan№28 by subjectLiterature

Subject: Artistic features of the lyrics

A.A. Feta. Analysis of poems.

Lesson type: combined

Class type:

Goals:

A) educational - to create conditions for studying material about the biography and artistic features of the lyrics of A.A. Feta.

B) developing - to help improve the skills of monologue speech, the ability to draw up abstracts, highlight the main thing, work in groups.

B) educational -contributeinstilling interest in the history and literature of the native country, in the work of A.A. Feta; development of the ability to understand and listen to each other, a responsible attitude to educational work.

Equipment

Lesson progress:

Organizing time (Recording a lesson in a journal. Preparing a workplace.) (1-5 min.)

Checking homework (10 min.)

Teacher's word.

Not for worldly excitement,

Not for self-interest, not for battles,

We are born to inspire

For sweet sounds and prayers, -

so wrote A.S. Pushkin in the poem "The Poet and the Crowd" about poetic creativity, proclaiming the requirements of the independence of poetry from the authorities and the people. The idea of ​​poetry as a creator inspired by God was picked up by the romantics of the second wave under the name of art for art's sake, among whom was Afanasy Afanasyevich Fet.

Social events, the reform of 1861, and folk life were not reflected in Fet's work. Nikolai Gavrilovich Chernyshevsky, denying the idea of ​​"pure art" about the poet, spoke as follows: "A good poet, but he writes nonsense." And the poet himself, in a letter to Yakov Polonsky about poetic creativity, wrote: "A poet is a crazy and good-for-nothing person, babbling divine nonsense." But what is the poetry of A.A. Feta: "trifles", "divine nonsense"? Or poetry, which “organically entered its era, was born by it and was connected by many threads with the art of that time”? This is the problem we are going to solve in the lesson.

poetry concert

(poems are read by prepared students)

-Let's listen to the poems of A.A. Feta to immerse yourself in the artistic world of the poet.

A. The cat sings, squinting his eyes,

The boy is napping on the carpet

A storm is playing outside

The wind is whistling in the yard.

“It’s enough for you to wallow here,

Hide your toys and get up!

Come to me to say goodbye

Yes, go to sleep."

The boy got up. And the cat's eyes

Conducted and all sings;

The snow falls in tufts at the windows,

The storm whistles at the gate. 1842

B. By the fireplace

The coals are fading. In the twilight

Transparent twisted light.

So splashes on the crimson poppy

Wing azure moth.

Visions of colorful string

Attracts, tired gaze,

And unrevealed faces

They look from the gray ashes.

Gets up nice and friendly

Past happiness and sadness

And the soul lies that it does not need

All that is deeply regrettable. 1856

IN.Basic concepts covered in the lesson:

How poor is our language! I want to and I can't. -

Do not pass it on to friend or foe,

What rages in the chest with a transparent wave.

In vain is the eternal languor of hearts,

And the venerable sage bows his head

Before this fatal lie.

Only you, poet, have a winged word sound

Grabs on the fly and fixes suddenly

And the dark delirium of the soul and herbs an indistinct smell;

So for the boundless leaving the meager valley,

An eagle flies beyond the clouds of Jupiter,

A sheaf of lightning carrying instantaneous in faithful paws. 1887

D. On a haystack at southern night

I lay face to the firmament,

And the choir shone, lively and friendly,

Spread around, trembling.

Earth, like a vague dream, mute

It drifted away without a trace.

And I, as the first inhabitant of paradise,

One in the face saw the night.

I rushed in the midnight abyss,

Or hosts of stars rushed to me?

It seemed as if in a powerful hand

Above this abyss I hung.

And with fading and confusion

I measured the depth with my eyes,

In which with every moment I

Everything is irrevocable. 1857

D. How fresh it is under the thick linden -

The midday heat did not penetrate here,

And thousands hanging over me

Swing fragrant fans.

And there, in the distance, the burning air sparkles,

He hesitates, as if he is dozing.

So sharply dry hypnotic and crackling

Grasshoppers restless ringing.

Behind the haze of branches, the vaults of the sky turn blue,

Like a little haze,

And, like the dreams of a sensible nature,

Wavy pass clouds. 1854

E.Listen to the romance on record .

Don't wake her up at dawn

At dawn she sleeps so sweetly;

Morning breathes on her chest

Brightly puffs on the pits of the cheeks.

And her pillow is hot

And a hot tiring dream

And, blackening, they run on their shoulders

Braids tape on both sides.

And yesterday at the window in the evening

She sat for a long time

And watched the game through the clouds,

What, sliding, started the moon.

And the brighter the moon played

And the louder the nightingale whistled,

She became more and more pale

My heart was beating harder and harder.

That's why on a young chest,

On the cheeks so the morning burns.

Don't wake her, don't wake her...

At dawn she sleeps so sweetly! 1842

G. If the morning pleases you,

If you believe in a magnificent omen, -

At least for a while, for a moment falling in love,

Give this rose to the poet.

Even if you love someone, even if you take down

You are not one worldly thunderstorm, -

But in a tender verse you will find

This ever-scented rose. 1887

- You listened to Fet's poems of different years. What are they about? What feelings aroused in you? Tell me.

(Fet's poems are beautiful, melodic. They evoke bright, joyful feelings. They glorify the beauty of nature, human feelings - "the charm of Russian nature" and "the inner world of the soul" go in parallel.)

Biography of A.A. Feta.

(reports of students on individual assignments, the rest are outlined in a notebook).

- There is a lot of unusual, sometimes even mysterious, in the fate of Fet, which undoubtedly played a huge role in the formation of the personality and work of the poet. Tell about it.

Birth of A.A. Feta is mysterious, because only the year is known - 1820, and the exact date is unknown: in October or November.

At the age of 14, the boy learned that he was illegitimate, since his father and mother got married after his birth.

The purpose of his life was the return of the lost title of a Russian nobleman.

He bore the German surname Fet of his mother's relatives, the townspeople, who agreed to recognize the child as their own.

In 1838, he was enrolled at Moscow University in the verbal department of the Faculty of Philosophy, where he studied for 6 years instead of 4, as he did not study well.

He spent his student years in the house of the parents of his friend, Apollon Grigoriev, the future famous critic and poet.

Poetry began to write by chance: during his stay in Pogodin's boarding school, one of the teachers needed a poetic satirical mockery of a rival in love. Fet wrote poetry and they fit the occasion. The customer told the author: "You are an undoubted poet and you need to write poetry."

The result of the young man's poetic work was the collection of poems "Lyrical Pantheon", largely imitative, but talented.

In the 40s, Fet published his poems in the magazines Muscovite and Domestic Notes.

Under the poem “I came to you with greetings,” the poet signed for the first time - A. Fet. The typesetter lost the dots above the "e", and thus the German surname turned into the pseudonym of the Russian poet - Fet.

The desire to obtain a noble rank forced him to go into military service. He served as a cavalry officer for 13 years, but did not achieve what he wanted. During these years, he was hardly engaged in literature.

During military service, I met a girl - Maria Lazich, an intelligent, educated, subtle connoisseur of poetry, a musician. There was a strong mutual feeling. However, he avoided marriage because of his semi-beggarly existence. They broke up.

Soon Maria Lazich died a terrible death: her dress caught fire from a carelessly thrown match. Perhaps it was suicide. Fet carried a deep feeling for her through his whole life, dedicating poems to her until the end of his days.

In 1853, Fet achieved a transfer to St. Petersburg. He returned to the literary world, became close to I.S. Turgenev, N.A. Nekrasov.

He married the middle-aged daughter of a wealthy merchant, taking a good dowry, became a landowner, buying an estate in the Oryol province. Turgenev recalled: “He has now become an agronomist-owner to the point of desperation, let go of his beard to his loins ...”

The public position of Fet the monarchist, the practical activities of Fet the landowner, his poetic work, far from social problems, became the subject of sharp attacks, because in the verses there is "extreme insignificance of content."

Finally, Fet achieved recognition of his rights to the surname of his father, the pillar nobleman Shenshin, and even the court rank of chamberlain.

In 1877, Fet moved to the old estate he bought in the Kursk province - Vorobyovka, which became the abode of lyrics until the end of the poet's life. Poems were written here, which formed 4 collections under the general title "Evening Lights".

The death of the poet is also mysterious. Having lived to the age of 72, he wanted to commit suicide, and when the servant prevented this, he died of a broken heart.

- From this angular life, from a gloomy soul, a strange system of views on poetry, a lyric arose that can be called a miracle. Cheerful, life-affirming, glowing with the happiness of life, overflowing with the joy of love, enjoyment of nature, grateful memory of the past and hope for the future, this lyric is unique and forms one of the greatest pinnacles of Russian literature.

6. The originality of A.A. Feta

- Let's turn to Fet's poems and try to conduct a little research in order to try to understand what is the originality of his poetry.

Assignment: Listen to a short poem from an early lyric, 1845:

wavy cloud

Dust rises away

Equestrian or on foot

Do not see no zgi!

I see someone jumping

On a dashing horse.

My friend, distant friend,

Remember me!

A. Answer the questions:

1. What picture is drawn in your imagination?

(A view of a frantic ride in the unimaginable distance of a road leaving somewhere.)

2. The poet, as an artist, captured one moment from the life of nature and man. But what does the 1st person singular verb “I see” complete in the picture?

(The protagonist is a man, "I", who is watching this jump, and we see the picture through his eyes.)

3. What are the most important lines in the poem?

(The picture he saw blinded with bright visibility, made him think, caused a spiritual experience, a completely different train of thought: “My friend, distant friend,

Remember me!")

-Let's compare a small poem by A.A. Feta with a poem

A.S. Pushkin "Autumn". What topics does Autumn cover?

AUTUMN

(EXTRACT)

Derzhavin

October has already come - the grove is already shaking off

The last leaves from their naked branches;

The autumn chill has died - the road freezes through,

The murmuring stream still runs behind the mill,

But the pond was already frozen; my neighbor is in a hurry

In the departing fields with his hunt,

And they suffer winter from mad fun,

And the barking of dogs wakes the sleeping oak forests.

Now it's my time: I don't like spring;

The thaw is boring to me; stink, dirt - I'm sick in the spring;

The blood is fermenting; feelings, the mind is constrained by melancholy.

In the harsh winter I am more satisfied,

I love her snow; in the presence of the moon

As an easy sleigh run with a friend is fast and free,

When under the sable, warm and fresh,

She shakes your hand, glowing and trembling!

III

How fun, shod with sharp iron feet,

Glide on the mirror of stagnant, smooth rivers!

And the brilliant anxieties of the winter holidays?..

But you also need to know honor; half a year snow yes snow,

After all, this is finally the inhabitant of the lair,

Bear, get bored. You can't for a century

We ride in a sleigh with the young Armides

Or sour by the stoves behind double panes.

Ox, summer is red! I would love you

If it weren't for the heat, and dust, and mosquitoes, and flies.

You, destroying all spiritual abilities,

you torment us; like fields, we suffer from drought;

Just how to drink and refresh yourself -

There is no other thought in us, and it is a pity for the winter of the old woman,

And, seeing her off with pancakes and wine,

We make a wake for her with ice cream and ice.

The days of late autumn are usually scolded,

But she is dear to me, dear reader,

Silent beauty, shining humbly.

So unloved child in the native family

It draws me to itself. To tell you frankly

Of the annual times, I am glad only for her alone,

There is a lot of good in it; lover is not vain,

I found something in her a wayward dream.

How to explain it? I like her,

Like a consumptive maiden to you

Sometimes I like it. Condemned to death

The poor thing bows without grumbling, without anger.

The smile on the lips of the faded is visible;

She does not hear the yawn of the grave abyss;

Still purple color plays on the face.

She is still alive today, not tomorrow.

VII

Sad time! Oh charm!

Your farewell beauty is pleasant to me -

I love the magnificent nature of wilting,

Forests clad in crimson and gold,

In their canopy of the wind noise and fresh breath,

And the heavens are covered with mist,

And a rare ray of sun, and the first frosts,

And distant gray winter threats.

VIII

And every autumn I bloom again;

The Russian cold is good for my health;

I again feel love for the habits of being:

Sleep flies in succession, hunger finds in succession;

Easily and joyfully plays in the heart of blood,

Desires boil - I'm happy again, young,

I am full of life again - this is my body

(Allow me to forgive unnecessary prosaism).

And loudly under his shining hoof

But the short day goes out, and in the forgotten fireplace

The fire burns again - then a bright light pours,

It smolders slowly - and I read before it

Or I feed long thoughts in my soul.

And I forget the world - and in sweet silence

I am sweetly lulled by my imagination,

And poetry awakens in me:

The soul is embarrassed by lyrical excitement,

It trembles and sounds, and searches, as in a dream,

Finally pour out free manifestation -

And then an invisible swarm of guests comes to me,

Old acquaintances, fruits of my dreams.

And the thoughts in my head are worried in courage,

And light rhymes run towards them,

And fingers ask for a pen, pen for paper.

A minute - and the verses will flow freely.

So the ship slumbers motionless in motionless moisture,

But chu! - the sailors suddenly rush, crawl

Up, down - and the sails puffed out, the winds are full;

The mass has moved and cuts through the waves.

XII

Floats. Where are we to sail?......

..............................

.............................

The theme of freedom external and internal

The development of creativity in a person

The relationship of man with nature and the sensory-objective world and the arising "long thoughts".

Conclusion: poem by A.S. Pushkin is multi-dark, but Fet's poem?

Pushkin unfolds a whole panorama of natural phenomena, and Fet?

Here is an episode from "Autumn", outwardly close to Fetov's poems:

Lead me a horse; in the expanse of the open,

Waving his mane, he carries a rider,

And loudly under a shining hoof

The frozen valley rings and the ice cracks.

Conclusion: Fet, as it were, takes one episode from a whole panorama in order to show “long thoughts” in connection with it. The poet believed that the plot of a lyrical poem should not go "beyond one-centeredness."

-Pay attention to how the poem is structured. Can it be divided into parts?

Conclusion: the poem is built on the crossing of two rows: one row is a picture of the sensual-objective (natural) world, and the other is a picture of spiritual, psychological movement. THOSE. the poem is twofold. Such a construction is a characteristic feature of Fet's poetry, which he developed very early and which went through all his work.

- Fet's poetry is suggestive through and through. Suggestion - lat. - suggestion. The poet very accurately knows how to convey, inspire his mood, state, feeling. Now you will listen to a poem by the late Fet. Think about the feeling in question, although it is not named.

I won't tell you anything

And I won't bother you at all

And about what I silently repeat, I will not dare to hint for anything.

Night flowers sleep all day long

But only the sun will set behind the grove,

Leaves are quietly opening

And I hear the heart bloom.

And in a sick, tired chest

It blows with moisture at night ... I'm trembling,

I won't disturb you at all

I won't tell you anything. 1885

(A declaration of love sounded.)

-Can any of the poems of A.S. Pushkin to compare with Fet's poem?

("I loved you…")

- Why does it seem to us that the confession in Fet's poem did happen?

(In musicality, in the tenderness that the poem is filled with, in the accuracy of the transfer of the state that the poet possesses.)

What do you notice about the structure of the poem?

(The repetition of the first two lines at the end in reverse order - mirroring - creates the impression of completeness.)

- In the center of the poem is a vision of night flowers that open only in silence, when the bustle of life recedes.

In the last line of the stanza, the vision parted, as it were, revealing the metaphorical image of a blossoming heart. It is no coincidence that the word “hear” is here. To hear blossoming is to love the secret. Silence in this poem becomes more important than words.

7. Research work in groups.

- The strophic and rhythmic organization of Fet's poem is diverse. Now you will receive cards with poems or excerpts from Fet's poems. Try to determine what is unusual in the construction of a stanza, verse, in rhyme. Prepare an expressive reading. You will work in groups. 3 minutes for analysis.

Task 1 group

Pay attention to the construction of the stanza. What achieves the special musicality of the poem?

On the edge of the midnight distance

That spark

Under the haze of the secret of sadness

I'm lonely.

I do not draw with mighty force

your eyes,

But I will lure your gaze, dear

For a brief moment.

And a point of quivering light

my eyes -

You are a sad omen

my passions.

(It should be noted: verses of different lengths enhance the melodious intonation, musicality.)

Task 2 group

Pay attention to the sound of a poetic stanza, what enhances its special sound?

Wind. All around is buzzing and swaying,

Leaves swirl at your feet.

Chu, there is suddenly heard in the distance

Subtly calling horn.

(It should be noted: Fet uses alliteration: the sounds “zh”, “sh” are repeated in the poetic lines. This makes it possible to convey the sound of the forest during the wind in the melody of the poem.)

Task 3 group

Pay attention to the construction of the stanzas. How are sentences arranged in lines of poetry?

…I'm not going to the city: "a mixture of clothes and faces"

So clueless! Better by the fireplace

I'll fall asleep - and damn it to me a bunch of fables

Represent. Let the beautiful Alina

Beautiful. - Tomorrow with a late flock of birds

A web will stretch across the sky,

And I'll look up at the sky again

Eh, it's hard! At least one tear!

"Blues"

(It should be noted: the special construction of the stanza - the breakdown of phrases into poetic lines allows the poet to show interruptions in thoughts. The image of a stretched web brightly cuts into this picture of "mental confusion".)

Task 4 group

Pay attention to the rhyme, match the sound of 1 and 2 poetic lines. What did you notice?

Dreams and shadows

dreams

In the dusk, tremulously alluring,

All stages, Sleep

A light swarm of transient ...

"Dreams and shadows" 1859

(It should be noted: there is a cross rhyme in the stanza. The sounds in 1, 2 poetic lines coincide or are close in sound. This is a pantorhyme (panto - Greek - the whole), the rhyme covers the entire poetic line, and not its end. The musicality is enhanced.)

Task 5 group

Pay attention to the syntactic structure of the poem. What did you notice?

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears, And the dawn, the dawn! ..

(It should be noted: the whole poem is one sentence, there are no verbs, nominative sentences are used.)

-This poem caused an uproar in literary circles: delight, confusion, ridicule. First of all, contemporaries were struck by the absence of verbs. Fet used a technique that can be compared with the pointillism of the remarkable artist Paul Signac. (Pointillism - a style of painting - with strokes in the form of points, refers to neo-impressionism). The artist threw many multi-colored dots onto the canvas. Close up, they give the impression of chaos, but as soon as you move away, a harmonious picture appears before your eyes. So in a poem, at first glance, there is only a chaotic set of sounds and visual impressions. The inconspicuous poet of the Nekrasov school, Nikolai Worms, in a witty parody, showed Fet's poem as a meaningless set of chaotic phrases:

Sounds of music and trills,

trill nightingale,

And under the thick lindens

Both she and me.

And she, and I, and trills,

Sky and moon

Trill, me, she and the sky,

Heaven and her.

In fact, Fet has no chaos. And in our imagination there are pictures. Which?

(In the beginning - evening, a meeting of lovers. Then - a night spent alone in the rapture of love. Finally, morning, tears of happiness and parting.)

Fet built his poem on the reception of parallelism, strictly withstood the correspondence between the world of nature and man. And although there is not a single verb, the poem is saturated with action.

8.Result

So, we noticed that Fet's picturesqueness is special, he created his own, suggestive and impressionistic style. His poems are beautiful and harmonious. The romantic theme of "two worlds" sounds in them: "nature" and "spirit". Fet seeks to achieve their complete merger, coincidence. Hence the joyful perception of the world. In poems, Fet captured moments from the life of nature and the states of the human soul. And eternity consists of moments, of fleeting sensations - the life of the cosmos.

This cosmicity is especially noticeable in Fet's "night" poems. Almost all of his "night" poems are illuminated by starlight:

I stood still for a long time

Looking into the distant stars,

Between those stars and me

Some connection was born.

I thought... I don't remember what I thought;

And listened to the mysterious choir,

And the stars trembled softly

And the stars trembled softly

And I love the stars since then ...

Fet conveys his sense of the cosmic unity of the world and man, and it seems that a mysterious connection arises between the poet and the reader...

So can it be argued that Fet wrote "trifles"?

(No)

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

The traditions of Fet were picked up by the poets of the Silver Age in the 20th century.

9. Reflection.

10. Homework.

11. Literature.

1. Maimin E.A. Afanasy Afanasyevich Fet: book. for students. - M.: Enlightenment, 1989.

2. Sukhova N.P. A story about the life and work of A.A. Feta.- M.: Det. lit., 2003.

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