Kaliningrad hunting club . Epifanych went out through the forest into someone else's parish... A muddy shadow from a passing train briefly cut off from a light spot of ripening rye the tall gray figure of an old man with a gun... - These cast-iron animals have gone into the utter wilderness, you see! - he said out loud out of habit and picked his ear with his earpick after the beast screamed for a long time with an iron throat. - Mooed, bishop's mother! And, remembering, he became worried: he saw that before the train appeared, his beloved dog Grunka was chasing a hare along the track. - Grunka! Evo-oh, evo-oh!.. There was no dog, and she didn’t come running to the old man’s cry. Epifanych, hastily bypassing the rye, walked along the edge of the forest to where the hare last flashed, climbed onto the canvas and saw: not far away on the rails lay the back of a dog, mutilated, with its intestines torn out, and the front - with its tongue hanging out - had slid down the slope. - Oh, you, damn you! the bishop's son... - The old man clasped his hands, his long shadow along the yellow slope also swayed and waved: - Goodbye, Grunka! here are those Grunka! He bowed his head and fell silent; went into the forest, and for some reason the wedding lamentation of the old woman over the bride sounded in my ears: Come, you birds, your iron noses... You, birds, pull out the silky nails! “Yes... here they are, birds, iron noses... here they are, beasts, Gorynychi snakes, from them the forest will become a desert... A beast with iron tanks will emerge from the distant distances, and in the place of the eaten forests a beast will build its lair with cast-iron gates... It will roar with a copper roar, iron animals will go in different directions, they will begin to take away sawn timber and moss-purdezh, and they will bring colored dishes, patterned glass..." Epifanych turned back, took off his hat and listened for a long time, bowing his stubborn head, the distant, vague tapping of wheels and the echoes of dying horns. I went back home through the forest, which was considered impenetrable by many. There lived an old man far from the cast iron stove. Some kind of resentment smoldered in him; the resentment is unclear, but sometimes inexplicably prickly. And when he went to bed by the fire, after eating, before closing his eyes to sleep, he remembered: “Grunka! Oh, you are so dear!” On the way, the old man dreamed of the same thing: an iron beast explodes swamps and drains them. And Epifanych, ascending to the bell tower, sees how the swamps - quicksand wastelands - have dried up, and with them the springs and forest rivers have dried up. He sees the old man rushing around - people are looking for water, the cattle are mooing and roaring - asking for a drink, and new people have come, standing on the dry plain, waving their hands and ordering them to plow up the dried places with a plow. - Hey, bishop's mother! What will you fertilize with? - Epifanych screams in his sleep and always wakes up, and when he wakes up, he remembers: “Oh, you Grunka! After all, it was stabbed! An iron beast, so that he..." He sleeps again, and in the morning he gets up for a new journey, makes a fire, eats porridge, feels the copper earpick on his collar, the one that hangs on a dirty cord instead of a cross, picks his ears, overgrown with gray fluff, and speaks aloud, looking at the sky: - You see that... Apparently, his ears are clogged with wetness. He walks. The seasoned pines are slightly rustling with their tops: the early sun plays on the tops with the ebb of their wet branches. The boundless distance turns blue between the red and gray trunks; it smells like wild rosemary, sipping cloudberries from the lowlands; under its bast shoes, painting the birch bark a bloody color, blueberries crumple. “Look, the mountain ash begins to give color, you won’t see it - and summer will blow away... which is already forever?..” Epifanych drove away, passing , a herd of orcas, one grouse stuck to the branch of a pine tree, pulled its timid head between its wings and cackled. The old man habitually froze in place, only slowly pulling the gun from behind his back. “Oh, you Grunka!” He found the front sight on the muzzle, presses the trigger with his hand, and There is no shot. The old man is looking, but the gun has no trigger: the trigger has come off, the screw is rusty. “Of course, the bishop’s mother! The gun doesn’t hit, the dog was killed.” He felt the ax behind his belt: “Here!” He took out the capshuk and filled the pipe. I lit a cigarette. Threw a match; I lit dry brushwood: it crackled. He pressed his bast shoe, put it out and said, loudly as always: “What if we burn everything down?” At the sound of his voice, he looked around: there was a forest, extending its green embrace to him; a light wind makes the young birch trees bend - they bow to Epifanich, as if they guessed his cruel thought: “Have mercy, old man! Didn’t we welcome you here? Wasn’t it us who warmed you in the rains and came to life in the warmth?” - Yes... not by you! - Understanding what the trees are thinking, Epifanych says sternly, walks into the bright light and goes to the shore of the lake. The width is barely enough for the eye. Under the old man’s feet is a high, mossy bank; beyond the lake the distance is blue, and from there a forest cloud moves towards the lake from an even bluer distance. Epifanych dropped his gun, pulled the ax from his belt and paused, wrinkling his stubborn brow: “Animals will run from these places from their holes... a bird will circle over its nests until it burns out...” The old man passionately wanted to see the fluttering, hot wings of the conflagration . Listen to the heavy burnt pines fall, watch, perhaps for the last time, how the moss lights up with separate lights, like candles, flares up, goes out, crawls low and low like a golden snake and rises again like a candle. And the old man knows that people with axes and shovels will not come here, although give me a pound of gold. He also knows that when the forest burns and a storm follows the conflagration, it will fall out and break everything that has not burned, but does not hold well on the burnt ground. Epifanych found tar and chopped it; I took out the insides of an old big stump so that it would be better accepted, and with a skillful hand I laid out the resinous chips inside the stump: “Here you are, young people, reign!..” And while he was fiddling with the plank, he didn’t notice how a cloud covered the sky and spread a blue canopy across the lake her shadow lay. And as soon as he had time to take off his hat and stand under the thick spruce, thunder struck, and lightning flashed across the water like fiery scattered cracks. Thunder struck, and to the side, with a dry crack, a century-old pine tree split from lightning and collapsed. - Off you go - the bishop's mother! The sushins spun, dropped, and broke like a whirlwind, and muffled echoes came from the mossy forest desert onto the wavering blue lake with white reflections of lightning. Epifanych waited for three hours for the end of the storm. When the sun fell silent and the sun opened up and the blue distance, even more fragrant, beckoned to him, the old man gathered his butt and, walking around the shore of the lake, thought aloud: “Until winter, then, the bishop’s son, go home!” And there in the forest, you didn’t harass him... He won’t forgive you - he’ll grind you to death... you’ll see! An old hut near Epifanych. The ceiling in the hut was black, but the women whitewashed it. The ceiling is high. A tent was attached to the black mouth of the stove, and a new chimney was laid along the stove - the chimney was boarded up. Epifanych resisted the innovation, but what can you do, the young reign in the house - they insisted: - All the shovels are very dirty and smell of smoke. - But the hut, the bishop’s mother, will soon rot with your new building. - Oh, old man! A hundred-year-old prison, but the residents are forced there. The benches remained the same, wide, the grandfathers’ heavy backs had driven the ridges across the benches. On the benches in front, patterns are cut out, like in boyars' chambers... Epifanych's dry, pale soles stick out from the stove, and there are dried calluses on his toes. The long body of an old man in a white homespun shirt stretched across the stove; the lush beard is glowing, moving with the breath, - the old man is raving in his sleep... Epifanich dreams of his life: here he is, drunk, in a red red shirt, in white trousers, entwined to the knees with belt frills of bast shoes, with a stake in his hands, walking ahead of his men to someone else's village. - Don’t give up, bishop’s mother! - the old man shouts hoarsely in his sleep. He knows that everyone is afraid of his strength. - Why did you look at the goose?! Not five! - And he sees: everyone is running away from him, and no one dares to get involved in a fight. - Yeah, that’s right, the bishop’s son! In the forest. One Epifanych goes to the bear, - in his hand there is a knife, the other is wrapped in bull skin. - Daikos, come on, grandfather, let's get ready! In the forest there is noise, crackling, a storm knocks down trees, and in the green and blue, a white fire shines - lightning. Epifanych walks, tore off his hat from his head, ruffles his hair, and he, without raising his hat, shouts and whistles to the dog: - A-ah-ah! ooo! - and wakes up... ... Epifanych stopped sleeping on the stove, looks inquisitively out the windows, hears people making noise like spring. Getting ready to set off, he realizes that nature will soon pull the winter road out from under his feet. - Don’t be late, bishop’s mother! - grumbles the old man, in a white row, in white felt boots, getting up on his skis. His stooped, but big-boned girlfriend is adjusting an awkwardly sitting pest with grub behind her husband’s shoulders. - It’s hard for me, old man, to equip you, if only you were sitting at home! Epifanych is silent. He goes to the forest, looks around; he draws the air into himself like an animal and does not smoke. The old man sees how, sensing the spring, over the white banks of an unfrozen stream, drakes that have taken off here and there are quacking - wintering birds in the North. Seeing ducks, a hunting husky will wander through the melted snow and squeal, carefully sniffing the melted banks. “Eh, Grunka! I feel sorry for you...” By spring the nights are lighter, but the old man knows that he can’t get to the forest hut on cross-country skis, and he sleeps by the fire: he cooks porridge in snow water, then eats, pulling off his felt boots, and warms him up. stockings and onuchi. He sleeps, has a dream: in a white field, surrounded for a long distance by green fire, like young bushes, someone has made extensive bluish circles in the white, - he asks himself: - The bishop's son! Isn't this your ski track? At dawn he gets up, leaves the dying fire to smolder, walks, looking at the thawed patches in the high places in the forest that have begun to turn green, and when deep snow passes, snowdrifts settle under it with a dull rustling sound. Epifanych, looking at the tracks of the animals, grumbles loudly: “If you pick off a marten, the gun will take a small animal, but the snow is still deep... yes!” There are no mustel tracks, but the old man sees others, large ones, deeply pressed down to the black bark. - Elk? Look, he's wandering to the bottom... come on, moose! He won’t take a gun, but I know his habits: it’s hard for him, but it’s easy for me to ski; I'll sit on the horns and use an axe. Hot. He took off his fur hat - the sun was hot, and, sniffing the air, he felt the smell of early grass in the thawed patches coming from the blue forest distance. Some bird squeaks nearby on the bare branches of birch trees. The scythes roar, the current begins; blue, gossamer-thin shadows from bare branches lie in forest clearings. Partridges turn white like large pearls, flying over clearings and clearings, falling into the snow, dappling the bluish plains with terry, finger-like patterns of footprints. Epifanych stopped and looked at the partridge, but then stubbornly said: “You’re going after an elk - there’s nothing to do with the bird!” Epifanych is sitting on a stump by the fire, dozing, a strong beast has killed him. The old man dreams of the old - not the old one, but the old one. A green wall of blooming rye - it obscured the half-yellow horizon in the field, and against its golden background one can see multi-colored figures of women in festive clothes, among the women the most prominent is his busty wife Stepanida, in her hand a new sickle shines like a silver crescent. In a slumber, the old man moves towards the golden field of sunset - he pokes into the fire, burns his hands, his yellowish-white beard cracks; the hat smells like sheepskin currants. Waking up, he realizes that he slipped off the stump. He takes off the row of fur from his sheepskin coat, takes off his sheepskin coat and, lounging by the fire on a woolen sheepskin, covering himself with the row of fur coats, dozes again. He hears as if the wind is passing through the forest, sprinkles deciduous rain all around, the trees groan, some crackle like a wood grouse on a current: tra-ah! tra-ah! The old man sees the water of the lake shining through the branches of the trees, and thinks: is the moon mooning? It's not water - it's ice!.. He wakes up - his singed beard is crackling again, his hat is smoldering, he smells of burning wood. - Where is my prey - elk? Sleeping like me, tired? I know - you’re walking fast, but it won’t help! You are afraid, beast, of being chased - when you run and when you spend the night, you don’t drink or eat, because you smell death... And here I’ll chew porridge, oatmeal, and it’s bad, but I’ll get some sleep, from dawn on I’ll go... I wander quietly - the years have faded away, I’ll come across you when you’re growing thin... I’ll come across you, bishop’s mother! A mile ahead and a little to the side, an elk is sleeping lightly - an animal... He sleeps sweaty, and his sides are icy, the night is cold - his fur has caught frost, from dark it has turned gray. The big stomach of the beast is empty. It’s bitter in the mouth, saliva flows and freezes. Sometimes he lowers his warm muzzle into the white grave of snow, bites him with anger, he wants to eat all the snow on the way to run easier, and he knows that the snow is deep, his strong legs cannot reach the bottom. Under the snow, the tenacious thing pricks and cuts, tears wool and meat. The animal doesn’t want to eat - somewhere deep, care and fear nestle, drive it forward, make it run faster, and the strength is less and less, and it adds sweat... The animal trembles during the day while walking and at night in an anxious sleep... It draws in a smell alien to the forest , and understands that it is close, it is terrible, inescapable, similar to birch stumps... He doesn’t know where it comes from? Maybe it came from the treetops with the wind. Sometimes, when the grass is blooming in the forest, a light burns from above, then there is also a knock from above, the trees burn with a hot, terrible fire, and they fall, and what comes after it also sparkles; sometimes it knocks and pricks the meat with a burning sensation and prevents you from escaping. Fatigue closes the beast’s icy eyelashes, closes its fearful, crying eyes, and the beast imagines it’s a hot day. Clouds of buzzing, pricking, itchy things will surround the body. So he shook himself off, shook his horned head, ran, and a swarm of prickly ones flew after him like a noisy cloud. The elk reached the lake, waded into the water up to his ears, rested in the coolness, and the buzzing creature disappeared. The beast is at ease at the rapids of the mouth of a forest river in the lake, the water rinses the sides corroded into blood, only the legs are sucked in by the liquid bottom, the elk pulls up its legs to swim. The water is noisy all around. The animal moves its ears in its sleep, and the ears convey anxiety to the eyes. Opening his eyes, the elk realizes that it is not the water that is making noise, but the wooden long paws of a terrible creature that is following him and bringing death to him. straight, but to the side, so that he can hear when they follow his tracks, and, not allowing the enemy to reach the end of the loop, rush to the side... The snow is deep, it does not support a heavy animal, and it is not a trail that follows it, but a deep furrow with it curls like a blackened bark, like a terrible piece of evidence, to where he went. The elk throws lumps of snow in all directions, breaks branches on its way with its horns, and death runs lightly along the top of the snow on sliding paws, and the elk hears it close by its smell. - Seventh night! - Epifanych grumbles. - The grub is coming out... He didn’t drive the beast... Strong - the snow is aching, the kokoryo is aching... I, too, conceived dust, but you won’t get away, bishop’s mother, - I’ll drive... the snow, you see, deep-ka-ay ... I’ll drive it!.. Eh, brother teapot, he started spitting - are you boiling?.. I’ll pour some tea... the oatmeal is also ready. Epifanych has only one concern - to reach the beast, to stretch it out, but where he goes - he has no concern; when he finishes, he will then look around. He knows the forest, he will come to the house. The only bad thing is that the forest has begun to thin out. A hunted animal wanders nearby - its legs are stripped to the flesh, tufts of fur hang on its belly, and blood is dripping, bleeding from the snow. Saliva flows continuously across the snow from my mouth. From behind, slowly, conserving his strength, Epifanych slides and thinks about when the beast will not walk, but will stand quietly, waiting for death. Epifanych smokes as he walks and does not take his gun off his shoulders. The gun won’t kill, it will only frighten you and, look, it will add extra strength to the beast, and suddenly the old man shouted: “Look, you’re screwed, bishop’s mother!” Epifanych sees that the beast wandered into the moss. The hunter knows the place, knows that these mosses are endless, there is no food on them for animals or people. Unfrozen lakes glisten on the mosses. The wind rose as soon as we reached the plain, blowing snow dust into the face, the old man’s eyes watered from the wind, and his legs froze on his skis - the cold was coming from below. - Well, look, from a young age a person gets warm from toes to navel. .. In old age, the same bottom freezes to the navel, and this leaves a person with little life left in the world. An elk wanders ahead, obediently lowering its horned head, sometimes it will just bend low, grab enough snow into its mouth and shake off the overwhelming saliva from its muzzle. - Soon you will become a chief - the bishop's mother! And he told me that there wasn’t enough grub to get home. The sun briefly appeared as a white club and soon melted into gray clouds. Gloomy, cold. The constant wind walks across the plain and sings its free, eternal songs. - You've been singing forever like a faceless robber, you won't be caught, you won't be put on a chain... Your face is freezing, your hands and feet are chilling... Your winter horns are the bishop's mother! - it doesn’t hit the mark, but guess what, you’re having fun? Is it getting dark? And then... let the prey go, it’s not in the forest here - you can see where it is; It’s not bad for me to warm my bones. The old man reached a bunch of small pines that were a lonely family in the white desert. He threw off the pest, took off his gun, and began to prepare an overnight stay. And the elk, as if spellbound, turned to the side a few steps and not far, twenty fathoms from the old man, bent his bloody legs in the snow, lay down, bending his head to the side, with one eye towards the enemy, laid his head on the snow and appointed his ear sticking up as a sentry. If the old man moves, the moose’s ear will move, but the eye will sleep. Damp pines burn poorly. The wind restlessly throws white fluff at the timid flame, the fire hisses from the snow, but does not flare up. The old man’s legs are getting cold, and his whole body is demanding hot snow, and Epifanych grumbles, making the elk’s ear move anxiously: “Should you die, the bishop’s mother, you beast!” Brought into a slum... there is no dry place! Epifanych reached into the pestle with his hand and remembered: there is no butter, no oatmeal, only crackers are scraping along the birch bark of the purse - everything, brother, is coming to an end! Somehow the old man boiled a kettle of tea, wet it, chewed some crackers - he was hungry. He began to boil the water again. A white padera has risen in the moss swamps, sweeping heaps of prickly dust, and from the white dust in Epifanych’s eyes the pillars stand now blue, now green, and he sees nothing ahead, only clearly, when the blizzard alternates, it lies and moves in front of him, like on the tablecloth, moose ear. - You're a stunted little flame! Let me give you a boost... Epifanych furiously chops up the dry, frozen kokorina and hurriedly puts it on the dying fire. The old man has a lot of strength, but the cold is overwhelming and his teeth are chattering. The teeth are still half intact, and the hair is gray only in the beard, but the blood is not the same. - You'll become cold, bishop's mother! Look, you’ll drown if it’s... without sushi, without tar, - little hope. And you got carried away!.. But I won’t give up, you’re lying!.. I’m exhausted at work. Without tar, the wind will throw snow into the fire and you, bishop’s mother, will bury you head over heels. So as not to lose it in the snow, he put the ax to the tree, took off the row, took off his sheepskin coat, lay down by the fire on the sheepskin coat, with his feet towards the elk, and put his head higher on a stump, covered himself tightly with the row and tucked his sides. As soon as I lay down, I began to feel drowsy, but an annoying thought haunts me: “Don’t sleep through the fire, bishop’s son! Fire! Do you remember? Fire! Isn’t it just...what? He opens his eyes, the fire is still burning under his side on one side; The old man was about to lay it out on the other one, too, but the damp wood wouldn’t start... In the distance, in the milky-white twilight, a moose ear sticks up, a furry one sticks out and doesn’t move. - you’re finished!.. If the fire is intact, I’ll get up at dawn... If it goes out, you’ll go... The wind helps you... lives you, scents your path... I understand everything about you... The wind doesn’t love me , - I am a man and I force him to work for me, but he is free... The wind, the elk, the forest, the bear are mine... I am a stranger, I am a man... I have strength... You have help - strength and wind ... Epifanych lies on the moss, doesn’t sleep, but sees far away, sees clearly - his legs are growing, stretched out across the white plain and his heels rest against the lake, which sparkles with unfreezing water through the white mists, and Epifanych’s legs are getting colder and colder . There is a fire burning on the side, but it has turned green and rises like a sparkling ice floe... Today at dawn the elk was the first to rise - he walked slowly, slowly. The man got worried and also somehow warmed up - he got up, leaving his gun and pestle at the overnight stop, and as it began to get dark - the man lay down on his skis, without taking off either his row of boots or his sheepskin coat. The beast obediently lay down three fathoms from the man, but the man, having an ax, was unable to move towards him and finish off his prey. At dawn the elk was the first to rise again. He staggered on his bloody legs, licked his icy side and snorted dangerously towards the man. The old man, gathering his strength, shouted: “You see, I’m lying, bishop’s mother!” Lie down... I’ll still bask in the snow... During the night the wind blew snow on the old man - it’s warm under the snow... The elk, staggering, wandered to the first lake; he got there, looked back, got drunk, wandered into the water and slowly swam to the other side, from where the smell of distant forests and forest thawed patches emanated.

MBOU "Sorskaya secondary comprehensive school No. 3 with in-depth study of individual subjects"

My thoughts on A.A. Fet’s poem

"Wonderful picture"

Performed:

Mironchuk Ksenia,

student of class 7A.

Supervisor:

Bezkorsaya L.G.

teacher of Russian language and literature

Sorsk, 2017

Why did I choose this topic?

A. V. Druzhinina about Fet: “The power of Fet is that our poet knows how to get into the innermost recesses of the human soul... The poet makes clear to us the impulses of our own hearts before this or that scene of nature... The author in of the highest degree has...high musicality of verse...".

I wanted to prove that this is true, using the example of the poem “Wonderful Picture.”

Target work :

Study of artistic and visual means of the language of poetry, craftsmanshippoet.

Tasks :

- conduct an analytical reading of the text of the poem;

Convince yourself of the truth of the words of the critic Druzhinin about Fet’s poetic skill;

Convey your emotional perception of the text.

Study plan .

Justification for choosing the topic.

The purpose and objectives of the work.

Analysis of the poem “Wonderful Picture.”

Own creativity.

conclusions

Wonderful picture
How dear you are to me:

White plain,
Full moon,

The light of the high heavens,
And shining snow
And distant sleighs
Lonely running.

Indeed, a wonderful picture. Only 8 lines, from which some kind of mystery emanates.Winter night.Plain white with snow. Above her in the high skies is the full moon. Shiny snow. And lonely sleighin this snowy expanse. Very beautiful! And a little sad. And this whole picture is painted in just one complex sentence. And that's what's surprising: the poem has 21 words: 8 nouns, 7 adjectives, 1 participle, 2 pronouns, 3 conjunctions. And not a single verb. I thought: why? I re-read the poem again. And suddenly I realized:The poet does not need verbs in this picture.Reading the poem, you feel that the picture painted by the poet does not change before our eyes, it is somehow frozen, there is no movement in it. Everything he writes about happens simultaneously. And verbs convey movement, the dynamics of changing pictures.

I imagine an endless plain covered with a white, fluffy sheet. There is a full moon above this vast space. It is very bright, and it makes the sky seem high. A yellow stream of light pours from it, making the snow glisten.Simple winter landscape. And what a beauty!It’s a little sad that the moon is lonely in the vast expanse of the sky. In the distance, a lonely sleigh is running along the snowy plain. But there is a man in the sleigh. And he is alone in this snowy night desert. I understand the feelings of this traveler. Find yourself in winter moonlit night in a snowy desert among endless expanses - this is probably a test for the soul. This double loneliness (in nature and in the human soul) makes it even sadder. And you understand that for Fet, man and nature are a single whole. It seems to me that the poet is delighted with this cold beauty of nature. This is felt both in the author’s direct assessment (“Wonderful picture, how dear you are to me...”) and in the selection of epithets. But the poet subtly understands the feelings of a lonely traveler.

Watching the poet’s skill, I saw how accurate and true the epithets are: the plain is “white”, the moon is “full”, the skies are “high”, sleigh “distant”, running “lonely”. The epithet “lonely” stands out from this series with its coloring and makes the reader think. All together they create a feeling of some kind of mystery, understatement.

Attracts attentioncolor scheme of the poem: full moon against the background of the night sky, dark silhouette of a sleigh on white snow. This contrast gives special expressiveness to the winter landscape.

The lines of the poem are short, each of them has two or three, and only one has four words. And one gets the impression of the completeness of the painted picture, everything is so precise and visible. The earthly world (plain, snow, sleigh) and the heavenly world (moon, heaven) merged, united in some kind of mystery. The poem is written in trochee; I learned that this is the meter most often used in folk songs. Indeed, the poem resembles a folk song. The cross rhyme in the quatrains is easy to understand and the rhymes are precise.

In the first quatrain the voiced voice is repeated three times solid sound[R]. He fills the line with joy, a feeling of beauty. It is not in the second stanza. And that’s why this stanza sounds so easy. Buthere the sound [s] is repeated 6 times, which conveys the sensation of light, 4 times [n] - [n’]. There are 7 of these sounds in the first stanza. They are in almost every word. Alliteration makes a poemmusical, bright,beautiful,creates an impression of mysteryand combines the content of the stanzas. Thus, with the help of meter, rich rhyme and alliteration, the poet achieves the lightness of the verse and its musicality.

The last line talks about the lonely running of the sleigh. The word “lonely” makes me a little sad, butfeelings of loneliness do not arise, but a feeling of unity between man and nature appears. It seems to me that the “wonderful picture” painted by the poet is close to the truly Russian soul.Fet managed to convey in a short poem the beauty of a winter night, a feeling of love, slight sadness, spiritual unity with his native nature.

Conclusions.

My reflections on the content of the poem, observations of the poet’s skill, allow me to conclude that A. A. Fet is a great master of verse. He knows how to excite the soul with painted pictures of nature, to evoke experiences, positive emotions, i.e., according to the critic Druzhinin, “he knows how to climb into the innermost recesses of the human soul... he has a high musicality of verse...”

I want to reread the poem, experience high emotions again and again.

My poem.

Silvery snow, on fluffy branches,
Falling, spinning, Bullfinches are dancing,
It is from century to century, in winter colors
It falls in flakes. The lights are on...

I wanted to convey the idea of ​​the eternity of nature, its greatness and beauty, and that this greatness and eternity cannot be fully comprehended. And that’s why nature always excites, makes you feel like you’re a small part of it, makes your heart beat faster.

Internet resources: https :// yandex . ru / images / search ? text =

Artists write canvases, poets write poems. And just as an artist with a brush, with one stroke, creates a play of chiaroscuro, so a poet, in one word, in one phrase, paints the subtlest shades and subtle shifts of artistic meaning. And now, before our eyes, as if in reality, a “Wonderful picture” appears, written in words.

The pictures are different. Some you want to look at and look at, others you don’t want to return to. Because they leave neither a trace nor a clue in the soul. So it is with poems. One describes the beauty of birch trees in five, or even ten, quatrains, the other in four lines. And these four lines attract, fascinate, and make you want to re-read them again and again.

Many people took on landscape lyrics, but not everyone succeeded in landscapes, and not everyone succeeded in writing lyrics. And Afanasy Fet brought together both. A wonderful poet, the greatest lyric landscape painter. According to Nekrasov, after A.S. Pushkin, there was no one except Fet, whose poetry would give so much poetic and aesthetic pleasure.

Afanasy Fet's poem has only two stanzas. No expression, no questions, no exclamations, no anxiety. Everything is simple, calm. Night. An amazing, fabulous silence emanates from the poet’s painting. This white plain with a full moon - as if the winter scenery had been installed for centuries.

The hostess winter came and turned the plain into a white canvas - smoothed out all the roughness and unevenness. The canvas, like a cover, like a canopy, covered the vanity, absorbed the movement. There was silence, the flat snowy surface was illuminated " by the light of the high heavens" On the fairy-tale surface - not a soul, only " distant sleigh running alone».

This moving point is like a symbol of the fate of a person who goes through his lonely life. life path. Only he and the Almighty. What's next? Everything lay low, frozen in anticipation, in anticipation of something wonderful. This is how children wait for the New Year. The anticipation is in the air. You can smell it. Waiting for a miracle is a sure sign of it. That’s why A. Fet calls his painting wonderful and dear, because in each of us there lives a child and a desire to see the incredible.

And theorists put the picture into pieces. They praised the inversion - high skies, distant sleighs. We were amazed at the sound, musicality, and lightness of the rhythm of the poem. We noticed the complete absence of verbs, and the manner of writing the poem - trochaic trimeter - characteristic of folk songs. We remembered that the work - early period and was included in the collection “Snow”.

Afanasy Fet lived 72 years. His paradox as a lyrical landscape painter was that he was both enterprising and successful in matters of career and business. He began writing poems at the age of 15. Many young men at that time were fond of poetry, but for Afanasy Fet this hobby became destiny. Because future generations will remember him as a poet, and not as a landowner or military man. First, being deprived of his noble title, Fet made a military career.

After leaving the service, he bought an estate with his wife’s dowry and turned her into a wet nurse - the whole family lived on the income from the estate. Rye was grown, poultry was bred, and a stud farm was developed. And at the same time, the poet paid a lot of attention to creativity and self-development. Knew several languages. Before last days worked on translations. Despite the difficult and difficult life, Afanasy Fet did not complain, he endured and in his works he sang love and nature - that is, the Creator and His creation.

Afanasy Afanasyevich Fet

Wonderful picture
How dear you are to me:
White plain,
Full moon,

The light of the high heavens,
And shining snow
And distant sleighs
Lonely running.

The ability to convey all the beauty of the surrounding nature in a few phrases is one of the most striking distinctive features creativity of Afanasy Fet. He went down in the history of Russian poetry as an amazingly subtle lyricist and thoughtful landscape painter who was able to choose simple and precise words when describing rain, wind, forest or different seasons. At the same time, only the poet’s early works are distinguished by such liveliness and accuracy, when his soul was not yet clouded by a feeling of guilt before the woman he once loved. Subsequently, he dedicated a huge number of poems to Maria Lazic, moving further and further in his work into love and philosophical lyrics. Nevertheless, many of the poet’s early works have survived, which are filled with amazing purity, lightness and harmony.

In 1842, Afanasy Fet wrote the poem “Wonderful Picture,” masterfully depicting a winter night landscape. For such works, the poet was often criticized by venerable writers, believing that the absence of deep thoughts in poetry is a sign of bad taste. However, Afanasy Fet did not claim to be an expert on human souls. He was simply trying to find simple and accessible words to talk about what he saw and felt. It is noteworthy that the author expressed his personal attitude to the surrounding reality extremely rarely, seeking only to record various objects and phenomena. However, in the poem “Wonderful Picture” the poet cannot resist admiration and, talking about a frosty winter night, admits: “How dear you are to me!” Fet feels a special charm in what surrounds him - “the white plain, the full moon” bring into the author’s life long-forgotten feelings of joy and peace, which are enhanced by “the lonely running of a distant sleigh.”

It would seem that there is nothing remarkable or worthy of attention in the recreated picture of a winter night. Probably, the poem itself was written at the moment when Afanasy Fet was making a short journey across the vast Russian expanses. But the tenderness that the author puts into every line of this work indicates that such a night walk gave the author incomparable pleasure. Fet manages to convey his true feelings and remind us all that we can experience happiness even from simple and familiar things, which we often simply do not pay attention to.

White plain,

Full moon,

The light of the high heavens,

And shining snow

And distant sleighs

Lonely running.

A. Fet confesses his love for the winter landscape. In A. Fet’s poems, the shining winter prevails, in the brilliance of the prickly sun, in the diamonds of snowflakes and snow sparks, in the crystal of icicles, in the silvery fluff of frosty eyelashes. The associative series in this lyric does not go beyond the boundaries of nature itself; here is its own beauty, which does not need human spirituality. Rather, it itself spiritualizes and enlightens the personality. A. Fet introduced rural landscapes and scenes into poetry folk life, appeared in the poems as “a bearded grandfather”, he “groans and crosses himself”, or a daring coachman on a troika.

The poetry of F. Tyutchev is a kind of lyrical confession of a man who visited “this world in its cancerous moments,” in the era of the collapse of centuries-old social foundations, moral dogmas and religious beliefs.

In his lyrical masterpieces, F. Tyutchev outwardly proceeds not from a predetermined thought, but from a feeling or impression that suddenly captured him, inspired by phenomena outside world, the surrounding reality, a momentary emotional experience. The poet sees a rainbow and immediately sketches out a small “landscape in verse” of just eight lines, as N. Nekrasov aptly called his poetic pictures of nature. But the process of creating a poem does not end there. In the poet’s creative vision, the brightness and fleetingness of the “rainbow vision” entails a different image - bright and fleeting human happiness. A new stanza appears, and the “landscape in verse” takes on the meaning of a philosophical allegory (“How unexpected and bright.”).

Another example. The hopeless rain inspires the poet with the idea of ​​equally hopeless human grief, and he writes poems not about rain, but about tears. However, the entire intonation, the entire rhythmic structure of the poem is imbued with the incessant sound of falling raindrops (“human tears, oh human tears.”).

A. Fet was always attracted to the poetic theme of evening and night. The poet early developed a special aesthetic attitude towards the night and the onset of darkness. At the new stage of his creativity, he already began to call entire collections “Evening Lights”, in them, as it were, a special, Fetov philosophy of the night.

In the “night poetry” of A. Fet, a complex of associations is revealed: night - abyss - shadows - sleep - visions - secret, intimate - love - the unity of the “night soul” of a person with the night element. This image receives philosophical deepening in his poems, new second meaning; In the content of the poem, a second plan appears - symbolic. His association “night-abyss” takes on a philosophical and poetic perspective. She begins to get closer to human life. The abyss is an airy road - the path of human life.

MAY NIGHT

Lagging clouds fly over us

The last crowd.

Their transparent segment softly melts

At the crescent moon

A mysterious power reigns in spring

With stars on the forehead. -

You, tender! You promised me happiness

On a vain land.

Where is the happiness? Not here, in a wretched environment,

And there it is - like smoke

Follow him! follow him! by air -

And we'll fly away into eternity.

The May night promises happiness, a person flies through life in pursuit of happiness, the night is an abyss, a person flies into the abyss, into eternity. Further development this association: night - human existence - the essence of being. A. Fet imagines the night hours as revealing the secrets of the universe. The poet's nocturnal insight allows him to look “from time to eternity,” he sees “the living altar of the universe.” The association night - abyss - human existence, developing in the poetry of A. Fet, absorbs the ideas of Schopenhauer. However, the closeness of the poet A. Fet to the philosopher is very conditional and relative. The ideas of the world as a representation, man as a contemplator of existence, thoughts about intuitive insights, apparently, were close to A. Fet.

The idea of ​​death is woven into the figurative association of A. 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. A. Fet gives preference to death, draws its image as the embodiment of a unique beauty.

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