Connection of Fet creativity with the traditions of the German school. Fet translator of German poetry: the versification aspect

Full text of the dissertation abstract on the topic "Images of the German world in the work of A.A. Fet"

As a manuscript

Zherdeva Oksana Nikolaevna

IMAGES OF THE GERMAN WORLD IN A.A. FETA

Specialty 10.01.01 - Russian literature

Barnaul 2004

The work was done at the Department of Russian and Foreign Literature of the Altai State University

Scientific adviser: Doctor of Philology, Associate Professor

Levashova Olga Gennadievna

Official opponents: Doctor of Philology Professor

Mednis Nina Eliseevna

Candidate of Philology, Associate Professor Abuzova Natalya Yurievna

Leading organization: GOU VPO "Kemerovo

State University"

dissertation council K 212.005.03 for the defense of dissertations for the degree of candidate of philological sciences at the State Educational Institution of Higher Professional Education "Altai State University" at the address: 656049, Barnaul, Lenin Ave., 61.

The dissertation can be found in the scientific library of the Altai State University.

Scientific Secretary of the Dissertation Council Doctor of Philology, Professor

N.V. Halina

2.0 o H GENERAL PERFORMANCE

The paradoxical position of Fet in Russian literature is obvious: he became the largest Russian poet, being a German by birth. This circumstance, on the one hand, caused Fet to strive at all costs to take root both in the Russian landlord life and in the Russian cultural tradition, on the other hand, made him unusually sensitive to the perception of the specifics of both Russian and German culture.

The open nature of Russian culture in relation to other national cultures, the significance of dialogue and interethnic contacts for it, are well known. German culture played a significant role in understanding the uniqueness of the Russian national world; many German cultural realities entered the socio-cultural system of Russia. Russian literature, especially in the first half of the 19th century, was greatly influenced by German culture, so the study of interethnic contacts between Russian and various European cultures, especially German, is undoubtedly fruitful. Features of the origin and biography of A. Fet make his figure significant in the context of this kind of research.

The relevance of our work is connected with the analysis of national images in the work of A.A. Fet, which simultaneously belongs to two cultures, and is determined by the interest observed in Russian philology in national pictures of the world. The main trends of our time have determined the emergence of a need for national self-identification, for distinguishing between the national and the national, “ours” and “theirs”. Literary studies of the images of the national world are a particular aspect of this general problem. Works on comparative historical literary criticism have always occupied a prominent place in Russian science. A great contribution to the development of comparative studies was made by such scientists as A.N. Veselovsky, V.M. Zhirmunsky, N.I. Konrad, N.I. Prutskov and others.

At present, in literary criticism, a legitimate interest is being revived both in the comparative historical method and in the personality of the scientists who formed and developed it. Today, the problem of comparative studies is expanding and becoming more complicated due to the fact that not certain fragments are put forward as objects of analysis, but integral literary and cultural phenomena embodying moral, psychological, philosophical concepts that

which, for all their variability, manifest themselves within the boundaries of a single structural type. At the same time, the typological approach is combined with the study of historical poetics, with an interest in national mythology. The actualization of problems related to national self-identification contributed to the emergence of a new wave of interest in national mythology, national psychology, cultures of different countries, the phenomena of the "frontier", the dialogue of cultures, as evidenced by numerous studies in the humanities: sociology, philosophy, history, psychology, linguistics, cultural studies, literary criticism, etc.1 In the context of the designated problem, the task of identifying national pictures of the world in the cultural systems of different countries becomes obvious. In solving this problem, it seems important to take into account the role of "foreign" participation in shaping the history and culture of a particular state. With regard to Russia, Germany undoubtedly played the leading role. According to scholars - culturologists, historians, literary critics - Russia and Germany have always been, as it were, in a relationship of complementarity. Russia not only took into account the cultural experience of Germany, but also had a unique ability to "turn" Germans into Russians.

The historical and cultural interactions between Russians and Germans could not but be reflected in Russian literature. The study of the “relationships” of Russian writers with Germany allows us to single out two areas that illustrate the content of the “Russia-Germany” problem in Russian literary criticism. The first direction is determined by the biographical connection of this or that Russian writer with Germany. Another direction is determined by the fact that the German world in Russian literature is seen as a cultural and aesthetic problem, which, on the one hand, comprehends the German as an integral part of Russian life, on the other hand, as a system alien to the Russian world. Due to the centuries-old stay of the Germans in Russia, the problem arises of studying the work of those writers whose ancestral roots are connected with Germany, who, however, grew up and were brought up in the Russian noble environment and consider themselves Russian artists of the word A. Fet, K. Pavlov).

1 See, for example, the work: Gachev G. Mentality of the peoples of the world. - M, 2003. Issues of the nature of mentalities, national pictures of the world, the interaction of different cultures are the subject of discussion of "round tables", the materials of which, since the 1990s, have been regularly published on the pages of the journal "Voprosy Philosophy" under the heading "Russia and the West ” and in the collections “Russia and the West: Dialogue of Cultures” (1994-2003).

Both in the personality and in the literary work of these writers, in our opinion, their national duplicity cannot but manifest itself. The poet's contemporaries wrote about the dual unity of A. Fet's consciousness, in particular I.S. Turgenev, noting the clear contrast between Shenshin the landowner and Fet the poet. F.M. Dostoevsky also noted some heterogeneity of Fet in relation to the direction that dominated at that time in Russian culture. Therefore, obviously, Dostoevsky considers the author of the poem "Whisper, timid breathing ..." not as a national, but as an all-European poet. However, on the other hand, Fet himself, for whom it was fundamentally important to realize himself as a Russian poet, as if challenging the thesis of F.M. Dostoevsky about “the reincarnation of one’s spirit into the spirit of foreign peoples”2, wrote to him in a letter: “...we are both Russians”3. Not a folk poet for Fet - "a contradiction in the data": "you can be a stupid, mediocre poet, but

it’s impossible for people who aren’t people.”

A. Fet is one of the sufficiently studied poets in Russian literary criticism. However, Fet's work was practically not studied in terms of the analysis of the images of the German world, meanwhile, they occupy a significant place both in memoirs and in the lyrics of the Russian poet.

In the literary aspect, the works of M.F. Muryanova "Pushkin and Germany", D.A. Chugunov "L.N. Tolstoy and Germany", N.V. Butkova “The Image of Germany and the Images of Germans in the Works of I.S. Turgenev and F.M. Dostoevsky, A.P. Zabrovsky "On the problem of the typology of the image of a foreigner in Russian literature"5 and others.

From our point of view, the national picture of the world, the components of which are national images, is the basis of the self-consciousness of a particular people, the foundation of its culture and mythology. The national self-consciousness of the people, the individual is expressed in

2 Dostoevsky F.M. Poly. coll. cit.: In 30 volumes - L., 1984. T. 26. - S. 146.

3 Fet A. Poems, prose, letters. - M, 1988. - S. 385.

4 Ibid. - S. 386.

5 Muryanov M.F. Pushkin and Germany - M., 1999; Chugunov D.A. L.N. Tolstoy and Germany // Bulletin of the Voronezh State. university 2003. No. 2. - S. 42-53; Butkova N.V. The image of Germany and the images of the Germans in the work of I.S. Turgenev and F.M. Dostoevsky. Abstract dis... cand. philol. Sciences. - Volgograd, 2001; Zabrovsky A.P. To the problem of typology of the image of a foreigner in Russian literature // Russia and the West: a dialogue of cultures. - M., 1994. Issue. 1. - S. 87-105.

language, art, religion, mores and customs, therefore, we will be primarily interested in the analysis of the system of realities, everyday, cultural, in which mental features, the national-cultural semantics of language units, and the national aspect of the development of culture were captured.

The scientific novelty of the work lies in the fact that for the first time an attempt was made to identify and analyze German national images (present both explicitly and implicitly) in Fet's work and present them systematically. The revealed images in all their diversity (anthroponyms, geographical topoi, cultural realities, intertext, etc.) are considered as a set of signs of the German world not only in the work of the author of "Evening Lights", but also in Russian culture of the second half of the 19th century. German in the work of A. Fet is embodied not only through the prism of his biography, but also reflects general literary trends: “alien” in interaction with Russian creates a feature of the cultural space of Russia.

The purpose of this work is to systematize and analyze the images of the German world in various types of A. Fet's literary work, to determine their functions within Fet's autobiographical prose and poetic system. It was important for us to fit the “Fetovsky German world” into the context of Russian culture of the mid-19th century, to show through the prism of private biography and creativity how images of the German world enter the Russian world, how “ours” and “theirs” are differentiated and integrated, to identify the place and the role of this "alien" in the history of Russian culture and Russian literature.

1. Systematize the images of the German world embodied in Fet's memoirs, identify their national content and features of functioning in the text.

2. Consider the German images in Fet's memoirs both in terms of the originality of their use in the poet's work, and in the context of the traditions of creating the Russian tribal noble epic, based on

autobiographical prose by L.N. Tolstoy, ST. Aksakov, K.N. Leontiev.

3. Understand the subjective (personal) and objective (cultural-historical) motives of Fet's appeal to German images.

5. To identify the national specifics of individual concepts that are most often found in Fet's original poetry and are largely associated with the German logosphere (in our case, the concept of "sweet").

The theoretical and methodological base of the study is determined mainly by the comparative-historical approach to the study of a literary text. Leading in the work are comparative-typological and comparative-genetic methods. In addition, we used elements of the mythopoetic method.

1. The images of the German world, embodied in the memoirs of A. Fet, organically fit into the traditions of the Russian noble epic.

The practical significance of the research is determined by the possibility of using the dissertation materials in the educational process, in the preparation of basic and special courses on the history of Russian literature of the 19th century, in the work of special seminars.

Approbation of the work The dissertation was discussed at a meeting of the Department of Russian and Foreign Literature of the Altai State University. The main provisions of the dissertation research were reflected in the reports at the Interuniversity scientific and practical conference "Literature and public consciousness: options for interpreting a literary text" (Biysk, 2002), the All-Russian scientific and practical conference "Natural written Russian speech: research and educational aspects" (Barnaul, 2003), All-Russian Conference of Young Scientists at the Institute of Philology SB RAS (Novosibirsk, 2003). There are 6 publications on the research topic with a total volume of 3 pp.

The structure of the work The dissertation consists of an introduction, three chapters, a conclusion, appendices and a bibliographic list, which includes 292 titles.

The introduction provides a justification for the relevance of the topic and the scientific novelty of the undertaken research, defines the goals, objectives and methods of research, notes the theoretical and practical significance of the work, discusses the history of the problem.

The first chapter “Memoirs of A.A. Feta in the Aspect of Studying the Images of the German World” is devoted to the study of German national images in the poet’s memoirs of his childhood, adolescence and mature period of life. When analyzing the poet's memoirs, attention was drawn to the typological features of Fet's memoirs. They are considered in the work in the context of Russian memoirs and autobiographical prose of the second half of the 19th century. In connection with the understanding of the "German" part of Russian history and culture, and also due to the proteistic abilities of many Russian writers (the ability to penetrate the mental space of other peoples), the images of the German world are organically included in the Russian noble epic, in the Russian

both fiction and memoir literature, which is confirmed by their appearance in the memoir heritage and autobiographical prose of L.N. Tolstoy, K.N. Leontiev, ST. Aksakov, A.A. Feta etc.

The concept of “images of the German world” received a special meaning in relation to Fetov’s memoirs, which is explained primarily by the reasons that prompted A.A. Feta in his memoirs turn to German images. On the one hand, there are objective reasons due to the poet's desire to follow the traditions of creating a Russian noble epic, on the other hand, reasons of a deeply personal nature related to the origin and upbringing of Fet. Therefore, cultural, historical and biographical images of the German world appear in Fet's memoirs. An important factor that determined Fet's re-creation of biographical German images was the poet's return in the second half of his life to the title of nobility, family name and corresponding financial situation. These events in the fate of A. Fet explain the key feature of his memoirs - their anachronism: the poet began to write his memoirs not from memories of childhood, which were closely connected with the German world, but from memories of the mature period of his life. Fet prepared a book of childhood memories at the end of his life, and it was published after his death.

The first paragraph "German anthroponyms" analyzes the images of German heroes embodied in Fet's memoirs. They are represented by German relatives, German servants, German boarding house teachers, German boarding school students, German soldiers, German doctors, German musicians and others.

The analysis of concepts and images, representing in their totality and diversity the "German" in the poet's memoirs, allowed us to identify their national specificity. The reason for this was both the presence of the designated concepts in the German logosphere (historical-cultural, psychological aspects, the aspect of the national-cultural semantics of language units turned out to be important here), and the features of the functioning of these concepts in the text of Fetov's memoirs (first of all, their opposition to Russian national images) . In accordance with the logic of the study, the images of the German "family world", embodied in the memoir genre, were studied first of all.

The German family circle, on the one hand, is genetically and spiritually native for Fet (the German native is personified by his mother, sister and nanny), on the other hand, it seems to him a stranger, unknown

whom, before which the poet experiences instinctive fear (Uncle Ernst Karlovich). Along with the “German family world”, the Russian patriarchal noble Shenshin family appears in the memoirs. From the laconic Fetov characteristics of the representatives of the genus, it is possible to single out common features. Thus, a portrait of the Shenshin family appears, which in Fet's memoirs is a generalized portrait of the Russian nobility. It is interesting that the servants, whom we also refer to the family circle (the German nanny Elizaveta Nikolaevna and the Russian father's valet Ilya Afanasyevich), combine Russian and German: Elizaveta Nikolaevna is an expert on Russian rituals and customs, and Ilya Afanasyevich skillfully weaves into his speech German words and phrases. This fact testifies to the mutual influence of the Russian and German worlds: just as the Germans living in Russia absorbed the Russian, so the Russians perceived the German as something inseparable from Russian life. The creation by the poet at the end of his life of a family "panorama" that does not exclude the biographical German, was regarded by him, from our point of view, as the final step on the path to peace of mind, to harmony with oneself. After all, it is the childhood years that are truly happy for the poet, those years when Russian and German were equally native to him and represented a single whole. At the end of his life, when the author of the memoirs officially returns to himself everything that “belonged to him by right”, he has the opportunity to speak openly about his German roots, about the “German”, which occupied a significant place in his life, which, on the one hand, Fet hated and considered a shameful stain of his biography, on the other hand, he was aware of being a part of himself and connected the happy moments of his life with him.

The professions of the Germans, German surnames and nicknames have a pronounced national coloring in Fet's memoirs, and the mental traits of national psychology can be traced in the characters of Fet's Germans. German anthroponyms are associated with one or another stage in the life of A.A. Fet, reflecting the path of a noble offspring (for example, German teachers and German students - with Fet's training in a German boarding school in Verro, German military men - with military service, etc.). Thus, many spheres of Russian life are permeated with "German". The professions of the Germans in Fetov's memoirs (teachers, doctors, military men, etc.) turn out to be associated with the nationally traditional choice of public spheres for Russian Germans, which is confirmed both by history and by their representation in the memoirs and art works of other Russian writers

(St. Aksakov, K.N. Leontiev, L.N. Tolstoy, F.M. Dostoevsky, I.S. Turgenev).

In the author's presentation of German nicknames, an important detail is not only who these nicknames belong to, but also the fact that they are often a kind of German-Russian linguistic hybrid (that is, being formally German, they have a Russian lexical meaning). A. Fet in his memoirs uses both real German surnames and fictitious ones, often adapting them to the Russian language system, thus creating the image of a Western-Eastern person. An analysis of the German heroes in Fet's memoirs makes it possible to identify both external and internal (psychological) features typical of Germans and to create a certain collective image of a German, embodying, on the one hand, his subjective author's vision, on the other hand, claiming historical authenticity, since memoirs are not primarily an artistic genre.

The second paragraph "German Geographical Topoi" examines the images of German cities embodied by the author, which Fet visited in different years of his life. Fet's travel notes differ from the traditional ones, in which, as a rule, the beauties and attractions of the places visited were described in detail. One gets the impression that the poet is not interested in spatial realities, not in pictures, but in the faces he met in one place or another. Most German cities are also mentioned by Fet in connection with specific people. The city of Lübeck is described in the memoirs in the most detail. The author's remark that Lübeck does not change over time, but retains its original appearance and character, may be a sign that this particular German city has retained its national German content. Describing Lübeck, Fet draws attention to the details that together make up a cultural-historical and at the same time generalized picture of Germany: signboards written in Gothic type, “turned into Lutheran old Catholic churches”, paintings by Hans Holbein, which he saw on the walls one of the churches, paths, alleys kept clean and tidy, the musical tastes of the Germans - residents of the city. Subtly notices Fet and their psychological characteristics, creating a collective image of a German, a resident of Germany. The iconic German topos in the memoirs is the image of the city of Darmstadt, the family nest of the “German family” of Fet. Darmstadt is likened to home, the only place where Fet's German relatives can easily

and cozy, where they aspire to go again, being away from Germany. The house for the Germans, as the researchers note, is of particular importance. However, for Fet himself, Darmstadt stands among ordinary German cities: the fact that, in our opinion, he deliberately does not give the city any characterization may serve as a sign of the poet’s dislike for Darmstadt: the hometown of his mother, sister and uncle is a stranger to Fet, who grew up in Russia.

The third paragraph "Images of German Culture" is devoted to the study of the German cultural world, presented in Fetov's memoirs. The images of German culture were an integral part of the life of Russia in the 19th century, and also played an important role in Fet's search for his own aesthetic position. In the memoirs, they are presented through German philosophy, German romantic literature and German music (by the names of G. Hegel, A. Schopenhauer, J. W. Goethe, G. Heine, F. Schiller, L. Beethoven). It is symptomatic that Fet's "Memoirs" embodied the images of German culture of the 15th-early 19th centuries. As you know, the German culture of this period had a huge impact on Russian literature. In light of this, it seems noteworthy that Russian culture is presented in the memoirs not in a historical, but in a contemporary context for the poet: in the 19th century. Russian philosophy, literature, music, which later became world-famous, are experiencing a “flourishing”.

The fourth paragraph of "The Realities of German Life" analyzes the details of the domestic sphere, mainly hunting and army. In his memoirs, recalling how Faust, explaining to Margarita the essence of the universe, says: “Feeling is everything,” Fet writes that feeling is inherent even in inanimate objects6. Thus, a thing carries not only information about one or another of its purposes, but also anthropological qualities are guessed in it: character, spirit, mentality. An analysis of German realities reveals, on the one hand, a purely German mental space, which often manifests itself already at the lexical level; on the other hand, as a result of the close interaction of the German and Russian way of life, a certain common space is revealed that integrates both the German and the Russian way of being. Often mentally colored German realities, functioning in the text of memoirs, lose their traditional "emotional content", which is associated with their subjective author's perception.

6 Fet A.A. Memories. - M, 1983. - S. 303.

Some of the German realities outlined in Fetov's memoirs organically enter the Russian life of the era described in the memoirs: most of them have taken root in Russian life and language since Peter the Great. Some German household names have survived to this day and are also known to the modern Russian reader. Others (for example, household items in a German boarding school) are understandable only in the context of Fetov's memoirs and represent concepts alien to the Russian logosphere. In general, the images of the German world in Fet's memoirs, despite their pronounced national coloring, are still not a sign of "alien". On the one hand, they become part of the poet's biography, on the other hand, they are presented by the author as an organic part of Russian history and Russian culture.

In the second chapter "Images of the German world in the original poetry of A. Fet" the concept of music by A. Fet, embodied by him in poetic work, is examined from the point of view of the traditions of German musical culture, the musical preferences of the poet and their reflection in the poetics of Fet's work are analyzed. Recognizing the existence of a system of philosophical concepts that determines the features of the national picture of the world, we consider one of the main concepts of the poetic language of A.A. Fet (the concept of "sweet") in order to identify the specifics of its use in Fet's lyrics and in German poetry.

In the first paragraph, Fet's Poetry and German Romantic Culture, the connection between Fet's concept of music and the traditions of German romantic culture is traced. Firstly, Fet's concept of music is close to the romantic aesthetics of musical art, created, as you know, by the Germans - theorists of the aesthetics of musical romanticism (W.G. Wakenroder, E.-T.-A Hoffmann, A. Schopenhauer, L. Tiek, F. W. J. Schelling, F. Schlegel) and most vividly embodied in the music of German romantic composers (Weber, Schumann, Wagner). An important judgment for our study is the opinion of music critics, in particular, the authoritative music critic V.D. Konen, that it is in the age of romanticism that music first acquires “national outlines”7. Secondly, the presence of images of the German musical world in Fet's poetic work is symptomatic: Fet has poems that mention the names and works of German composers - L. Van Beethoven and C.M. Weber.

7 Konen V.D. Essays on the history of foreign music. - M., 1997. - P. 338.

A.A. Fet is rightfully considered one of the most "musical" poets not only of his era, but also of the history of Russian literature in general. Musicality, as a hallmark of Fet's lyrical talent, was also noted by contemporary critics of the poet (Ap. Grigoriev, A.V. Druzhinin, V.P. Botkin, N.N. Strakhov, V.S. Solovyov), and our contemporaries - researchers of his work (B Bukhshtab, D.D. Blagoy, B.M. Eikhenbaum and others). Famous composers also wrote about the extraordinary musicality of the poet, who, thanks to Fet's poetic works, created excellent examples of Russian romance (P.I. Tchaikovsky, A.E. Varlamov, A.S. Arensky). In his memoirs of childhood, the poet writes about his complete lack of musical abilities. A fact from childhood, connected with the inability of the poet, with all his efforts, to learn to play a musical instrument, as well as the irony of those around him on this occasion, probably associated with a sense of guilt before his father, who wanted to see him musically educated, could not but form in Fet- child of a certain complex. In the case of Fet, in our opinion, the children's complex of "musical failure" found a way out in a different form - in "musical" poetry, which makes it possible to explain Fet's paradoxical musicality.

Fetov's poetic conception of music, in our opinion, is closely connected with romantic aesthetics, which is widespread in German romantic culture. For romantic aesthetics, the problem of art synthesis is specific. Literature, especially poetry, is known to interact much more closely with music than other forms of art. "Music of the verse" acquires especially great importance among the Romantics, and in connection with this there is a significant shift in the development of poetic forms. The influence of music on literature in some cases is expressed in a kind of transformation of one art into another. Within the framework of romantic aesthetics, the so-called concept of “pan-musicality”, which originally arose in Germany, is widely known.

In the second paragraph, "The Theme of Music in A. Fet's Poetry in the Context of Romantic Musical Aesthetics," the connection between Fet's lyrics and the German romantic concept of music is considered in the thematic aspect. The musical theme in the poetry of A.A. Fet can be viewed from different points of view: on the one hand, at the level of the genre (the presence of a section "Melodies", poems-songs, as indicated by their name ("Drinking song", "Romance" ("Guessed - and I'm excitedly

van..."), "Bacchic Song", "Song of the Page", "Spring Song"), as well as poems characterized by melodious intonation.

On the other hand, the musicality of Fet's poetry is manifested at the verbal level in the presence of "musical" vocabulary. In our opinion, the second aspect is the most interesting and least studied. Musical vocabulary is present in a large number of the poet's poems. One of the most frequent is the image of a singing woman. Her singing has a significant influence power. On the one hand, this force has a destructive, on the other hand, a creative beginning. In Fet's poems, a singing woman resembles a mythological image from German folklore (Lorelei), who fascinates a man with her beautiful voice, and he "dies", enchanted by her singing. However, women's singing can also have life-giving power.

Fet's love singer is often a nightingale. The images of a nightingale and a rose are characteristic of the work of many German romantics: these images are found in the poetry of I.V. Goethe, G. Heine, Karl von Hardenberg, L. Tieck, K. Brentano and others. As in Eastern poetry, the nightingale of the German romantics personifies the lyrical hero in love, and the rose - his beloved. However, if in Eastern poetry, in particular the poetry of Hafiz, the connection between the nightingale and the rose is marked by eroticism, then in German romantic poetry it is distinguished by spiritual content. The oriental motif of the love of a nightingale and a rose by Fet (both in original imitation poems of oriental poetry and in translations “from Hafiz”), in our opinion, is interpreted more in the spirit of German romanticism than in the eastern poetic tradition.

From our point of view, Fetov's "music of nature" has the features of Goethe's song poetry, which is based on the pantheism characteristic of the German folk song. The influence of Goethe on Fet's lyrics of nature is evidenced by the fact that Fet twice uses as epigraphs to his poems lines from Goethe's poems, expressing the pantheistic views of the German poet.

In the dissertation essay, in the main themes inherent in both the romantics and Fet's poetic work, we reveal the connection between the thematic complexes "love - music" and "nature - music". Their embodiment reveals the features of romantic aesthetics, which is expressed in the vision of love as, for the most part, a platonic feeling.

In the third paragraph “Images of the German musical world in the poetry of A.A. Feta (Poems "Revel" and "Anruf an die

Geliebte of Beethoven”)” analyzes the texts of A. Fet, which mention the names and works of German composers - L. Beethoven and K.M. Weber (the song "Anruf an die Geliebte" ("A call to the beloved" by Beethoven) and the opera "Freischütz" ("Free with an arrow) by Weber)). Indicative for us is the fact that, according to music critics, in particular V.P. Botkin, A. Keningsberg, V.V. Stasov and the famous German composer R. Wagner, in the music of these two composers the "German spirit" was most clearly manifested. V.P. Botkin noted that Beethoven "is a complete and perfect manifestation of German music"8. About Weber's opera "Free Shooter", mentioned in one of Fet's poems, V.V. Stasov wrote the following: “...before The Free Shooter, there was neither opera nor music in general with a national direction and mood<...>"nine. The presence of these images in Fet's poetry is explained, on the one hand, by the fame of the work of these German artists in the Russian cultural environment, on the other hand, it suggests that their musical work resonates with Fet's concept of art.

"Free shooter" Weber is a vivid embodiment of nationality. The very fact that the plot of the opera was taken by the composer from the collection of short stories by Johann August Apel "The Book of Spirits", and the short story "Free Gunner" is designated by the author as a "folk tale", is proof of this. Indeed, the very system of images, reflected in the short story, and then in the opera, is characteristic of German folk tales (forest, black hunter, magic bullets, mysticism). Referring his poem to Weber's opera, but adapting its title for the Russian reader, Fet creates an image of the German world, but in Russian rethinking it. The construction of the poem as a whole is marked by a similar duality.

In another Fetov's work, the name of one of the famous songs of the German composer "An Appeal to the Beloved" ("Anruf an die Geliebte"), which is part of the song cycle "To the Distant Beloved" ("An die feme Geliebte") (1816), is used. In our opinion, the presence of one of the images of Beethoven's music in Fet's poetic heritage is quite understandable. Perhaps no other composer left such a deep mark on the musical culture of the 19th century. The extraordinary popularity of Beethoven is associated with the peculiarities of the historical development of world musical art.

8 Botkin V.P. Literary criticism. Publicism. Letters - M, 1984. - S. 35.

9Cit. Quoted from: Keningsberg A. Weber. - L., 1981. - S. 110.

Both in the original and in Fetov's poetic text, the image of the beloved woman is the key. This image in Beethoven and Fet reveals, in our opinion, significant similarities. The beloved woman in both texts is intangible, invisible to others. The lexicon of both texts points to the unearthly hypostasis of the "beloved". In its emotional fullness, which is "the culmination of feelings without a denouement," this poem by Fet resembles Beethoven's dynamics of feelings in music.

Fet's poems, containing images of the German musical world, are a kind of combination of "German" and "Russian": on the one hand, German and Russian are clearly distinguished at the aesthetic and linguistic levels, on the other hand, they turn out to be inextricably linked (as, for example, the image Petersburg in the poem "Revel" or Beethoven's romantic tendencies in the poem "Anruf an die Geliebte" by Beethoven, written in the traditions of the Russian romance).

In the fourth paragraph, "The concept of "sweet" in the German poetry and lyrics of A. Fet", we analyze the concept of "sweet" that we singled out in Fet's poetry and in German poetry, which reflects the value orientations of the Germans and is included in the sphere denoting mainly "Western", in in particular the German mental space. The basis for this conclusion was the high frequency of the use of the lexeme "sweet" in the German poetic tradition. Comparing the phrases in German poetry (from I.V. Goethe, G. Heine, E. Merike, L. Uhland and other German poets), and in the poetry of A.A. Fet, as well as the results of the analysis of phrases with this word, taken from German and Russian explanatory dictionaries, we found common and different. However, the phrases with the word "sweet" that we have identified in Fet's poetry are mostly not typical for the Russian poetic tradition and for the Russian logosphere as a whole. These phrases reflect Fet's vision of being as a pleasure. Such ideological positions, however, are clearly traced in German poetry and are associated with the German worldview as a whole. In our opinion, the presence of the concept "sweet" and its contextual use in Fet's poetic work indicates the closeness of Fet's worldview to German culture.

In the third chapter "Fet - the translator of German poetry" the translation activity of A.A. Feta. In this chapter, we turn to Fet's translations of works

G. Heine and I.V. Goethe. Both in terms of the number of translated poems, and in terms of the degree of influence on the original work of the Russian poet (which was written by authoritative researchers and fetologists B.Ya. Bukhshtab, D.D. Blagoy, V.M. Zhirmunsky), these two names stand out from the general list of names German poets translated by Fet. At an early stage, Fet gives a clear preference to G. Heine, in the later period, I.V. becomes the leader among the German poets he translates. Goethe. Fet's translation priorities associated with the choice of predominantly German poetry, interest in certain poetic systems, the chronological sequence of translations of these authors, as well as the poet's translation principles are due, on the one hand, to the requirements for the development of poetic translation in Russia, reflecting, in turn, the evolution of the development of Russian poetry. literature in general, on the other hand, Fet's biographical connection with the German world and the general interest in Russia in the 19th century. to German culture.

Fet's "literalist" translation principles are due to the tendency in Russian literature to objectively reflect reality, which resulted in the historical requirement for accuracy in translation. The translation activity of A. Fet is distinguished by the desire to convey all the advantages and disadvantages of the original. The transformation or replacement by Fet in the translations of certain nationally colored images is associated with the need to follow the Russian poetic tradition, the root cause of which is Fet's desire to recognize himself as a national poet.

Fet managed to find a "golden mean" in relation to linguistic equivalence. Avoiding liberties in translation, he is not a “naive” literalist either, the poet is looking for such linguistic parallels at the lexical, syntactic, stylistic, semantic levels that do not create a “complex of alienation”, however, alienity is clearly traced in them. Thus, the well-known postulate of W. von Humboldt that the translator has fulfilled his task and risen to the original, if it feels “alien”, but not “alien”, is quite effective in relation to the Feta translator. By virtue of his biography, Fet is bicultural. From the point of view of the philosophy of translation, it is recognized as full-fledged or adequate if it is a synthesis of two cultures: the original (author) and native (translator). The results of the study show that this synthesis can be observed in Fet's translations.

The first paragraph "Fet - Heine's translator: in search of metrical equivalents" presents the versification aspect of the pro-

Problems: the Russian poet's search for metrical equivalents when translating the poems of G. Heine into Russian. What is important in this section is how the Fet-translator conveys poetic meters that are not characteristic of the Russian poetic tradition of the 19th century. Despite the fact that the poet, by virtue of his perfect knowledge of the German language, well felt the rhythmic originality of the German poems he translated, he does not reproduce the meters that are not practiced in the Russian poetic tradition of the 19th century. Thus, Russian and German verse existed in Fet's creative mind as independent systems, which did not exclude the possibility of their interaction at other levels. The national origin of Fet does not contradict this situation, but, on the contrary, indirectly confirms it: the poet sought not so much to use his reading experience as, against the background of the German tradition, to better understand the originality of the poetic system of Russian verse, without opposing himself to any of them, nevertheless emphasizing the cultural "rootedness" of his poetry in Russian.

In the second paragraph "Heine's Fet-Translator: Means of Transferring Irony" the methods of Fet's transfer of H. Heine's ironic devices are explored. Fet's desire to convey the author's irony is due to both the "literal" principles of Fet the translator, and the historical features of the development of Russian literature in the middle of the 19th century. The largest number of Heinese works was translated by a Russian poet in the period from 1847 to 1857, and from the point of view of chronology, the quantitative growth of "ironic" translated poems is also observed. These facts are connected with the process of objectivization of Russian literature, "enrichment of its thought", and Heine's poetry with its characteristic reflection, the main form of which is irony, corresponded to this historical requirement in the best possible way. Passing on the irony of Heine in his translations, Fet uses both the author's means and refers to the techniques characteristic of his own poetics. For example, Fet smooths out the irony, indicated by Heine by contrasting the vocabulary of different styles, embodying, however, ironic overtones, for example, at the syntactic level. In the 1840s, when Fet first turned to translations of lyric poems by H. Heine, he was the most popular German poet in Russia. However, the accuracy of Fet's translations, sensitivity to the ironic overtones of the original poems, the ability to find ways to convey irony in the Russian language indicate that Fet's interest in Heine's poetry was not only

new fashion. At the same time, like many translators who are professional poets, Fet prefers works that are close to himself and often adapts the translated poem to his own aesthetic principles.

In the third paragraph "Fet - the translator of Goethe ("May song" and "Night song of the traveler" by I.V. Goethe in the translations of A.A. Fet"), an analysis of the translations of two poems by Goethe: "May Song" and "Night Song of the Traveler" is presented . The fundamental factor that influenced the choice of these translations for interpretation was the fact that they were made in different periods of both Fet's creative evolution and the history of the development of Russian poetry as a whole. In addition, according to V.M. Zhirmunsky, "Goethe's influence on Fet's original work is found primarily in the intimate song lyrics and concerns the musical side of the work, its song structure"10. However, Fet's original "song", in our opinion, differs from Goethe's song. With Goethe, as a primary folk song, it is sung without musical accompaniment; the voice is important here, according to the genre of performance it is a choral one. Fet's song is mainly intended for instrumental performance.

Both "May Song" and "Night Song of the Traveler" played an important role in shaping the artistic worldview of A. Fet. The translation of the first of these poems was made at the very beginning of Fet's creative path, when he was becoming a poet. Since the 1860s, especially in the 70s-80s, Fetov's poetry has been colored by philosophical thought. At this time, he also turned to translations of Goethe's philosophical works. Thus, the late Fet is formed under the influence of German philosophy and poetry. An analysis of these two translations allows us to trace the changes that have taken place in the poet's worldview over the period from 1840 to 1880.

In the translation of Goethe's "songs", which reflects many features of the original, the author embodies an original philosophical vision of topics that are significant to him. There is a synthesis of "one's own" and "alien", which helps the poet to define himself aesthetically. Artistic techniques born in the process of translation activity become the constructive principles of Fet's poetry. Fet's translation activity played an important role in the poet's search for his own aesthetic position.

10 Zhirmunsky V.M. Goethe in Russian Literature. - L., 1982. - S. 29.

In conclusion, the results of the study are summarized, and prospects for further work are outlined. The study of the images of the German world in the work of A. Fet allows us to conclude that the national origin of the artist, the mentality of the people to which the author genetically belongs, is manifested in his work. The presence of images of the German world in the poet's artistic system is determined not only by cultural conditions, but also by the peculiarities of his biography. Fetov's understanding of the images of the German world embodied by him in his work testifies to the closeness of the Russian poet's worldview to German culture. As prospects for the work, it seems fruitful to explore the concepts that are part of the poetic language of A. Fet and that make up the German logosphere. In our work, only one concept has been analyzed. It may also be promising to identify the ballad beginning in Fet's poetry, it is necessary to trace the connection of his poetry with the genre and imagery of the German ballad. Undoubtedly, within the framework of the analyzed problem, the appeal to German imagery in the epistolary heritage of A. Fet is important. In our work, this area of ​​the poet's work remains unexplored. Fet's translations from German poetry can be studied in more detail (both translations from Heine and Goethe, and translations from F. Schiller, E. Merike, J. Kerner, L. Uhland, F. Rückert). The expansion of interest in the national picture of the world can be carried out both intensively (in the aspect of studying Fetov's poetics) and extensively (analysis of the work of poets whose biography reveals the "crossing" of different cultures, for example, K. Pavlova).

The main provisions of the dissertation research are reflected in the following publications:

1. Zherdeva O.N. Images of the German world in the autobiographical prose of A. Fet // Literature and public consciousness: options for interpreting a literary text: Proceedings of the VII Interuniversity Scientific and Practical Conference (May 20-21, 2002). - Biysk: SIC BITU, 2002.-Vol. 7.-S. 85-89.

2. Zherdeva O.N. Fet - translator Heine: means of transferring irony // Dialogue of cultures: Collection of materials of the interuniversity conference of young scientists. - Barnaul: Publishing house of BSPU, 2002. - S. 61-78.

3. Zherdeva O.N. Synthesis of "one's own" and "alien" in A. Fet's translations // Time. Language. Personality: Proceedings of the International Scientific Conference (December 3-5, 2002). - Omsk: OSU Publishing House, 2002. - S. 472-475.

4. Zherdeva O.N. “May Song” and “Night Song of the Traveler” by I.V. Goethe in translations by A.A. Feta // Text: structure and functioning: Sat. Art. - Barnaul: Alt. un-ta, 2003. - Issue. 7. - S. 185-205.

5. Zherdeva O.N. Fet - translator of Heine: in search of rhythmic equivalents // Text: interpretation options: Materials of the VIII interuniversity scientific and practical conference (May 2003). - Biysk: SIC BITU, 2003. - Issue. 8. - S. 75-80.

6. Zherdeva O.N. The concept of "sweet" in German poetry and in the poetry of A.A. Feta // Text: interpretation options: Proceedings of the interuniversity scientific and practical conference (May 2004). - Biysk: SIC BPGU, 2004. - Issue. IX. - S. 78-83.

Signed for publication on October 26, 2004. Conv. oven l. 1.0. Circulation 100 copies. Order 351.

Printing house of the Altai State University: 656049, Barnaul, Dimitrova, 66

FISH Russian Foundation

CHAPTER I. MEMOIRS OF A.A. FETA IN THE ASPECT OF STUDY

IMAGES OF THE GERMAN WORLD.

1.1. German anthroponyms.1B

1.2. German geographical topoi.

1.3. Images of German culture.

1.4. Realities of German life.

CHAPTER II. IMAGES OF THE GERMAN WORLD IN THE ORIGINAL

POETRY A. FETA.

2.1. A. Fet's poetry and German romantic culture.

2.2. The theme of music in the poetry of A. Fet in the context of romantic musical aesthetics.

2.3. Images of the German musical world in the poetry of A. Fet (poems "Revel" and "Anruf an die Geliebte by Beethoven").

2.4. The concept of "sweet" in German poetry and in the lyrics of A. Fet.

CHAPTER III. FET - TRANSLATOR OF GERMAN POETRY.

3.1. A. Fet - translator G. Heine.

3.1.1. In search of metric equivalents.

3.1.2. Means of conveying irony.

3.2. A. Fet - translator I.V. Goethe.

Dissertation Introduction 2004, abstract on philology, Zherdeva, Oksana Nikolaevna

A.A. Fet entered the history of Russian literature as one of the greatest lyric poets, an outstanding poet-translator, and a talented memoirist. At the same time, his paradoxical position in Russian culture is obvious: Fet became the largest Russian poet, being a German by origin. This circumstance, on the one hand, caused Fet to strive at all costs to take root both in the Russian landlord life and in the Russian cultural tradition, on the other hand, made him unusually sensitive to the perception of the specifics of both Russian and German culture. Thus, the study of Fet's work from the point of view of the problem of the interaction of cultures seems promising within the framework of a comparative historical approach.

The relevance of the study of national images in creativity

A.A. Feta, which simultaneously belongs to two cultures, is associated with the interest observed in Russian philology in national pictures of the world. This problem is determined, on the one hand, by the globalization process that is gaining momentum today, involving the erasure of national borders, on the other hand, by the need for national self-identification that has arisen in this situation, to distinguish between purely national and national, “ours” and “theirs”. Literary studies of the images of the national world are a particular aspect of this general problem.

Comparative historical studies have always occupied a prominent place in Russian literary criticism. A great contribution to the development of comparative studies was made by such scientists as A.N. Veselovsky,

B.M. Zhirmunsky, N.I. Konrad, N.I. Prutskov and others. Having criticized the methodology of the old formalist comparative studies, A.N. Veselovsky, and after him V.M. Zhirmunsky put forward the concept of the unity of the historical and literary process, due to the similarity of the socio-historical development of mankind. “From this point of view,” wrote Zhirmunsky, “we can and should compare similar literary phenomena that arise at the same stages of the socio-historical process, regardless of the presence of a direct interaction between these phenomena”1. Thus, an idea was formed about the need for a typological approach in comparative studies. In the work “Problems of the Comparative Historical Study of Literature”, the scientist emphasized the importance of a comparative study of typological similarities, which “allows us to establish the general patterns of literary development in its social conditioning and, at the same time, to identify the national specifics of the literatures that are the subject of comparison”2. From the point of view of V.M. Zhirmunsky, the presence of similar tendencies, “counter currents” (as A.N. Veselovsky called them) in national literatures becomes a precondition for international literary influences, which are possible when a need for such “import” arises in society itself3. Fundamentally important was fixed in the work of V.M. Zhirmunsky "Byron and Pushkin. Pushkin and Western Literature" the position that "the perception of influence is not passive assimilation, but active processing, as a result of which one's own art is created""4.

In Soviet literary criticism, the term "comparative studies" acquired an ideological connotation and therefore was withdrawn from use. "Safe" was the use of the equivalent formula "comparative historical research", which for a long time replaced the compromised term. “It was then that one of the largest comparativists of the world, A.N. Veselovsky"5.

Since the end of the 60s, the expression "typological studies" has been more readily used in Soviet literary criticism. N.I. Prutskov

1 Zhirmunsky V.M. Comparative literature. L., 1979. P. 7. Zhirmunsky V.M. Problems of Comparative Historical Study of Literature // Zhirmunsky V.M. Comparative literature. L., 1979.S. 68,

3 Ibid. S. 7.

4 Zhirmunsky V.M. Byron and Pushkin. Pushkin and Western Influences. L., 1978. S. 23 et seq. s Lonely V.G. On the Phenomenological Approach to the Study of Artistic Phenomena in the System of Comparative Literature // From Plot to Motif. Novosibirsk, 1996. S. 24. proposed to distinguish two directions within the framework of the typological approach - historical-comparative and comparative-historical6. The first direction involved the consideration of the typological similarity of works within the national literature, the second - the study of interethnic literary ties. Such a concept blurred the concept of comparative studies, which was put forward by A.N. Veselovsky, considering wandering motifs, themes, plots, the study of which was based on contact relationships.

At present, in literary criticism, a legitimate interest is being revived both in the comparative historical method and in the personality of the scientists who formed and developed it. Today, the problem of comparative studies is expanding and becoming more complicated due to the fact that not certain fragments are put forward as objects of research, but integral literary and cultural phenomena embodying moral, psychological, philosophical concepts, which, for all their variability, manifest themselves within the boundaries of a single structural type. At the same time, the typological approach should be combined with the study of historical poetics, as was typical of the works of A.N. Veselovsky7.

Yu.B. Vipper considers the development of a comparative approach to the study of verbal art to be the most urgent task facing literary science. “Without improving the method of comparative analysis, it is impossible to build a complex history (at least even within the framework of one era), not to mention the complex history of spiritual culture as a whole”8.

It seems symptomatic that it is in Russia that the problem of the struggle of mentalities and the understanding of the “national” has acquired special significance in the last decade. This is due to the collapse of the multinational power of the USSR and the socialist system, which isolated Russia from the West for a long time and, as a result, with the desire of modern Russia to comprehend itself as part of Europe and a single world system.

6 Prutskov N.I. Historical and comparative analysis of works of fiction. JI., 1974. S. 204. See about this: Lonely V.G. Decree. op. P.25.

8 Vipper Yu.B. Creative fates and history. M., 1990, S. 285.

The actualization of problems related to national self-identification contributed to the emergence of a new wave of interest in national mythology, national psychology, cultures of different countries, frontier phenomena9, the dialogue of cultures, as evidenced by numerous studies in the humanities: sociology, philosophy, history, psychology, linguistics, cultural studies, literary criticism, etc.10.

In the context of the indicated problem, the task of identifying national pictures of the world in the cultural systems of different countries becomes obvious. It seems important here to take into account the role of "foreign" participation in the formation of national culture. With regard to Russia, Germany undoubtedly played the leading role. Since the time of Peter the Great, Germany has long been the personification of the West for Russians (it was not by chance that all Europeans in Russia were called Germans). According to cultural scientists, historians, and literary critics, Russia and Germany have always been, as it were, in a relationship of complementarity. “The strengths of national cultures,” writes A.V. Mikhailov, - they complemented each other, and Russian culture was one of them that readily absorbed the achievements of the German one, without changing its essence, but enriching it, supplementing its view of being and history through someone else's, other. . On the other hand, Russia had a unique ability to turn Germans into Russians12. According to the same A.V. Mikhailov, relations between Russia and Germany are built on such

9 This concept comes from the German "Fronte", the word has, among other meanings, the meaning of the border separating one's own land from someone else's (the expression "front line" is known, it better reflects the semantics of the named phenomenon in science).

10 See, for example, Gachev G. Mentality of the peoples of the world. M., 2003. Questions of the nature of mentalists, national pictures of the world, the interaction of different cultures are the subject of discussion of "round tables", the materials of which, since the 1990s, are regularly published on the pages of the journal "Voprosy Philosophy" under the heading "Russia and the West "and collections" Russia and the West: a dialogue of cultures "(1994-2003) Russia and Germany: cultural relations yesterday and today // Literary studies. 1990. September - October. S. 115.

Russia and Germany: cultural relations yesterday and today (Round table) // Literary studies. 1990. September-October. P. 115. deep foundations that they can even be called mythological - "they are rooted in layers of consciousness that go back to a very distant past"13.

The historical and cultural interactions between Russians and Germans could not but be reflected in Russian literature. If we talk about the connection of individual Russian writers with Germany, then we can determine the following series: in the XVIII-XIX centuries. this is, first of all, M.V. Lomonosov, V.A. Zhukovsky, I.S. Turgenev, F.M. Dostoevsky, F.I. Tyutchev, A.A. Fet, K. Pavlova, etc. The study of the “relationships” of Russian writers with Germany allows us to single out two areas that illustrate the content of the “Russia-Germany” problem in Russian literary criticism. The first direction is determined by the biographical connection of this or that Russian writer with Germany. Within the framework of this direction, the vector “sent from Germany”14 operates, which is a component of the general movement, designated in history as “Drang nach Osten”15. Another direction is connected with the fact that the German world in Russian literature is seen as an aesthetic problem, which, on the one hand, comprehends the German as an integral part of Russian life, on the other hand, as a system alien to the Russian world.

Due to the centuries-old stay of the Germans in Russia, the problem arises of studying the work of those writers whose ancestral roots are connected with Germany, who, however, grew up and were brought up in a Russian noble environment and consider themselves Russian artists of the word (A. Fet, K. Pavlova).

Both in the personality and in the literary work of these writers, in our opinion, their national duplicity cannot but manifest itself. Contemporaries of the poet wrote about the dual unity of consciousness of A. Fet, in particular

13 Ibid. S. 117.

14 "Poems sent from Germany" - so called A.S. Pushkin poems by F.I. Tyutchev, which he published in Sovremennik. This name marks "ch) zhoe", namely the German "presence" in the poetry of F.I. Tyutchev. I.S. Turgenev in a letter to Fet writes about Tyutchev: “<.>he was also a Slavophil, but not in his poems<.>. Its most essential essence is purely Western - akin to Goethe. (T)rgenev I.S. Full coll. op. and letters: In 28 volumes. Letters: In 13 volumes. M.; L., 1961. T. 3. S. 254-255.)

15 "Drang nach Osten" (literally: onslaught to the east). G. Gachev writes: "Drang nach Osten is a constantly acting factor and trend in the existence of Germany." (Gachev G. Mentality of the peoples of the world. M., 2003. P. 122 ) The expression characterizes Germany's propensity for militarism)". In this case, we mean Germany's desire to make a breakthrough into other cultural systems and assert its position there.

I.S. Turgenev, noting the obvious contrast between D / e / shm / / a-landowner and Fet-poet. In one of his letters, Turgenev directly points to the German origin of Fet: “... well, German blood responded”16. JI.M. Lotman in the article "Turgenev and Fet", referring to the analysis of Turgenev's editorial changes, points out the following feature: "As the editor of one of Fet's collections, Turgenev tries to present the poet, depriving his poems of national identity:" The collection of 1850 opened with the poem "I am Russian , I love the silence of the filthy distance, "drawing the beauty of the night northern landscape and conveying<.>attachment to one's homeland<.>, but it was these words, at the request of Turgenev, that were removed<.>. This work in the new edition did not open the collection, and many of the poems that accompanied it in the cycles "Snow" and "Fortune-telling" were

17 have been removed from the collection. F.M. Dostoevsky in the article “Mr. Bov and the Question of Art” also noted Fet’s certain heterogeneity in relation to the direction that dominated Russian culture at that time. Therefore, obviously, Dostoevsky considers the author of the poem "Whisper, timid breathing." not as a national, but as an all-European poet, a sign of which can be considered to be present in the "parable", where there is an unambiguous reference to Fet's poetry, the European topos18.

However, on the other hand, Fet himself, for whom it was fundamentally important to realize himself as a Russian poet, as if challenging the thesis of F.M. Dostoevsky about "reincarnating one's spirit into the spirit of foreign peoples"19, wrote to him in a letter:<.>and in vain you seem to be a Lithuanian, and I am a Tatar (a hint at the Tatar roots of the Shenshins. - O. Zh.),

16 Turgenev I.S. Poly. coll. op. and letters: In 28 vols. M.-L., 1964-69. Letters. T.I.S. 165.

1" Lotman L.M. Turgenev and Fet // Lotman JIM. Turgenev and Russian writers. L., 1977. P. 33.

It! In the "parable" Dostoevsky refers to the Lisbon earthquake of 1700: the city was shaken by the catastrophe, half of the population died. The next day, a poem in the spirit of Fetov's "Whisper, easy breathing" appears in the Lisbon newspaper. The writer writes that the inhabitants of Lisbon, perhaps, would have executed the famous poet because "they experienced not nightingale trills, but a completely different kind of vibration - an earthquake." Dostoevsky comes to the conclusion that it was not art that was to blame, but the poet who abused art at the moment when there was no time for it.

19 Dostoevsky F.M. Poly. coll. cit.: V 30 t. L., 1984. T. 26. S. 146. but we are both Russians”20. Not a folk poet for Fet is “a contradiction in the data”: “you can be a stupid, mediocre poet, but you can’t be a folk poet”21.

A.A. Fet is one of the sufficiently studied poets in Russian literary criticism. However, only in recent decades have there been attempts to reinterpret Fet as a poet and a person. In studies devoted to the study of the biography and work of A.A. Feta, the following trends can be distinguished:

1. Biographical research.

The works of B.Ya. Bukhshtaba,

D.D. Blagogo, V.V. Kozhinova, JT.M. Lotman, G.P. Blok, V. A. Shenshina,

E.A. Maimin, G. Aslanova and others. Fundamental in this aspect are the works of B.Ya. Bukhshtab and D.D. Good. In addition to the traditional presentation of the biography, the works of the above researchers touch upon the still controversial questions about the mystery of the origin of Fet and the contradiction between Fet the poet and Fet the man. An unconventional view of Fet-man is expressed in their articles by G. Aslanova and G. Nikitin, destroying the stereotypical image of Fet, a prudent man, a conservative landowner, that has developed in literary criticism. In particular, the motives for Fet's marriage to M.P. are considered from a different angle. Botkina23. An important component in the study of Fet's biography is the study of his personal and creative ties with his contemporaries. The works of D. Nikolsky, L.M. Lotman, S. Rozanova, G.P. Kozubovskaya, L.I. Cheremisinova, E.A. Maimina and others24. o Fet A. Poems, prose, letters. M., 1988. S. 385.

There. P. 386. Bukhshtab B.Ya. A.A. Fet. Essay on life and creativity. L., 1990; Blagoy D.D. The world as beauty // Fet A.A. Evening lights. M., 1979; Kozhinov V.V. On the secrets of the origin of A. Fet // Problems changed the life and work of A.A. Feta. Sat. Art. Kipcic, 1992; Lotman L. Afanasy Fpt. Boston, 1976; Blok G.P. Chronicle of A.A. Feta // A.A. Fet. Traditions and problems of study. Sat. scientific works. Kursk. 1985; Maymin E. A. A. Fet. Biography of the writer. M., 1989; Aslanova G. In captivity of legends and fantasies // Questions of Literature. 1997. September October.

Aslanova G. Decree. op.; Nikitin G. Fet - landowner (To the biography of the poet) // Friendship of peoples. 1995. No. 3. "4 See, for example, Lotman L.M. Turgenev and Fet. L., 1977; Maimin E.A. A.A. Fet and L.N. Tolstoy // Russian literature. 1989. No. 4; G. P. Kozubovskaya, A. Fst and J. Polonsky // Problems of studying the life and work of A. A. Fet, Collection of hours of works, Kjpcic, 1993.

As for the study of the poet's memoirs, it should be noted that this aspect, in our opinion, important for understanding the personality of Fet (although, according to Aslanova, in the poet's memoirs, as well as in his poems, it is impossible to see the true face of Fet), is little developed . Often, researchers (G. Aslanova, G. Nikitin) draw on Fet's memories to confirm any facts of the poet's biography, in particular, to identify Fet's friendly and creative contacts with his contemporaries. However, the study of Fet's memoirs from the point of view of elucidating the psychological appearance of the writer, as well as from the point of view of their poetics, is still outside the scope of literary studies25.

2. Features of the poetics of A. Fet.

Despite the sufficient attention of domestic literary critics to this problem, the question of Fet's creative method and its genres is largely controversial. The presence of sections in Fetov's collections, which have both genre designations ("Elegies and Thoughts") and thematic ones ("Snows"), actualizes this problem: as is known, Ap. Grigoriev, in the last issues of Evening Lights, Fet abandoned this principle of arranging poems. Both the desire to create cycles, and the absence of this desire, are equally attributed to Fet's poetry.

Exploring the features of the poetic language, scientists pay attention to Fet’s violation of the linguistic poetic norm, which was determined in the 19th century, which is expressed primarily in the violation of the usual logic of textual content, as well as in an unusual combination of words, unexpected metaphors and metonyms, an abundance of individual paraphrases, “nonverb” organization of texts on the basis of the “details” chosen by the author, deepening the background of poetic texts that determine their symbolic rethinking. The study of the linguistic aspect of Fet's poetry is devoted to

25 Perhaps the only work of this kind is the article by G.P. Kozubovskaya "The mythology of the estate and the "estate text" in A. Fet's epistolary prose" by D.D. Blagogoy, M.JI. Gasparov, A.D. Grigoryeva, M.Ya. Polyakov

N.P. Sukhovoi, D.N. Shmeleva and others26

Researchers call the mythopoetic aspect important in Fet's poetics. Significant research in this area is

G.P. Kozubovskaya27, which emphasize the idea of ​​the mythological nature of Fet's poetics, which is largely related to the peculiarities of the poet's worldview, with his interest in the "ancient ideal", which had a huge impact on

2g shaping Fet's aesthetics.

Particular problems arising in connection with the analysis of individual poems by A. Fet, we find in the articles of M.M. Girshman, E.N. Kirnosova, S.A. Makarova, JI. Ozerova, N.P. Generalova and others29. 3. Worldview of A. Fet.

Articles by V.A. Shenshina, N.M. Severikova, V.N. Kasatkina30. Analyzing the worldview of the poet, scientists most often updated his position as a servant of "pure art". In this aspect, the studies of V.A. Shenshina. The results of her analysis are far from the tradition outlined in the former literary criticism.

26 Blagoy D.D Decree. op. ; Gasparov M. Fet verbless // Literary studies. 1979. No. 4; Grigorieva A.D. A.A. Fet and his poetics // Russian speech. 1988. No. 3; Sukhova N.P. Emancipation of the word // Russian speech. 1970. No. b; Polyakov M.Ya. Questions of poetics and artistic semantics. M., 1978; Shmelev D.N. A few remarks about Fet's poetics // Russian language at school. 1980. No. 6.

7 Kozubovskaya G.P. A. Fet's poetry and mythology. Proc. allowance. Barnaul - M., 1991; Kozubovskaya G.P. Fet and the problems of mythologism in Russian poetry HEX - early. XX centuries: Authors. diss. Dr. Philol. Nau K. St. Petersburg, 1994; Kozu bovskaya G.P. Mythology near the estate and the "estate text" in the epistolary prose A. Fet I Bulletin of the Belarusian State Pedagogical University. Issue. 3. 2003.

28 “The prerequisites for mythology,” writes G.P. Kozubovskaya, - in the worldview of Fet, for whom the predestination of the incomprehensibility of a high ideal is absolute: “The answer to all questions is there, in the eternal ideal, and not here, in scattered, incoherent, incomprehensible activity.” , ubiquitous in the world<.>Antiquity for Fet is a measure and expression of the type of behavior that is based on the predominance of the aesthetic<.>"(Kozu bovskaya G.P. Poetry

A. Feta and mythology. S. 8,10, 11).

29 Kirnosova E.N. Musical embodiment of poetic images of Fet // Problems of studying the life and work of A.A. Feta: Sat. articles. Kursk, 1993. S. 268-278; Makarova S.A. Correlation between poetic and musical melody in the genre of romance (on the material of A. Fet's poem "The night shone, the garden was full of moon") // Filologicheskie nauki. 1993. No. 2. S. 80-87; Ozerov L. Three notes about Fet // Russian speech 1970.

6. S. 29-34; Generalova N.G. Commentary on one "poem in case" by A. Fet // Russian Literature. 1996. No. 3. 168-180.

30 Shenshchina V.A. Fet as a metaphysical poet // A.A. Fet. Poet and thinker. Sat. scientific works. M., 1999; Severikova N.M. The worldview of A.A. Feta // Vestnik Mosk. at n-ta. Series 7, Philosophy. 1992. No. 1; Kasatkina

B.N. The movement of the artistic worldview of A.A. Feta // Russian literature. 1996. No. 4. consideration of Fet as a poet of sensations, unconscious poetic contemplation, an apologist for beauty. In her works, she presents A. Fet as a philosophically erudite thinker, an original philosopher in poetry, following the traditions of Russian and Western European metaphysical lyrics31. In the new book of the researcher “Fet-Shenshin. Poetic worldview”32 it is about ontological, religious, ethical and aesthetic problems of the poet’s work, Fet’s understanding of time and eternity, movement and rest, truth, beauty, good and evil is revealed. One of the main objectives of this book is to show that Fet's metaphysical poetry includes an ontological, religious vision. “Special merit of Shenshina,” writes V.N. Anoshkin, - in understanding the Christian, Orthodox foundations of Fet's poetry, which had not been studied before"33. The work of Shenshina in this aspect seems to be even more relevant due to the fact that it is one of the few serious studies that refute the view of Fet as an atheist, rooted in literary criticism, first questioned in 1984 by A.E. Tarkhov34, and then M. Makarov and N.A. Struve35.

A prominent place in fetology has occupied and continues to occupy the study of the influence of Schopenhauer's philosophy on Fet's poetry. Known studies, for example, D.D. Blagogo, B.Ya. Bukhshtaba36. The article by M.A. deserves special attention. Monin "Tolstoy and Fet: two readings of Schopenhauer", the novelty of which, from our point of view, is determined both by the original interpretation of individual poems by Fet, colored by the philosophy of Schopenhauer, and

31 The metaphysical aspect of Fet's lyrics, as Shenshina writes, was ignored both in Western and Russian literary criticism. The perception of Fet as a metaphysical poet was hampered by his reputation as a poet of "pure lyrics". Modern scientists are trying to "get away" from this cliche, arguing that at the center of his work is "not a dead statue, but a living person" (V. Bryusov). See about this: Kozhinov V.V. The place of creativity of A. Fet in domestic culture // A.A. Fet. Poet and thinker. S. 20.

32 Shenshina V.A. A.A. Fst-Schsshchin. Poetic worldview. M., 2003.

33 Anoshkina V.N. Foreword // Shenshina V.A. A.A. Fet-Shenshin. Poetic worldview. M., 2003. S. 5.

34 Tarkhov A.E. Foreword // Fet A.A. Op. T. 2. M., 1982. S. 390.

35Struve N.A. About the worldview of A. Fet: Was Fet an atheist? // Bulletin of the Russian Christian movement. No. 139. Paris, 1984. S. 169-177; Makarov M. To the controversy about the worldview of A.A. Feta: "Shenshin and Fet" II Bulletin of the Russian Christian Movement. No. 142. Paris, 1984. S. 303-307.

35 Bukhshtab B.Ya. A.A. Fet // Fet A.A. Poems and poems. L., 1986. S. 19. and further; Blagoy D.D. The world as beauty // A.A. Fet. Evening lights. M., 1979. S. 540 et seq.; Monin M.A. Tolstoy and Fet. Two readings of Schopenhauer // Questions of Philosophy. 2001. No. 3. The fact that the view of the philosophical lyrics of the poet is presented not by a literary critic, but by a philosopher.

4. Fet in the context of the traditions of Russian and foreign literature: problems of literary influences.

The lyrics of A. Fet are connected with the traditions of poets of the golden age, such as A.S. Pushkin, K.N. Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, V.G. Benediktov, as well as poets of the Silver Age: A. Bely, A.A. Blok, VL. Bryusova, A.A. Akhmatova, O.E. Mandelstam, M.I. Tsvetaeva and others. In Fetov's work, researchers find similarities with the work of F.M. Dostoevsky, L.N. Tolstoy, M.M. Prishvin. The problems of literary influences are touched upon in the works of A.M. Broide, N.K. Kashina, V.A. Kosheleva, E.A. Nekrasova, E. Sergeeva, A.N. Smirnova, N.V. Trufanova, V.A. Shenshina 37. Articles by O. Simchich and Yu.L. Tsvetkov, in which the connection of A. Fet's lyrics with the work of G. di Lampedusa and with European impressionistic poetry (in particular, with the poetry of Paul Verlaine)38 is indicated.

The work of A. Fet was practically not studied in the aspect of studying the images of the German world, meanwhile, they occupy an important place both in memoirs and in the poetic system of the Russian poet.

The problems of identifying national images of the world, issues related to identifying the nature of mentalities, their influence on culture are identified in the works of G. Gachev39. Gachev considers national pictures of the world,

3" Shenshina V.A. A.A. Fet-Shenshin. Poetic worldview. M., 2003. S. 170-202; Koshslav V.A. Fet and Batyushkov (to the problem of literary influences) // A.A. Fet Moscow, 1999, pp. 131-146, Nekrasova E. A. Fet and I. Annensky, Typological Aspect of Description, M., 1991, Broyde, A. M. Druzhinin and Fet // A.V. Druzhinin, life and creativity. Copenhagen. 1986. P. 392-398; Smirnov A. N. On two romantic concepts of time (Pushkin and Fet) // Problems of historical criticism. Petrozavodsk, 1992; Kashina N.K. Once again about Fetov's reminiscences in the poetry of Russian symbolists // A.A. Fet. Poet and thinker: collection of scientific works. M., 1999. P. 91-114; Sergeev E. Mayakovsky and Fet // In the world of Russian classics, collection of articles M, 1984, pp. 256-277; Trufanova N.V. Prose by A. A. Fet in the context of Russian prose // A. A. Fet, Poet and thinker. Proceedings, Moscow, 1999, pp. 115-139.

3S Simcic O. Fet and J. di Lampedusa: death, night and stars; Tsvetkov Yu.L. Lyrics by A. Fet in the context of European impressionistic poetry // A.A. Fet. Poet and thinker. M., 1999. S. 140-170.

39 Gachev G. National images of the world. Kjpc lectures. M., 1998; Gachev G. Mentality of the peoples of the world. M., 2003; relying on the "cosmopsychologos"40 of a particular country, approaching from a philosophical and, in his own words, "ethnographic" position. In the literary aspect, the works of M.F. Muryanova "Pushkin and Germany", D.A. Chugunov "JI.H. Tolstoy and Germany”, N.V. Butkova “The Image of Germany and the Images of Germans in the Works of I.S. Turgenev and F.M. Dostoevsky, A.P. Zabrovsky "On the problem of the typology of the image of a foreigner in Russian literature"41.

From our point of view, the national picture of the world, the components of which are national images, is the basis of the self-consciousness of a particular people, the foundation of its national culture and mythology. The national self-consciousness of a people, nation, personality is expressed in language, art, religion, mores and customs. Therefore, we will be primarily interested in mythopoetics, in which mental features were captured; national-cultural semantics of language units, the national aspect of the development of culture.

The scientific novelty of the work lies in the fact that for the first time an attempt was made to identify and analyze German national images in the work of Fet, a poet whose biography is the intersection of two worlds - Russian and German.

The object of our study is the memoirs, original poetry and translations of A.A. Feta.

The subject of the research is the images of the German world in the works of A.A. Fet, demonstrating the values, attitudes, stereotypes and mythologies inherent in German culture.

The purpose of this work is to reconstruct the images of the German world in different types of literary creativity of A. Fet, to determine their functions in

40 “Every national integrity,” writes Gachev, “is Cosmo-Psycho-Logos, i.e. unity of national nature, mentality and thinking. (Gachev G. National images of the world. M., 1995. P. 11.)

41 Muryanov M.F. Pushkin and Germany M., 1999; Chugunov D.A. L.N. Tolstoy and Germany // Bulletin of the Voronezh State. university 2003. No. 2. P 42-53; Butkova N.V. The image of Germany and the images of the Germans in the work of I.S. Turgenev and F.M. Dostoevsky. Abstract diss. cand. philol. Sciences. Volgograd. 2001; Zabrovsky A.P. On the problem of the typology of the image of a foreigner in Russian literature // Russia and the West: a dialogue of cultures. M., 1994.

Issue. 1. S. 87-105. within autobiographical prose and Fet's poetic system. It was important for us to fit the “Fetovsky German world” into the context of Russian culture of the mid-19th century, to show through the prism of private biography and creativity how the images of the German world enter the Russian world, how “ours” and “theirs” are differentiated and integrated, to identify the place and role this "foreign" in the history of Russian culture and Russian literature.

The set goal defines a number of specific tasks of the dissertation research:

1. Systematize the images of the German world present in Fet's memoirs, identify their national content and the features of the functioning of each group of images in the text.

2. Consider the German images in Fet's memoirs both in terms of the originality of their embodiment in the work of this particular writer, and in the context of the traditions of creating the Russian ancestral noble epic, based on the autobiographical prose of JI.H. Tolstoy, S.T. Aksakov, K.N. Leontiev.

3. Understand the subjective (personal) and objective (historical) motives of Fet's appeal to German images.

4. Consider the features of Fet's poetics in connection with the traditions of German romanticism.

5. To identify the national specifics of individual concepts that are most often found in Fet's original poetry and mark the German mentality (using the concept of "sweet" as an example).

6. Consider the means by which Fet conveys the main poetic techniques of the German poets he translates.

7. Reveal the national specifics of Fet's translations at the rhythmic-metrical level.

8. Analyze the features of Fet's translations and identify the role of German poetry in Fet's search for his own aesthetic position.

The theoretical and methodological base of the research is determined mainly by the comparative-historical approach to the study of a literary text. Leading in the work are comparative-typological and comparative-genetic methods. In addition, the mythopoetic approach is partially used.

The following provisions are put forward for defense:

1. The images of the German world organically fit into the traditions of the Russian noble epic.

2. The musicality of Fet's lyrics, noted by researchers as the main distinguishing feature of his poetic work, is closely related to the traditions of the German romantic concept of music.

3. The high frequency of using the concept "sweet", which is one of the main concepts of the German logosphere, in the original poetry of A. Fet reveals a close connection with German culture at the linguistic level.

4. The ways in which Fet the translator conveys the main poetic techniques and metrical features of the German poets he translates testify to the poet’s dual worldview: on the one hand, he strives to follow the original exactly, which manifests itself at the lexical, syntactic, semantic levels, on the other hand, he rethinks the original a work within the framework of the traditions of the Russian poetic system.

5. Translations of German poetry played a significant role in shaping the poet's own aesthetic position, which is important in the light of the prospects for the development of Russian lyrics.

The practical significance of the research is determined by the possibility of using the dissertation materials in the educational process, in the preparation of basic and special courses on the history of Russian literature of the 19th century, in the work of special seminars.

Approbation of the work: The dissertation was discussed at a meeting of the Department of Russian and Foreign Literature of the Altai State University. The main provisions of the dissertation research were reflected in the reports at the Interuniversity scientific and practical conference "Literature and public consciousness: options for interpreting a literary text"

Biysk, 2002), the All-Russian Scientific and Practical Conference "Natural Written Russian Speech: Research and Educational Aspects" (Barnaul, 2003), the All-Russian Conference of Young Scientists at the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences (Novosibirsk, 2003).

The structure of the work: The dissertation consists of an introduction, three chapters, a conclusion, appendices and a bibliographic list, which includes 299 titles. The total volume of the study is 178 pages.

Conclusion of scientific work dissertation on the topic "Images of the German world in the works of A.A. Fet"

Conclusion

The open nature of Russian literature in relation to other national cultures, the significance for it of intercultural dialogue and various intercultural contacts are well known. It will suffice to refer to the opinion of such an authoritative specialist in this field as D.S. Likhachev. German cultural realities were significant for understanding the uniqueness of the Russian national world, many of them entered the socio-cultural system of Russia. Russian literature, especially in the first half of the 19th century, was greatly influenced by German culture, which allows us to speak of deep ties between Russia and Germany.

Therefore, studies on interethnic contacts between Russian and various European cultures, especially German, are of particular value. The origin and biography of A. Fet make him a significant figure in the context of this kind of research (namely, in the aspect of studying the images of the German world in Russian literature).

Having considered different areas of the creative heritage of A. Fet (memoirs, original poetry, translations), we note that the specificity of each type of Fet's creativity determined the features of the methodology of our study. Thus, when analyzing the poet's memoirs, attention was paid to the typological features of Fet's memoirs in the context of Russian memoirs and autobiographical prose of the second half of the 19th century.

The concept of "images of the German world" received a special meaning in relation to Fetov's memoirs. Biographical and cultural-historical German images were studied: the realities of German life, German surnames, German characters, German nicknames, geographical topoi. In accordance with the logic of the study, the images of the German, first of all, the “family world”, embodied in the memoir genre, were analyzed. Of fundamental importance are the reasons that prompted Fet to turn to these images in his memoirs. On the one hand, it should be noted the objective reasons associated with the poet's desire to follow the tradition of the Russian noble epic, on the other hand, the reasons of a deeply personal nature, due to the origin and upbringing of Fet.

The images of the German world in the memoirs of A. Fet, despite their pronounced national coloring, are still not a sign of someone else. Firstly, they become part of the poet's biography, and secondly, they become part of Russian history and Russian culture.

When analyzing lyrical works, the primary attention was paid to the forms in which Fet's connection with German romantic culture is manifested, which concepts are the most significant in Fet's poetic language, what is their role in the Russian and German mental and cultural space. The principle of the musicality of Fet's lyric poetry, which has been repeatedly noted in criticism and literary criticism, is closely connected with the peculiarities of German romantic aesthetics. Among the key images of the German musical world in Fet's poetry, the names of the German composers Weber and Beethoven and their individual works should be noted. This fact is indicative, since, according to critics, the tendencies of German music were most fully manifested in the music of these two composers, moreover, the musical works used by Fet turn out to be nationally conditioned.

Fet's poems, containing images of the German musical world, are a kind of combination of "German" and "Russian": on the one hand, German and Russian are clearly distinguished at the aesthetic and linguistic levels, on the other hand, they turn out to be inextricably linked (as, for example, the image Petersburg in the poem "Revel" or Beethoven's romantic tendencies in the poem "Anruf an die Geliebte by Beethoven").

The concept of "sweet" that we singled out in Fet's poetry reflects the value orientations of the Germans and enters the logosphere that determines the German mental space. The high frequency of the use of phrases with the lexeme "sweet" in Fet's poetic language, as well as the modality of these phrases, indicates the closeness of Fet's picture of the world to German culture.

When analyzing translations, it was necessary to determine the place of Fet the translator in the Russian translation tradition of the 19th century, in the history of Russian poetic translation in general, and to understand what specific features of his translation activity were due to the biographical and cultural connection of the poet with the German world.

Fet's translation priorities, which he gives to German poetry, the choice of authors and materials for translations, the chronological sequence of these translations, the poet's translation principles are determined, on the one hand, by the requirements for the development of poetic translation in Russia, which, in turn, reflect the evolution of the development of Russian literature as a whole, on the other hand, Fet's biographical connection with the German world and a common interest in Russia in the 19th century. to German culture.

The fat translator, by virtue of his biography, is bicultural. From the point of view of the philosophy of translation, a translation is considered complete or adequate if it is a synthesis of two cultures: the original (author) and native (translator). The results of the study show that this synthesis can be observed in Fet's translations.

Fet managed to find a "golden mean" in relation to linguistic equivalence. The poet is looking for such linguistic parallels at the lexical, syntactic, stylistic, semantic levels that do not create a "complex of alienation", but they clearly trace the alien. Thus, the well-known postulate of W. Humboldt that the translator has fulfilled his task and risen to the original, if in his translation one feels “alien”, but not “alien”, is quite organic for the Fet translator.

Avoiding liberties in translation, Fet is not a "naive" literalist either. He solves in his own way, for example, the problem of rhythmic equivalents; replaces or modifies certain nationally colored German images in translations. These translation techniques

Fet are explained by the poet's desire to follow the Russian poetic tradition, the root cause of which is his desire to recognize himself as a Russian national poet.

Fet's translation activity played an important role in the poet's search for his own aesthetic position. It is no coincidence that Fet prefers Heine's lyrical works that are close to himself, and on the example of Fet's translations from Goethe, we can observe the poet's movement along the path of philosophical understanding of being.

As a further perspective of the work, it seems interesting to explore the system of concepts that make up the poetic language of Fet and, more broadly, the national picture of the world. In this work, only one, although one of the main, concept of the poetic language of A. Fet, referring to German culture, was considered. It is also promising to reveal the ballad beginning in Fet's poetry, it is necessary to trace the connection of his poetry with the genre and imagery of the German ballad. The study of the images of the German world in the epistolary heritage of A. Fet could be fruitful. In our work, this area of ​​the poet's work remained unexplored. Fet's translations from German poetry can be studied in more detail (both translations from Heine and Goethe, and translations from Schiller, Merike, Kerner, Uhland, Rückert).

The expansion of interest in the national picture of the world can be carried out both intensively (in the aspect of the study of Fetov's poetics) and extensively (analysis of the work of poets whose biography reveals the intersection of different cultures, for example, K. Pavlova).

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The peculiarity of the reader's perception of the poetry of A.A. Fet

Belkina Natalya Dmitrievna

Solntsevsky branch of OBPOU "OAT"

annotation

The article is devoted to the genius of the poet Afanasy Afanasyevich Fet, who created for the first time in Russian lyrics works that were far ahead of the trend of his time.

Afanasy Afanasyevich Fet is close to various literary movements: anthological poetry, romanticism, impressionism, realism, "art for art's sake" and others. But none of these directions represents Fet's creativity in its entirety, for he created and developed his own unique creative method. His poetry has stood the test of time and he is one of the most widely read poets today. Note that all Russian poets more or less skillfully mastered one melody of a verse, but no one except Fet could bring out its pure harmony in such a way. The music of Fet's verse sounds full and clear. It possesses the finest variety of inner spiritual melodies. The verse, clear and simple, captivates with the abundance of its inner tones. The writer B. Sadovsky wrote in an article about A.A. Fete: "... The soul of the poet, like the wind touching the strings, emits harmonic melodies almost involuntarily ...".

The genius of A. Fet lies in the fact that he, as a poet, for the first time in domestic lyrics created works that were far ahead of the trend of his time. In his poetry and music, the main theme was the expression of personal feelings. Art was a kind of confession. In Fet's poetry, the harmony of colors and sounds is unusually expressive, the role of spatial relations is great - everything that contributes to the stereo perception of the figurative world. Nothing is frozen, everything is in constant motion. Thanks to this movement, Fet's space is never monotonous, even within the same landscape. The German philosopher M. Heidegger wrote: “...Space is the release of space. In the space both the event affects and lurks at the same time. This feature of space is overlooked too often.”

In the lyrics of A. Fet, not only visual, perspective space coexist, but also the space of color, sound, and in them “an event is hidden” either bygone or implied in the future. This diverse world of poetry evokes in the reader a reciprocal range of feelings, which is simultaneously at the junction of sound, meaning, movement, painting, and at the same time has little in common with the personal confession of the author himself. Each reader experiences these feelings in his own way, but does not empathize with the feeling of the poet himself. The fullness of the verse with the harmony of feelings is found in Fet throughout the entire period of creativity. In the poem “When dreamily I am devoted to silence ...”, the reader’s imagination sees pictures of a night garden, a starry sky, he hears at the same time in this imaginary world the rustle of leaves, distant steps, and the creak of a gate. This merging of visions and sensations occurs during the reading of poetic lines, when the imagination paints other pictures, the waves of the former feeling still oscillate and make one indirectly live by them or return to them. The scale of our feelings, unlike the musical scale, never repeats itself.

The unity of the human soul with the outside world is especially pronounced in Fetov's nocturnes. In night landscape colors, Fet does not have rough outlines. There is an intermediate between darkness and light, something dual, as if a light shadow or dark light. Bright contrasting colors cannot carry music in themselves - they are noisy. And they do not have a sense of inner life - they obscure it with their brightness. It is in the night lyrics of A.A. Fet that the bulge of the landscape is especially felt, it is filled with air, the living life of objects. Here there is "... the consonance of his inspiration with the life of nature, - his perfect reproduction of physical phenomena as states and actions of a living soul."The poet animates every part of the universe:and water, and stone, and trees - because all this is created in an inseparable connection with each other, one cannot exist without the other. Nature is alive not only because all objects in it are equal, but also because for each specific moment of life it is only that which exists in this moment, and if something is removed, removed from it, then the moment in life there will be another, and the mood of the soul, and the general image - everything will change. Therefore, true poetry cannot be other than contemplative. In every moment there is only its own, unique music, its own movement, its own colors and a certain state of the human soul. One of the masterpieces of Fetov's lyrics can be called indicative in this regard:

Tired all around: tired and the color of heaven,

And the wind, and the river, and the month that was born,

And the night, and in the greenery of the dull sleeping forest,

And the yellow leaf that finally fell off.

Only a fountain murmurs in the far darkness,

Talking about life invisible, but familiar ...

O autumn night, how omnipotent you are

Refusal to fight and death languor!

The general mood of the poem is nothing more than the consonance of the human soul with the state of nature. It is clear that in a moment of inspiration, vital energy and the color of the sky, and the sound of the fountain would be presented in a completely different tone. Here, fatigue in all nature is seen through the prism of human fatigue.

In this work, Fet's impressionism acquires the greatest expressiveness, that is, the desire to capture the real world in its mobility and variability.Under the existing ones in the grasped contemplativeIn an instant, the past, gone, are seen and heard with colors and sounds, but their sensual waves are still guessed, their echoes and glare are still moving in the present. Nature and man are inseparable in these moments of contemplation. The colors in this poem are dull. The entire psychological mood of the poem, its tonality, and vocabulary pass from contemplation to a generalizing thought, but not to an exclamation. The influence of the landscape on the feelings, thoughts, mood of a person is quite often found in fiction, but never has a person been so merged with nature as the poetry of A.A. Fet. He does not look at nature as an outside observer, he himself is its constituent part, and without him nature does not matter.

Night and me, we both breathe

The air is drunk with linden blossom,

And, silent, we hear

What, with our jet we wave,

The fountain sings to us.

Here, too, personified nature: drunken air, a singing fountain. Here is the movement of a water jet, and the feeling of space, and the aroma spilled in the air - everything that creates the sound, colors, expression, mood of Fetov's verse, impressionism.

The energy of Fetov's verse is clearly expressed in A. Varlamov's romance with the help of various dynamic shades.The initial phrases of the romance are calm, and each of them has intonation completeness; the sound is not loud. The pace is moderate.

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.

The last phrases of the romance again become calm, the sound gradually weakens to a quiet one.

The poetic and musical genius of A.A. Fet, the reader and composer talent of A. Varlamov created a very harmonious, beautiful work, which A. Grigoriev called "a song that has become almost folk".

Internal and external musicality, dynamics, harmony of Fetov's verse are combined simultaneously with the play of colors, and with the personified expression, emotions of nature, all this is merged in every sound, smell with human moods and feelings, evokes a variety of associations. This is subject only to the brilliant poet A.A. Fet.

Bibliography

1. Sadovsky B.A. Swan clicks. M., Soviet writer, 1990. with. 379.

2. Heidegger M. Art and space. Self-consciousness of European culture of the XX century. P.97.

3. Solovyov V. Literary criticism. M., Sovremennik, 1990, p. 106.

4. General history of arts. M., Art, 1964, vol. V, p. 84.

5. Collection of notes "Lyric plays by Russian composers". L., Music, 1977, p.4.

6. "Domestic Notes". 1850, No. 1. otd. 5, p.71.

7. All poems by A.A. Fet are taken from the book: A.A. Fet, Poems and Poems. L., Soviet writer. 1986

The work of Afanasy Afanasyevich Fet (1820-1892) is one of the pinnacles of Russian poetry. Fet is a great poet, a poet of genius. To date, there is no such person in Russia who would not know at least one poem by this greatest poet. For example, such poems as "At dawn, you do not wake her ..." and "I came to you with greetings ..." everyone knows. But everyone knows poetry, but few people know about the poet's work. The idea of ​​Fet is distorted, starting even with the appearance. Someone maliciously constantly replicates those portraits of Fet that were made during his terminal illness, where his face is terribly distorted, swollen eyes - an old man in a state of agony. Meanwhile, Fet, as can be seen from the portraits made during his heyday, both human and poetic, was the most beautiful of Russian poets.

The birth of A.A. Fet is shrouded in secrets. Father A.A. Feta Afanasy Neofitovich Shenshin in the fall of 1820 took the wife of the official Karl Feta from Germany to his family estate. A month later, a child was born and he was recorded as the son of A.N. Shenshin. Only when A.A. Fet was 14 years old it was discovered that this record was illegal. He received the surname Fet and in the documents began to be called the son of a foreign citizen. A.A. Fet spent a lot of effort to return the name of Shenshin and the rights of a hereditary nobleman. Until now, the mystery of his birth has not been fully solved. If he is the son of Fet, then his father I. Fet was the great-uncle of the last Russian empress.

In addition, the life of A.A. Feta is also mysterious. They say about him that in life he was much more prosaic than in poetry. But this is due to the fact that he was a wonderful host. Wrote a small volume of articles on economics. From a devastated estate, he managed to create an exemplary farm with a magnificent stud farm. And even in Moscow on Plyushchikha, in his house there was a garden and a greenhouse, in January vegetables and fruits ripened, with which the poet liked to treat guests.

That is why Fet is most often spoken of as a prosaic person. Fet's death is also shrouded in mystery: it is still not clear whether it was death or suicide. Fet was tormented by illness and in the end decided to commit suicide, wrote a suicide note, sent his wife away, grabbed a knife, but the secretary prevented him, and the poet died, but died of shock.

The biography of the poet is his poems. Fet's poetry combines a huge number of genres, but the most popular is a lyric poem. The original Fetov genre is considered to be "poems - melodies", which are a kind of response to musical works. multifaceted, its main genre is a lyrical poem.

One of Fet's earliest and most popular poems is "I came to you with greetings":

I came to you with greetings

What is hot light

The sheets fluttered;

Startled by every bird

And full of spring thirst ...

This poem is a love lyric. Despite the fact that the theme of love is eternal and not at all new, the poem exudes novelty and freshness. For Fet, this is generally characteristic and corresponds to his conscious poetic attitudes. Fet wrote: "Poetry certainly requires novelty, and there is nothing more deadly for it than repetition, and even more so of itself ... By novelty, I mean not new objects, but their new illumination with the magic lantern of art."

The beginning of the poem does not correspond to the norms accepted at that time. For example, Pushkin's norm consisted in the utmost precision of combinations of words and the words themselves. Based on this, the very first phrase of Fetov's poem is not quite "correct" and accurate "I came to you with greetings, to tell you ...". A.S. Pushkin would not have written like that, and at that time in the poems of A.A. Fet saw poetic audacity. Fet was aware of the inaccuracy of his poetic word, its proximity to living, sometimes seeming not quite correct, but from that especially vivid and expressive speech. Fet himself called his poems poems "in a disheveled kind." But what is the artistic meaning in the poetry of the "disheveled kind"?

Fet uses inaccurate words and seemingly sloppy, "disheveled" expressions in order to embody bright and unexpected images. One gets the impression that Fet does not think at all about writing a poem, they seem to come to him in a stream. The poem is remarkably complete. This is an important virtue in poetry. Fet wrote: "The task of the lyricist is not in the harmony of the reproduction of objects, but in the harmony of tone." In this poem there is both harmony of objects and harmony of tone. Everything in the poem is internally connected with each other, everything is unidirectional, it is said in a single impulse of feeling, as if in one breath.

Another poem from among the early ones is the lyrical play "Whisper, timid breath ...":

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

Sweet face...

This poem was written by Fet in the late 40s of the 19th century. There are no verbs in the poem; basically, the poet uses nominal sentences. Only objects and phenomena that are named one after another: whisper - timid breathing - nightingale trills, etc.

But, despite this, it is impossible to say that this poem is material subject. This is precisely the peculiarity of Fet's poems. They exist not by themselves, but as signs of feelings and states. They glow a little, flicker. Naming this or that thing, the poet evokes in the reader not a direct idea of ​​the thing itself, but those associations that can usually be associated with it. The main semantic field of the poem is between words, behind words.

"Behind the words" the main theme of the poem develops: feelings of love. The feeling is subtle, inexpressible in words, inexpressibly strong, So no one has written about love before Fet.

The nature and tension of Fet's lyrical experience depend on the state of nature. The change of seasons occurs in a circle - from spring to spring. In the same kind of circle, the movement of feelings in Fet takes place: not from the past to the future, but from spring to spring, with its necessary, inevitable return. In the collection (1850) the cycle "Snow" is given the first place. Fet's winter cycle is multi-motive: he also sings about a sad birch tree in winter attire, about how "the night is bright, frost shines", and "frost drew patterns on double glass". Snowy plains attract the poet:

wonderful picture,

How are you related to me?

white plain,

Full moon,

the light of the heavens above,

And shining snow

And distant sleigh

Lonely run.

It is clear that A.A. Fet likes winter landscapes. A feature of the "Snow" cycle is that the verses of this cycle depict a shining winter, in the prickly brilliance of the sun, in snow sparks and diamonds of snowflakes, in crystal icicles, in the silvery fluff of frosty eyelashes. The associative series in this lyric does not go beyond nature itself, here is its own beauty, which does not need human spiritualization. Rather, it spiritualizes and enlightens the personality. It was Fet who, following Pushkin, sang the Russian winter, only he managed to reveal its aesthetic meaning in such a multifaceted way. Fet introduced into his poems a rural landscape, scenes of folk life, appeared in the poems "grandfather bearded", he "grunts and crosses himself", or a coachman on a daring troika.

Fet can be called a singer of Russian nature. The approach of spring and autumn withering, a fragrant summer night and a frosty day, a rye field stretching endlessly and without edge and a dense shady forest - he writes about all this in his poems. Fet's nature is always calm, hushed, as if frozen. And at the same time, it is surprisingly rich in sounds and colors, lives its own life, hidden from the inattentive eye:

I came to you with greetings

Say that the sun has risen

What is hot light

Tell that the forest woke up

All woke up, each branch,

Startled by every bird

And full of spring thirst;

Tell that with the same passion

Like yesterday, I came again

That the soul is still the same happiness

And ready to serve you;

Tell that from everywhere

Joy blows over me

I don't know what I will

Sing - but only the song matures.

This poem is one of Fet's earliest and one of the most popular. It was first published in the journal Otechestvennye Zapiski in 1843, in its seventh issue. The magazine opens with a poem - it turns out to be, as it were, a title. This can be only on one condition: if the publishers of the magazine liked it, if they see it as an unconditional artistic value.

The poem is written on the theme of love. The young poet came to tell about the joyful brilliance of a sunny morning, about the passionate trembling of a young, spring life, about a soul in love longing for happiness and an unstoppable song.

Feta has always attracted the poetic theme of evening and night. The poet early developed a special aesthetic attitude to the night, the onset of darkness. At a new stage of creativity, he already began to call entire collections "Evening Lights", in them, as it were, a special, Fetov's philosophy of the night.

Fet's "night poetry" reveals a complex of associations: night - abyss - shadows - sleep - visions - secret, intimate - love - the unity of the "night soul" of a person with the night element. This image receives a philosophical deepening in his poems, a new second meaning; in the content of the poem, a second plan appears - symbolic. Philosophical and poetic perspective is given to him by the association "night-abyss". She begins to get closer to human life. The abyss is an air road - the path of a person's life.

Retarded clouds are flying over us

Last crowd.

Their transparent segment melts gently

At the crescent moon

Mysterious power reigns in spring

With stars on my forehead. -

You gentle! You promised me happiness

On a vain land.

Where is happiness? Not here, in a miserable environment,

And there it is - like smoke

Follow him! after him! air way-

And fly away to eternity.

May night promises happiness, a person flies through life for happiness, the night is an abyss, a person flies into the abyss, into eternity.

Further development of this association: night - the existence of man - the essence of being.

Fet represents the night hours revealing the secrets of the universe. The night insight of the poet allows him to look "from time to eternity", he sees "the living altar of the universe."

Tolstoy wrote to Fet: “A poem is one of those rare ones in which it is impossible to add, subtract or change words; it is alive and charming. It is so good that, it seems to me, this is not an accidental poem, but that this is the first stream of a long-delayed stream ".

The association night - abyss - human existence, developing in Fet's poetry, absorbs the ideas of Schopenhauer. However, the proximity of the poet Fet to the philosopher is very conditional and relative. The ideas of the world as a representation, of man as a contemplator of being, thoughts of intuitive insights, apparently, were close to Fet.

The idea of ​​death is woven into the figurative association of Fet's poems about the night and human existence (the poem "Sleep and Death", written in 1858). Sleep is full of the bustle of the day, death is full of majestic peace. Fet gives preference to death, draws her image as the embodiment of a kind of beauty.

In general, Fet's "night poetry" is deeply original. His night is beautiful no less than the day, maybe even more beautiful. Fetov's night is full of life, the poet feels "the breath of the immaculate night." Fetovskaya night gives a person happiness:

What a night! Transparent air is bound;

Fragrance swirls over the earth.

Oh now I'm happy, I'm excited

Oh, now I'm glad to speak! …

Man merges with night existence, he is by no means alienated from it. He hopes and expects something from him. The association repeated in Fet's poems - night - and expectation and trembling, trembling:

The birches are waiting. Their leaf is translucent

Shyly beckons and amuses the gaze.

They tremble. So maiden newlywed

And her dress is joyful and alien ...

Fet has a nocturnal nature and a person is full of expectations of the innermost, which is available to all living things only at night. Night, love, communication with the elemental life of the universe, the knowledge of happiness and higher truths in his poems, as a rule, are combined.

Fet's work is the apotheosis of the night. For the Feta philosopher, the night is the basis of world existence, it is the source of life and the keeper of the secret of "double being", the relationship of man with the universe, she is the knot of all living and spiritual connections.

Now it is impossible to call Fet only a poet of sensations. His contemplation of nature is filled with philosophical profundity, poetic insights are aimed at discovering the secrets of being.

Poetry was the main business of Fet's life, a vocation to which he gave everything: soul, vigilance, sophistication of hearing, richness of imagination, depth of mind, skill of hard work and inspiration.

In 1889, Strakhov wrote in the article "The Anniversary of Fet's Poetry": "He is the only poet of his kind, incomparable, giving us the purest and real poetic delight, true diamonds of poetry ... Fet is a true touchstone for the ability to understand poetry ...".

Lesson Objectives:

Tutorials: to acquaint students with some facts of the life of A. A. Fet and the phenomenon of the "doubleness" of the poet., to give an idea of ​​​​the main features of Fet's lyrics., to introduce the term impressionism., to recall literary trends - pure and utilitarian art.

Developing: improve the ability to analyze a poetic text, develop the ability to emotionally respond to a literary word, develop a culture of communication and speech.

Educational: instill in students a sense of beauty.

Equipment: portrait of A. A. Fet, reproductions of paintings by Claude Monet (“Water lilies”, “Street decorated with flags”, “Field of poppies”), notes on the board, printouts of Fet’s poems for analysis (handout).

During the classes.

Hello guys! Today in the lesson we begin to study the work of A. A. Fet. This is a poet already familiar to you from high school, you all remember his famous poem "Spring", but in high school we analyze Fet's work on a different level. So, in the first lesson, according to tradition, we will talk about the fate of the poet, about his life path and pay attention to the characteristic features of his lyrics. Open your notebooks and write down, please, the topic of our lesson.

Life and art Afanasy Afanasyevich Fet(Shenshin).

(1820 – 1892.)

Record the years of the poet's life. Guys, now I will tell you about the fate of Fet, this will be my short lecture, please listen carefully and write down the main events, dates, stages of the life path.

And personality, and fate, and creative biographyFeta unusual and full of mysteries. The poet's life is full of drama and contradictions, and the fact that all these contradictions and paradoxes were intertwined in one person caused an ambiguous attitude towards Fet. And it all began literally from the moment of his birth. Fet's mother Charlotte Fet was the wife of a German official Fet, but fled with the Oryol landowner Shenshin to Russia. Then it was an unheard-of daring act, which was discussed for a long time in the living rooms. Already in Russia in 1920, in the Oryol province, Charlotte Fet gave birth to a son, Athanasius. The boy received the surname Shenshin, which is why we indicated the second surname Fet in the subject, he bore these two surnames all his life. But when the boy was 14 years old, the Orel Spiritual Consistory established that at the time of Fet's birth, the marriage of Charlotte Fet and Shenshin was not registered, so their son was considered illegitimate. The boy was deprived of the name Shenshin, all the privileges associated with the title of a nobleman, and the right to receive an inheritance. For Fet, this was a blow, the consequences of which he experienced throughout his life. From that moment on, Fet had a fixed idea, to regain the title of a nobleman at all costs. Fet received his education in a German boarding school and at Moscow University at the Faculty of Philosophy. In his student years, Fet developed a friendship with Apollon Grigoriev, who introduced Fet to Vladimir Solovyov, Yakov Polonsky and other writers. It was at this time that Fet developed an interest in poetry, and in 1940 the first poetry collection "Lyrical Pantheon" was published. In 1945, Fet graduated from the university, but instead of completely devoting himself to creative activity, he goes to military service. He does not serve by vocation, but because at that time a certain military rank could return Fet to noble dignity. But here, too, fate seems to be playing them, as soon as Fet rises to a certain rank, a decree immediately comes out giving the right to be called a nobleman to those who are higher in the hierarchy of military ranks than Fet himself; as soon as Fet rises to this highest rank, a similar decree immediately comes out. Having never regained his noble dignity, in 1958 Fet left military service. It should be said that during his service, Fet does not leave his literary activity, he is published in Sovremennik, Otechestvennye Zapiski, Moskvityanin. (The teacher draws attention to the portrait of Fet)

During his service, Fet experienced a difficult personal drama. He met Maria Lazich and passionately fell in love with her, this feeling was mutual. Maria first fell in love with Fet's poems, and then with the poet himself. Oddly enough, Fet did not offer her a hand and a heart. He explained this by the fact that Mary was poor, and he could not offer her anything materially. It should be said that Fet was especially concerned with material wealth. He considered the goal of his life to return the title of nobility and the wealth that would give him independence. Apparently, this prudence, the desire for independence got the better of his feelings, Fet did not dare to marry and broke off relations with Maria, whom he still loved. And some time later, a tragedy occurred - Maria Lazich burned down. The official version was that it was a fire from a carelessly thrown match (Maria was wearing a light nylon dress that instantly flared up), but those who knew how she experienced a break with Fet believed that it was suicide. (recitation by the teacher by heart)

I don't want to believe! When in the steppe, like a miracle,

In the midnight darkness, burning untimely,

Away in front of you is transparent and beautiful

The dawn suddenly rose.

And this beauty involuntarily attracted the eye,

In that majestic brilliance beyond the dark whole limit -

Surely nothing whispered to you at that time:

There's a man on fire!

This is a fragment from the poem "When you read the painful lines" 1887. You have the name of Maria Lazich and some verses dedicated to her written on the blackboard, please rewrite them.

Fet was very upset by the death of Maria Lazich, he felt guilty for her death. The image of Mary in a halo of touching pure feelings and martyrdom chained Fet's poetic talent until the last days, was a source of inspiration, but also repentance, sadness. Therefore, Fetov's theme of love often has a tragic connotation. This can be seen in the verses written on the board:

"In vain, marvelous, mingling with the crowd" 1850.

“What a night! Transparent air is bound…” 1854.

"In vain!" 1852.

“For a long time I dreamed of the cries of your sobs” 1886.

"When you read the painful lines" 1887.

"Old letters" 1859.

“You have suffered, I am still suffering” 1878.

Later, Fet married an ugly but rich woman - Maria Botkina, bought an estate, deployed his talent as an owner-practitioner, a businesslike, prudent person. To some extent, his dream came true: Fet became a rich and independent person. It should be noted that in his views Fet was an extremely conservative person. On the eve of the abolition of serfdom, Fet wrote journalistic notes in which he defended the rights of the landowners. Many of Fet's contemporaries noted that as a person he was not attractive. Listen to what Saltykov-Shchedrin said about him at that time: “Fet hid in the village. There, at his leisure, he partly writes romances, partly misanthropes: first he writes a romance, then he hates people, then he writes a romance again and again he hates people. Thus, between Shenshin, a man, and Fet, a poet, there was an abyss. This duality amazed everyone. But, probably, this psychological riddle can be solved to some extent if we turn to Fet's views on the purpose of poetry.

Fet belonged to the direction that we call "pure art" or "art for art's sake", "art for art's sake". This means that in his work, Fet moved away from the topic of the day, from the acute social problems that especially worried Russia at that time. Fet believed that there should be no utility in poetry, poetry cannot be a means of expressing ideas, it is self-sufficient and valuable in itself! (recitation by the teacher by heart)

Not in the gloomy chamber of the talkative naiad

She came to captivate my hearing proud

A story about shields, heroes and horses,

About forged helmets and broken swords.

The muse showed me a different youth:

………………………………………

The broken speech was full of sadness,

And women's whims, and silvery dreams,

Unspoken torments and incomprehensible tears.

Some kind of languor weary excitement

I listened as the words met with a kiss.

And for a long time without her the soul was sick

And full of unspeakable desire.

Guys, this was a fragment from Fet's poem "Muse" 1854. Some of Fet's poems are written on the board, which reveal the theme of the poet and poetry, rewrite them for yourself.

"With one push to drive a living rook" 1857

"Muse" 1857

"Muse" (came and sat down ...) 1882.

"Muse" (do you want to curse ...) 1887.

Guys, in the first lesson we talk about Fet's poetry only in general terms, we name the main topics and the most revealing, vivid poems - this is a mandatory minimum that you must master, so be sure to read the poems that I indicate to you at home. After reading these verses, you will understand that the main thing in poetry, according to Fet, is the recreation of the world of beauty. Actually, because of this, Fet broke with the magazines in which he was published. Fet's poems were evaluated in terms of social significance, and they had to be evaluated according to the laws of art. Be sure to write down that Fet was a supporter of "pure art."

As a poet of pure art, Fet believed that only the themes of love and nature could be the eternal themes of poetry. Therefore, the cycles of Fet's poems bear natural names: "Snow", "Spring", "Sea", "Summer". The peculiarity of Fet's natural lyrics is that it does not contain a complete, complete image of nature. Fet likes to capture the transitional states of nature, some shades of its manifestation. If Tyutchev's natural lyrics can be conditionally divided into "day" and "night", then, using this terminology, we can say that Fet's natural lyrics are predominantly "daytime". Fet is dominated by light, cheerful tones and colors.

Let's look at the poem "I came to you with greetings" from 1843.

(The teacher reads the poem by heart).

How does this poem make you feel?

It is difficult to express, like Fet, the feeling that has been created as a whole monologue, I want to call, list those emotions that fill us when reading a poem. This is energy, joy, light, happiness, love, ringing.

How does the outside world and the feelings of the lyrical hero correlate?

Everything is internally connected and a whole picture is created. The reader does not distinguish between the external natural and internal world of the lyrical hero. This connection is in unison, in one breath.

Guys, you noticed that the poem is very dynamic.

What means are used to create dynamics?

The use of verbs, repetitions. The poem is built on repetitions: firstly, each stanza begins the same way (single-heartedness), and secondly, repetitions are used within stanzas

Tell that the forest woke up

All woke up, each branch.

Startled by every bird

And full of spring thirst

Even when reading, repetition creates the feeling that the lines and words "jump" before the eyes. This creates the dynamics of the poem.

Indeed, Fet's delight in beauty is often expressed in one exclamation. It seems that the poet is unable to say anything, except for a simple naming and enumeration .... (reading by the teacher of the poem “This morning, this joy”).

What do you see as the unusual form of this poem?

The whole poem is one sentence with many details listed. There are no verbs in the poem, but it is very dynamic.

Why do you think there are no verbs in the poem?

The verb denotes an action, a process, and Fet needs to stop a moment, hence the many details. We can say that Fet does not paint a picture for us, but captures the moments that create this picture. That is why they talk about the impressionistic style of Fet.

Guys, in the 11th grade you will study the Silver Age, and they will tell you in detail about the directions in poetry, among which there will be impressionism. Now we will try to characterize this phenomenon in general terms.

Guys, I want to show you reproductions of paintings by Claude Monet. Claude Monet- French painter, who is the founder of impressionism. Look at the reproductions, in these three paintings you can trace the technique of painting by the Impressionists (“Water Lilies”, “Street Decorated with Flags”, “Field of Poppies”). If you get too close to the picture, it will be difficult for you to distinguish what is drawn on it. The technique of such a letter is based on strokes, individual strokes, dots, spots. Therefore, it will seem to you that these are some kind of strokes and spots that do not add up to a coherent picture, but if you step back a little, you will see that these strokes and dots create a monolithic canvas on which objects, details, etc. clearly stand out. The technique of impressionistic writing in poetry is based on the same technique. Impressionism in poetry is the image of objects not in their entirety, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in fragments, and as if it does not add up to a whole picture. Look again at the poem “This is morning, this joy”, the poet names the objects of the world around him, the details, without giving any characteristics, but only fixing his gaze on these details. But these outwardly unrelated phenomena of the surrounding world create a complete picture. Do you understand this? Let's write a little conclusion.

Record. Impressionism in poetry is the image of objects not in their entirety, but in instantaneous, random snapshots of memory; the object is not depicted, but is fixed in fragments, and as if it does not add up to a whole picture.

If they say about Tyutchev that he is the last romantic, then they say about Fet that he was on the way from romantics to symbolists. Therefore, it was the Symbolists who rehabilitated Fet, since Fet's art was understandable and close to them, while Fet's contemporaries did not understand his poems, ridiculed them, and composed parodies. It turned out that in his work Fet left his contemporaries a generation ahead.

Another bright poem by Fet, which made a lot of noise, caused a literary scandal and served as a target for many ridicule - “Whisper, timid breathing” (reading by heart by the teacher).

Is it possible to see the impressionism of Fet's style in this poem?

Yes, you can, because again a chaotic set of visual and auditory impressions creates a complete picture. There is not a single verb in the poem, that is, the process is conveyed with the help of fixation, naming of certain phenomena, emotions.

What is the relationship between the outer world of nature and the inner world of man?

They are again closely merged, soldered.

Guys, Fet's metaphors are based on this solidarity and fusion. If he writes that "the heart blooms", then the heart of a person or a plant blooms indistinctly. Assimilation by similarity in Fet is very closely interconnected.

Look at the end of the poem, how do you understand it?

Dawn is not only a natural phenomenon, but in the context of the entire poem it is a metaphor, that is, dawn as the highest expression of feelings, delight, emotional peak.

Guys, let's write down that metaphorFeta are based on a close relationship, solidarity of likened phenomena and objects.

Guys, another characteristic feature of Fet's lyrics is its associativity. Objects do not exist by themselves, but as signs of feelings and states. Naming this or that thing, the poet evokes not a direct idea of ​​it, but those associations that can be associated with it. It turns out that the main semantic field of the poem is beyond words. Let's write it down.

Since words evoke our subjective associations in us, it turns out that Fet's poems express a state, mood, impression.

Sounded over a clear river,

Rang out in the faded meadow,

It swept over the mute grove,

It lit up on the other side.

What sounded, what rang, what swept, what lit up? We do not know this, and it does not matter to us, the main thing is that a feeling of movement, ringing has been created.

Therefore, Fet's poems should be enjoyed like music. And this property of his poetry was noted by many, as the composer Tchaikovsky said about Fet: "This is not just a poet, but rather a poet-musician." Write down these words of Tchaikovsky. Indeed, for poetryFeta a lot of romances were sung, you probably heard the romances “Don’t wake her up at dawn”, “The night shone, the garden was full of moon” - these are the most famous romances. We said that the poems “I came to you with greetings” and “This morning, this joy” are built on repetitions, what do you think, what function do these repetitions perform?

The repetitions rhythmically organize these poems. Based on the example of these poems, we can conclude that the rhythmic pattern in Fet's poetry is obvious.

Let's look at the sound organization of the poem "Whisper, timid breath", what can you say?

Fet actively uses sound recording. This is the use of vowels o, a, e, and the active use of consonant sonorous sounds l, p, n. These sounds give the text smoothness, melodiousness, melodiousness.

Let's write down the conclusion: In Fet's poetry, the rhythmic organization of texts and their musicality are important.

So, in your notebooks the following features of Fet's lyrics should be noted:

Using the techniques of impressionism

metaphorical

Associativity

Musicality, melody.

So interesting was this poet, who divided his life into two halves. Fet is the author of beautiful poems, a fan of beauty in all its manifestations, and Shenshin is a serviceman officer, a prudent landowner who hates progress, who all his life has been seeking the title of a nobleman and his father's name. By the way, the title of nobleman Fetu was nevertheless granted already at the end of his life.

Fet's death was also strange. The poet was very ill, suffered from asthma ..., at some point Fet decided to commit suicide, but at the last moment his secretary saves him, and at the same moment Fet's heart breaks. Fet died at the time that he chose for himself and, thank God, did not take on his soul one of the worst sins - suicide. This poet is remembered by us for his amazing verses, which we will refer to in the course of two lessons.

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1 UDC 80:801 FET TRANSLATOR OF GERMAN POETRY: POETRY ASPECT O. N. Zherdeva, E. A. Savochkina Financial University under the Government of the Russian Federation, Barnaul branch Altai State University Received May 3, 2017 Abstract: the article presents the poetic aspect of the search A. A. Fet of metric equivalents in the translation into Russian of poems by G. Heine. Important in this context is how the Fet-translator conveys poetic meters that are not characteristic of the Russian poetic tradition of the 19th century. Despite the fact that Fet, due to his perfect knowledge of the German language, well felt the rhythmic originality of the poems he translated, he does not reproduce the meters that are not practiced in the Russian poetic tradition of the 19th century. Thus, both Russian and German verse existed in Fet's creative mind as independent systems, which did not exclude the possibility of their interaction at other levels. The German origin of Fet does not contradict this situation, but, on the contrary, indirectly confirms it: the poet sought not so much to use his reading experience as against the background of the German tradition to better understand the originality of the poetic system of Russian verse, not opposing himself to the latter, but, on the contrary, striving deeper into it. take root. Key words: A. A. Fet, literary translation, versification, national forms of verse, prosodic. Abstract: the article focuses on prosodic analyzes of A. A. Fet s works and meter equivalents offered by the poet when translating H. Heine s poems. The utmost aim was to show the ways Fet as translator used to convey meters not typical of Russian poetry writing in the 19th century. Despite his perfect knowledge of German and wonderful perception of meter in original poems, Fetnever employed meters untypical of Russian poetry writing in the 19th century. Thus the Russian and the German poem existed as two independent systems in Fet s cognition, which still permitted their overlapping at some levels. The German background of Fet doesn t contradict the situation rather supporting the idea that the Fet translator prevailed over Fet reader. the striking feature of his approach was to go beyond the scope of German tradition towards the peculiar resources of the Russian language and to seek his place in Russian rather poetry than oppose himself to it. Keywords: A. A. Fet, literary translation, study of poetry, national types of verse, prosody. O. N. Zherdeva, E. A. Savochkina, 2017 Translation works of A. A. Feta represent a significant part of the poet's work. It is noteworthy that more than half of his translated heritage consists of translations of poems by German poets: Goethe, Heine, Schiller, Merike, Rückert, Uhland, Kerner. Fet's attachment to German poetry, in our opinion, is not accidental and is due, on the one hand, to the laws of the development of literature, on the other hand, the fact that it is German poetry that is close in content and spirit to Fet, a German by origin. Both in terms of the number of translated poems (38), and in terms of the degree of influence on the original work of the Russian poet (which was written by authoritative researchers-fetologists B. Ya. Bukhshtab, D. D. Blagoi, V. M. Zhirmunsky), the name of Heine stands out list of names of German poets translated by Fet. Fet addressed the poetic works of the other above-mentioned German poets episodically; rather, his translations of the poems of these poets were translations “in case”. In the works of researchers on the history of literary translation in Russia G.I. Ratgauz, Yu.D. Levin, A.V. Fedorov, V.B. and the requirements for literary translation at one stage or another in the development of Russian literature changed in accordance with the tasks set for national literature by time. According to Yu. D. Levin, G. I. Ratgauz, E. G. Etkind, the middle of the 19th century. marked by a qualitative shift in the field of poetic translation. The resumption in the middle of the 19th century of the trend towards literal translation is explained by the general objective orientation of the literature of the middle of the 19th century. Among the supporters of literal translation at this stage, the name of A. A. Fet stands out. His high translation skills, in our opinion, can be explained from two points of view, historical

2 O. N. Zherdeva, E. A. Savochkina and individual, personal: firstly, his translations appeared at the moment when Russian literature was translated. At the same time, under the interlinear re-possible coincidence of forms, without which there is no tour, A. A. Fet meant a literal translation to create a high-quality literal translation. and formally does not distinguish between these concepts. (By the middle of the century, we no longer had the need to create original works, “transferring” otherness at the level of linguistic signs, without taking into account the informal translation we understand equivalent language texts here, Russian poetry by that time, the material transmitted at other levels of content, was strengthened and took place, thus appeared Under interlinear translation, we mean the translation of each word of the sentence in turn, another task: not just to acquaint the Russian reader with the works of world literature, but to combine them according to their main meaning and often convey the original style of the author and the national spirit of a foreign language work, which perhaps Modern criticism of the poet noted a tendency - contrary to the norm and usage of the language of translation.) to implement, trying as accurately as possible to convey Fet's message to excessive accuracy to the detriment of artistry. Fetov's translations are sometimes frankly the form and content of a poetic work, taking into account, however, not only the specific features of the language of the translated text, but "unprofessionalism". In modern times, they were ridiculed for their “clumsiness”, “roughness”, and the possibilities of the native language, the search for linguistic parallels both on the lexico-grammatical and translations of A. Fet are often considered as showing poetic and rhythmic levels of literary translation theory. verbal, demonstrating the method of the literal. Secondly, in our opinion, it is not at all accidental that translation is in poetry. In our opinion, it was A. A. Fet who aspired to become a supporter of the literal to accuracy in his translation activity, the Fet principle in poetic translation and achieved high skill in this area. German by origin - translation. A subtle sense of rhythm and accuracy in many respects anticipated modern principles of translation, who knew the German language from childhood, more than a summer of meaning, combined with the desire of the poet, who from childhood felt the rhythm of German to convey the spirit of the original. For all the accuracy of the translations, Fet, however, was not “direct” or, as a verse (as is known, from the age of seven, Fet translated Kampe’s children’s fables, trying to translate them into Russian, it was customary to speak, a “naive” literalist, since the language was exclusively in verse ), on the one hand, sought, first of all, to find Russian equivalents to the rhythmic-intonation pattern and lexical and grew up in Russia, who considered Russian as his native language, on the other hand, he was thus in a bilingual situation and, like no one else, the most interesting and little-studied is the semantic features of the original. the other, could be called upon to cope with this, in our opinion, the versification aspect of the problem: the search by the Russian poet for metrical equivalents - the historical task set for literary translation by time. comrade in the translation into Russian of A. Fet's poems occupies a special place among the supporters of Heine. The results of our study can be accurately translated. He creates, as G. I. Ratgauz writes, “a completely original theory of translation” the following abbreviations are used: D dactyl, present in the form of the following table, where it is used. According to A. A. Fet, the translation differs from Ia5 iambic pentameter, Ia3 iambic trimeter, fundamentally from the free interpretation of the original. X4 four-foot trochee, Dk3 three-ict dolnik, Dk4 four-ict dolnik, Dk4-3 he polemically demanded a "possible literalness" of the translation. Rejecting Lermontov’s perevilny, Amph3 amphibrach three-foot, Amph4 four-three-foot dolnik, DKV dolnik of waters from Goethe (“Mountain peaks”) as incorrect, Fet amphibrach four-foot, Amf4-3 amphibrach four-three-foot, 3sl PA V free three- wrote: “I have always been convinced of the merit of interlinear translation and even more of the need for a complex with variable anacrusis. Table 1. Comparative analysis of G. Heine's poems and their translations made by A. A. Fet. Heine Ya5 X4 Dk3 Dk4 Dk4-3 Dk V Ver-libre Fet Ya5 X4 Amph3 Dk3 Ya3 D3 Amph4 Amph 4-3 3sl PA V Dk V Table 1 shows the results of a comparative analysis of thirty-five (out of thirty-eight) poems by G. Heine and their translations made by A. A. Fet. Most of 22 BULLETIN VSU. SERIES: PHILOLOGY. JOURNALISM

3 Fet translator of German poetry: the versification aspect of the translated poems (20) were written in three-ict dolnik, the rhythm of which, as is known, was unusual for the Russian reader in the middle of the 19th century. The translation task was relatively easy to solve in relation to those sizes that had a Russian rhythmic equivalent: iambic pentameter, trochaic tetrameter. By the middle of the 19th century, these sizes were well developed in Russian poetry, and the translation of the corresponding poems by H. Heine did not present significant technical problems. Of course, it is not necessary to speak of absolute adequacy here due to the well-known differences between Russian and German syllabic tonics. As is known, these differences are usually explained by the differences between German and Russian prosody. Completely different tasks were set before Fet by the dolniks so characteristic of the German poet. It can be stated with a high degree of certainty that A. A. Fet did not at all strive to literally reproduce the features of the rhythm of the original. Undoubtedly, feeling well the rhythm of the German dolnik, Fet shied away from translational literalism in this case. He seeks to convey the rhythmic originality of the original, using the usual means. The proximity of Russian and German versification allowed Fet to create original rhythmic equivalents (impossible, say, when translating from French). But Fet rather enters his "Russian" Heine into the system of Russian verse, relying not so much on the experimental translations of Heine's poems already available at that time, but on the traditional system of poetic equivalents. So, in particular, in the XIX century. It was customary to translate a three-ict dolnik with a three-foot amphibrach. “The German ballad dolnik, writes M. L. Gasparov, with its oscillation of 1 and 2 complex inter-ict intervals, could be simplified into 4 3-st. amphibrachs. In German poetry, this was rarely done, but in Russian, where there are more unstressed syllables, this way of turning tonic into syllabo-tonic suggested itself. A. A. Fet, as the table shows, mainly followed this tradition. The transformation of Dk3 into Amph3 was all the more natural because Heine's doliniks, translated by Fet as amphibrach, had a monosyllabic anacrus and, consequently, rhythmically of all three-syllable syllabic-tonic meters most of all resembled amphibrach. Special mention should be made of those translations from Heine in which iambic is used. Fet has only two such poems, and the appeal of the Russian poet to the iambic trimeter seems to us far from accidental. So, Fetov’s “Your cheeks are burning” is an arrangement of the poem “Es liegt der heiße Sommer”, in which of the eight lines that make up the entire work, only half is a pure dolnik, and the rest are iambic three-foot. The original itself thus made the "translation" of Dk3 into L3 quite natural. Obviously, the same reason prompted Fet to translate Heine’s “Das Fischermädchen” in iambic trimeter (“Beauty Fisherwoman”): out of 12 lines of Heine’s poem, 6 are iambic trimeter. Moreover, in the last, third stanza, the lines of the dolnik are completely absent. It is more difficult to explain the fact that Fet used the dactyl (“Do I hear sounds of songs”) when translating “Hör ich das Liedchen klingen”. It only seems natural that the dolnik Heine Fet translates in one of the syllabo-tonic meters: of the eight lines of the original poem, only two, one in each stanza, create the rhythm of the dolnik; the rest are iambic trimeter. Therefore, the three-foot amphibrach, obviously felt by Fet as the main rhythmic equivalent of the German three-ict dolnik, was out of place in this case. But Fet's experiments with dolniks were quite cautious. So, when translating “Ich hab imtraum geweinet”, in the poem “I cried in my sleep; I dreamed”, Fet sets the rhythm of the dolnik with just one line in each of the three stanzas. It occupies a fixed position (the third line of the quatrain) and is a refrain. This is the line "And I woke up and for a long time", which, thus, is highlighted with the help of rhythmic italics and, breaking the usual syllabo-tonic rhythm (Amph3), marks the moment of awakening of the lyrical hero with a kind of rhythmic dissonance, which, given the semantic structure of Heine's poem, seems quite natural. Awakening is followed by the present, opposed to the imaginary, dreamed, there is suffering. The rhythm of translation thus emphasizes the paradoxical (since crying in a dream turns into crying in reality) opposition between sleep and reality. Fet is also cautious when translating "Sie liebten sich beide". As you know, M. Yu. Lermontov in 1841 translated this poem in logaeda. A. A. Fet in his 1857 translation of “They loved each other” retains a clear syllabo-tonic basis (usual Amph3), but sets the rhythm of the dolnik with the initial line of each of the two stanzas of the poem. It should be noted that deviations from the usual rhythm, as well as rhythmic interruptions, are least noticeable at the beginning of any element of the poetic text. Fet, obviously, could not use the dolnik rhythm at the end of a stanza or, moreover, a poem, where it could be perceived as a rhythmic interruption. The initial lines, on the one hand, VSU VESTNIK. SERIES: PHILOLOGY. JOURNALISM

4 O. N. Zherdeva, E. A. Savochkina create the initial, further leveling rhythm, as if noting the rhythmic originality of the original, on the other hand, they highlight the theme of the first (“They loved each other”) and the second (“They parted and only”) in rhythmic italics ) stanza. In the same 1857, referring to another poem by Heine, "Im Traum sah ich die Geliebte", Fet translates the first line with a dolman. Fetov’s translated poem “In a dream I saw a sweetheart” we attributed in the table to the group of poems translated by amphibrach, due to the purely quantitative predominance of the lines Amph3 (2-3 against 1), but the initial line acts here as a kind of sign of the rhythm of the original. At the same time, the arrangement of stressed and unstressed syllables in the first line of the original and translation coincides completely (U U UU U). A special position in this series is occupied by the poem "You are covered in pearls and diamonds", which is a translation of Heine's "Du hast Diamanten und Perlen". Here, the rhythm of the dolnik is not set at the beginning, as in the poems analyzed above, but, as it were, is gradually born from the syllabo-tonic rhythm. The first stanza is pure Amph3, but already the first line of the second stanza, which is iambic trimeter, breaks the established pattern. This is followed by two lines of pure dolnik, but in the final lines of the second and third stanzas, the original Amph3 is restored. Despite the originality among other Fetov's translations, this poem emphasizes a general pattern: A. A. Fet seeks to fit the rhythm of the three-ict dolnik into the usual system of syllabo-tonic meters, invariably aligning it at the end of stanzas. It is curious that in this translation Fet was as accurate as possible in conveying the rhythm of the original. Heine has the first two lines of Amph3. The initial line of the second stanza, as in the translation, is iambic three-foot, but the total number of lines of pure Dk3 is higher: 4 for Heine versus 2 for Fet. In addition, the last line of the original emphasizes the rhythm Dk3 (U UU U U). As can be seen from the table, the multi-ict dolnik Fet translates with amphibrach of different feet (Dk4-3 Amph 4-3), the four-ikt dolnik with four-foot amphibrach. This fact once again confirms that the Russian amphibrach was perceived by Fet in an era when Russian dolniks had the status of experimental poems, as the equivalent of a German dolnik. “4 3st. amphibrachs, usually with alternating male and female endings,< > turned out as a result of the alignment of the German and English dolnik. An example of Fet’s translation accuracy and sensitivity is the reproduction of the caesura after the sixth syllable in the translation of the quatrain “Sie haben mich gequälet”, which, despite the replacement of the dolnik with amphibrach, contributes to the rhythmic identity of the translation (“When I spoke about my grief”) and the original poem. All the more surprising is the sharp rhythmic dissonance in Fet's translation of Heine's poem "Die Grenadiere". The initial line of the fifth stanza is a dolnik with zero anacrusis, that is, in sharp contrast to the amphibrach, with which the entire poem is written. Fet’s rhythmic interruption falls at the beginning of a remark by one of the grenadiers, the words “I don’t care about my children, I don’t care about my wife,” a key place for the whole work. Fet thus accentuates the opposition of family and state values, the devotion of the grenadier to his emperor. In addition, the fluctuation of the rhythm falls on direct speech, which can be considered as an additional justification for its appearance: the conversation is opposed to the narrative, while the most expressive place of the conversation is singled out, a kind of “cry of the soul” that breaks out of the intonation of a calm story. It is characteristic that there is a similar place in the original poem. The line “Die Flinte gib mir in die Hand” is highlighted here. Fet's translations of Heine's poems, the most free in terms of rhythm, are interesting: “Poseidon” (ver libre) and “Epilog” (free dolnik). Fet does not seek to mechanically duplicate the rhythm of Heine's poems, but tries to find Russian equivalents here as well, all the time, as it were, raising the bar of rhythmicity: he translates vers libre with a free dolnik (“Poseidon”), a free dolnik with a free three-syllable with a variable anacrusis (“Epilogue”). It should be noted that the distinction between free verse and free dolnik is conditional here: free dolnik is usually considered as one of the varieties of free verse: the rhythmic difference is almost not felt by ear. However, free verse in the strict sense is a free accent verse. In the free dolnik, interict intervals are additionally ordered. Like dolniks, here they cannot be less than one syllable and more than two. This distinction is important for us insofar as Fet, as his translations show, well felt the difference between free verse and free dolnik in German verse and, translating them into Russian, could not help but turn to various rhythmic means. In the article by A. Zhovtis on Russian translations of vers libres by G. Heine, the Fetovsky version was compared with the translation made by M. L. Mikhailov. The material presented in the article makes it possible to place Fet's translation in the context of similar experimental translations of German free verse made by Russian poets of the 19th century. Fet's experience is not unique and fits well. SERIES: PHILOLOGY. JOURNALISM

5 Fet the translator of German poetry: the versification aspect goes into the history of the development of free sizes in Russia. Along with Y. Polonsky and M. Mikhailov, Fet is one of the poets who created in the middle of the 19th century. "modification of Russian free verse", as close as possible to the rhythm of the original at that time. Speaking of Poseidon, one should obviously take into account the fact that, due to the greater number of stresses than in Russian, the German free verse could be perceived by ear as a dolnik with an unordered line length, that is, free. At the same time, the free dolnik “Epilog” itself was heard as a more strict rhythm, which required Fet to use a different rhythmic equivalent. His poet was prompted by tradition. It is known that in early experimental experiments on translating dolniks in Russian poetry, a three-syllable with a variable anacrusis was often used: “Poets are looking for a way, violating the correct rhythm as little as possible, to make it clear that it should be perceived as incorrect. First of all, two ways were presented to this: variable anacrusis and logaeds. The first of the two paths named by the historian of verse is chosen in this case by Fet, thus organically fitting his translation into the translation experiments of V. A. Zhukovsky, M. Yu. Lermontov, F. I. Tyutchev. Fet, who was fluent in German, undoubtedly felt the rhythmic originality of the poems he translated well. The rhythm of the dolnik, albeit in German voicing, was well known to him. However, this experience is used by him in translations to a very limited extent. It can be assumed that Russian and German verse existed in Fet's creative mind in a certain sense as independent systems, which, of course, did not exclude the possibility of their interaction at other levels. The national origin of Fet, it seems to us, does not contradict this situation, but, on the contrary, indirectly confirms it: the poet sought not so much to use his German reading experience as against the background of the German tradition to better understand the originality of the poetic system of Russian verse, not opposing himself to the latter, but on the contrary, striving to take root deeper in it. LITERATURE 1. Fedorov AV The art of translation and the life of literature. / A. V. Fedorov. L., s. 2. Ratgauz G. I. German poetry in Russia / G. I. Ratgauz // Golden pen: German, Austrian and Swiss poetry in Russian translations, M., p. 3. Levin Yu. D. Russian translators of the XIX century / Yu. D. Levin. L., s. 4. Mikushevich V. B. Actual problems of the theory of literary translation / V. B. Mikushevich. M., s. 5. Komissarov VN Modern Translation Studies / VN Komissarov. M., s. 6. Russian writers on translation: XVIII XX centuries / / Ed. Yu. D. Levin and 7. A. F. Fedorova. L., Grigoriev A. A. Poetry. Prose. Memoirs / A. A. Grigoriev. M., s. 9. Zhirmunsky V. M. Theory of Literature. Poetics. Stylistics / V. M. Zhirmunsky. L., s. 10. Gasparov M. L. Meter and meaning / M. L. Gasparov. M., s. 11. Zhovtis A. L. At the origins of Russian free verse: Poems of the “North Sea” by Heine in translations by M. L. Mikhailov / A. L. Zhovtis // Mastery of translation. SPb., p. 12. Gasparov M. L. Essay on the history of Russian verse / M. L. Gasparov. M., s. 13. Fet A. A. Memories / A. A. Fet. M., s. Barnaul branch of the Financial University under the Government of the Russian Federation Zherdeva ON, Ph.D. Sci., Associate Professor, Department of Philosophy, History and Law, Altai State University Savochkina E. A., Candidate of Philology Sci., Associate Professor, Head of the Department of German Linguistics and Foreign Languages ​​Financial University under the Government of the Russian Federation (Barnaul branch) Zherdeva O. N., Candidate of Philology, Associate Professor Altai State University Savochkina E. A., Candidate of Philology, Associate Professor, Head of the Germanic Linguistics and Foreign Languages ​​Department VSU VESTNIK. SERIES: PHILOLOGY. JOURNALISM

INTRODUCTION TO POSTING SAMARA 2003 MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION SAMARA STATE UNIVERSITY Department of Russian and Foreign Literature INTRODUCTION TO POSTING Guidelines

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