Themes of nature in the lyrics of Fet and Tyutchev. Comparison of Tyutchev and Fet: a look at nature and love The theme of nature in the works of Tyutchev and Fet

Fet's nature:

Fet's natural lyrics, embodied in such poems as "I came to you with greetings", "Whisper. Timid breathing", "What sadness! End of the alley", "This morning, this joy" and others. For Fet, nature is first and foremost a temple. The temple where love lives. Nature in Fet's lyrics plays the role of special luxurious scenery, against which a subtle feeling of love develops. Nature is also the temple in which inspiration reigns, this place - or even a state of mind - in which you want to forget about everything and pray to the beauty reigning in it.

Beauty and harmony for Fet are the highest reality. F is a magnificent landscape painter. His landscapes are distinguished by their concreteness, the ability to convey the subtlest changes in nature during the day. He is not interested in statics, there is subtle dynamics. This applies to poems dedicated to the seasons. Fet's nature is unusually humanized, it seems to dissolve in the feeling of the lyricist. Unlike Tyutchev, the hero F perceives his relationship to nature harmoniously. He knows nothing of chaos, the abyss, or orphanhood. On the contrary, the beauty of nature infuses the soul with a feeling of completeness and joy of being.

1848 - poem “Spring Thoughts”; 1854 - verse “bees”; 1866 - verse “She came, and everything around melts”; 1884 - “The garden is all in bloom.” In the landscape lyrics, a certain Fetov universe of beauty (philosophy) is born: “on a haystack at a southern night ...”. The image of the universe is majestic and close to man. In communion with the beauty of the universe, salvation for the hero's lyre: "Torn out by life, the treachery of hope." Natural phenomena in F are more detailed, more specific than those of their predecessors. Strives to record natural phenomena. F mainly uses natural colors and shades. It is important for him to capture moments. Favorite time of year is spring, i.e. it's not static. He likes to describe the evening / morning landscape. The ability to “voice” even silent nature is a remarkable property of the muses of Fet's lyricism: in his poems, she not only shines with beauty, but also sings with it.

Nature in Nekrasov: Nekrasov is the creator of the national Russian landscape as a complete and comprehensively developed artistic system. Through all the work of the poet, the image of a sad, dull earth passes: muddy colors, discolored by rains, the lingering sounds of the wind groaning in the fields, sobbing in the forests. "Kochi, potholes, ate permanent ones! // A raven croaks over a white plain ..." ("Fire", 1863); "September was noisy, my native land // All sobbed in the rain without end ..." ("Return", 1864); "Infinitely dull and miserable // These pastures, fields of meadows, // These wet, sleepy jackdaws, // That sit on top of a haystack..." ("Morning", 1874).

Moisture mixes with the earth and air, forming dirt, slush, hoarfrost, fog - the favorite elements of the Nekrasov landscape. The muddy roads are covered with sheets of wet snow. Dampness penetrates everywhere, as if nature is constantly crying, blowing its nose, suffocating from a cold.

Nekrasov creates a special aesthetics of the "ugly", "disgusting" landscape, directly opposite to the ideal of "beautiful" and "sublime" nature, which dominated poetry for many decades: "An ugly day begins - // Muddy, windy, dark and dirty ... "("About the weather. Part I", 1865). He was one of the first to introduce into Russian poetry the motif of rain - not refreshing, sparkling like A. Fet or A. Maikov, but lingering, mournful, that flows with tears through the windows, between the sky and the eye "like a black net hanging." As a St. Petersburg poet, N. Nekrasov is well acquainted with the atmosphere of dank dampness, condensed water vapor that weighs down the air - he even has "a suffocating wind."

At the same time, Nekrasov also has colorful, festive descriptions of nature, which, with their emotional elation and aesthetics of personification, go back to folklore (spring in Green Noise, winter in Frost, Red Nose).

Among Nekrasov’s trees, gloomy, stern ones predominate - pine and spruce, among birds ("a flock of black birds flew after me") - dark jackdaws, ominous, heavy crows, mournful waders with their drawn-out cries-groans (nightingales, swans dominated in previous poetry , larks, swallows, almost absent from Nekrasov). Nekrasov introduces images of exhausted, hackneyed working animals into poetry - not "horses", but "horses" ("Frost, Red Nose", 1863; "On the Weather. Part I"; "Despondency", 1874).

What’s new with Nekrasov is the abundance of meadow and field motifs. For the first time, wheat and rye, ears of corn swaying in the wind and running waves, "the rustle of a golden field" ("Uncompressed strip", 1854; "Noise in the capitals, winds rattle ...", 1857; "Silence", 1857; "Despondency" ).

The poet's attention is so riveted to the earth that the relative rarity of images of the starry sky, moonlight, and generally celestial bodies, so characteristic of Tyutchev's and Fetov's landscapes, becomes an indicative feature of his work (cf., however, "Knight for an hour"). Infrequently, Nekrasov shows the sun, and even then it is mean, dim, clouded ("Unfortunate", 1856). This Nekrasov feature - the inattention of a person working on earth to heaven - was inherited by most poets of the first decades of the Soviet era (including M. Isakovsky, A. Tvardovsky, faithful to Nekrasov's traditions).

Nekrasov is the first to poetically comprehend the connection between the uniqueness of nature and the way of national life (“With the poverty that surrounds us // Here nature itself is at the same time.” “Morning”), as well as the pattern of national creativity, including his own. Melancholy songs of the wind in the fields, mournful wolf moans in the forests - this is the sound prototype of the folk lingering songs, which are echoed by Nekrasov’s muse; as the voice of Russian nature itself, the poet recognizes his work in the poems “The Beginning of the Poem” (1864), “Return” (1864), “Newspaper” (1865).

Nekrasov, the founder of the urban landscape, was the first to convey in poetry the stuffy smell of city air, which absorbed “clouds of doom from colossal chimneys,” the sight of stagnant water blooming in canals, in a word, he recreated nature in the place of its disastrous interweaving with civilization (“Bad Weather”; “ About the weather" - parts I and II, 1859-1865). At the same time, he described the village from the point of view of a city dweller, a “summer resident”, as a “suburban” area, which with its free wind drives away from the soul the rubbish inspired by the capital (“Outside the City”, 1852; “The Beginning of the Poem”; “Despondency”)

Nature in Tyutchev:

Tyutchev is the most natural-philosophical of all Russian poets: approximately five-sixths of his creative heritage are poems dedicated to nature. The most important theme introduced by the poet into the Russian artistic consciousness is chaos contained in the depths of the universe, an eerie, incomprehensible secret that nature hides from man (“What are you howling about, the night wind...”; “The evening is hazy and stormy... .", ; "Day and night", )