My analysis In my opinion, Olga works better in the small genre, and Elagina is especially good at miniatures. As for “Chicory”... This text should be a story, but Olga did something in between. This is her mistake. I will call this text a story... “Chicory” is made in

“It shines merrily...” (excerpt from the poem “Winter Night in the Village”) The moon shines merrily over the village; White snow sparkles with a blue light. The temple of God is bathed in the rays of the moon; The cross under the clouds burns like a candle. Empty, lonely Sleepy village; The huts were swept deep by the blizzards. Silence

Fet's Lights "Russia... missed Fet." Seventy s extra years thrown back in a little-known narrow publication by a literary critic, whose biography is now even vaguely remembered by even encyclopedias - but it hurts, burns everyone who thinks about the fate and legacy of the great lyricist. There

The poem was created under the impression of one musical evening among friends, singing T.A. Kuzminskaya-Bers (Tanya Bers, the main prototype of Natasha Rostova in War and Peace, was a wonderful musician and singer; in any case, readers “hear” echoes of her singing in some episodes of Tolstoy’s novel and in Fet’s poems).

The poem is written in iambic hexameter, quatrains, with alternating female and male rhymes. Long lines, with an abundance of vocalisms (“You sang until dawn, exhausted from tears...”), sound drawn out, as if sung. The beginning is very expressive: “The night was shining” - this is an oxymoron (after all, the night is dark, black), and it is emphasized by inversion (the predicate is in front of the subject). This is an extraordinary night, festive, bright - not from artificial lights, but from the moon. Living room - continuation of the garden:

The night was shining. The garden was full of moonlight. were lying
Rays at our feet in a living room without lights.
The piano was all open, and the strings in it were trembling,
Just like our hearts are for your song.

An open piano, trembling strings, open hearts - the metaphorical meaning of the words clearly displaces the nominative, the piano also has a soul, a heart.

The lyrical “you” of the poem is, to use the expression of H.H. Strakhov, “transformed personality” (like the lyrical “I”). Life situation translated into a high, conventional, lyrical plane (the difference between the real situation and art world well conveys the humorous remark of Tolstoy, who read the text aloud: “Having reached the last line: “To love you, hug you and cry over you,” he made us all laugh: “These poems are beautiful,” he said, “but why does he want to hug Tanya? A married man..."). Lyrical heroine- the earthly embodiment of the Beauty of life, its high “sound”. “Sound” here is symbolic: it is important not just to live, but to live as on this night, to live “without making a sound,” and this already applies to the lyrical “I.” And the motive of suffering, tears, crying, sobbing sharpens the sense of life and beauty:

You sang until dawn, exhausted from tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

The poem contains another theme that was very dear to the late Fet - time and overcoming it (the original title was “Again”):

And many years have passed, tedious and boring,
And in the silence of the night I hear your voice again,
And it blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love.

Time is psychologized: moments of true existence are highlighted, there are few of them, in contrast to the “languorous and boring” years. The connection between these moments is emphasized by anaphors, epiphoras and other types of repetitions.

Literature, and even its lyrical kind, cannot directly convey singing, music; it has a different “language”. But literature can convey exactly how music and singing affect the listener.

Analysis of the poem by A. A. Fet “The night was shining. The garden was full of the moon"(teacher of Russian language and literature, Secondary School No. 16, Nevinnomyssk, Stavropol Territory, Lyudmila Vasilievna Nazarova)

The night was shining. The garden was full of moonlight. were lying
Rays at our feet in a living room without lights.
The piano was all open, and the strings in it were trembling,
Just like our hearts follow your song.

You sang until dawn, exhausted in tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

And many years have passed, tedious and boring,
And in the silence of the night I hear your voice again,
And it blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love,

That there are no insults from fate and burning torment in the heart,
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!

________________________________________________________________

Light as breath, fresh as the wind, A. Fet’s soul-touching poem “The Night Was Shining...” clearly and sincerely conveys the power of the love feeling awakened by music. The reader gets a feeling of trembling, fragile, unreal world full of secrets and mysteries. There's nothing specific here, but objective world unsteady and elusive, like moonlight: “the garden was full of the moon”, “rays at our feet...”. The plot is also unclear: he and she are in the living room; She sings a wonderful song, he listens to her. Years have passed... And again in the soul lyrical hero the voice of your beloved sounds. But it is important for a poet to convey not only events, but also impressions, the subtlest overflows of feelings, nuances and halftones. Fet uses transparent watercolor for his poetic palette, painting not with paints or even words, but with sounds. And these sounds - a woman’s singing, piano chords, the anxious beating of hearts - are echoes of a strong feeling that does not fade after “languorous and boring” years.

It is known that this poem is dedicated to Tatyana Bers, the sister of L.N. Tolstoy’s wife, the same Tatyana, whose feminine charm, charming naturalness and sincerity of feelings great writer conveyed in the vivid image of Natasha Rostova. “The essence of Natasha is love,” wrote Tolstoy. And Fet saw this in his heroine: “... you alone are love,” “there is no other love.” We remember that Vasily Denisov fell in love with Natasha after hearing her soul-penetrating singing. The lyrical heroine of Feta’s poem, not named, also sings in a way that awakens the best in a person:

And I wanted to live so much, so that without making a sound,

To love you, hug you and cry over you.

What's in this song? Pain, suffering, complaint? Why did she sing, “exhausted in tears,” why did the sounds “sobbing”? Probably, the one who is next to her heard the sad story of a girl’s disappointed hopes, understood the hidden drama of a suffering heart, and this evokes a feeling of empathy in him. It is no coincidence that a successive series of verbs in one line: “love”, “hug” and “cry”: love first generates tenderness, and then pity and compassion. “Cry over you,” and not with you, not about you - this is what a strong man could say, capable of protecting a woman, saving her from grief and troubles.

The poem is compositionally divided into two parts: a bright memory of the past and a dull present. In the present there is no poetry, no music, no love, I cannot believe in the future. The soul is tired, exhausted from “the insults of fate and the burning torment of the heart.” “The silence of the night” is deaf, but from somewhere in the past comes a wonderful voice, singing the same almost forgotten melody: “... you alone are love, there is no other love.” These words are repeated twice, but at the end of the poem they sound different. Then music awakened love, now it awakened faith in love, in the possibility of happiness, made me believe that

…there is no end to life, and there is no other goal,

As soon as you believe in the sobbing sounds...

Not “believe,” but the sublime “believe,” as in a shrine, as in God. The soul is reborn under the influence of wondrous sounds, old feelings come to life, and confidence arises that life goes on. The light that shone when she “sang until dawn” shone again. Dawn seems to symbolize youth and strength of feeling, and night - sobs, fatigue and pain.

The brevity of the description of the setting in which we hear wonderful sounds is striking: night, garden, living room, open piano. But “the night shone,” and we feel something jubilant and solemn in this word; from the radiance a reflection falls on all objects: on the trees of the garden, on the floor of the living room; the light creates a radiance in the eyes of the two. Light of love. Light of the soul. Fet's skill is also manifested in the fact that almost from a cosmic picture moonlit night he gradually moves on to describe the room, as if narrowing the space: garden, house, living room - and then the piano, the sounds of which awakened strong feelings in the lyrical heroes. It is in music that the hero finds a response to his moods and experiences. The art of love and the love of art are one and inseparable. You need to love, thinking not about yourself, but about another, to understand and feel music so that it serves not just as a beautiful background, but awakens bright feelings.

Fet’s surprisingly melodious and melodious poem is nevertheless muffled, spoken almost in a whisper: after all, the feelings are so tender, so intimate. The poems sound charmingly quiet thanks to the abundance of consonants “w” and “x”: “passed”, “silence”, “I hear”, “these sighs”. In addition to alliteration, the poet also uses assonance: the vowels “i” and “u” give the poem special tenderness, lightness and airiness: “What is not aboutAnd d sat life and hearts burnat whose mat ToAnd , wellAnd znAnd there is no endAnd intactAnd NoAnd Noah…". Rhyme also contributes to the melody of the sound. Perhaps exactly last words the lines from the third stanza are keywords: “love”, “resonant”, “again”, lining up in a verbal series: “love sounds again.”

In the novel L.N. In Tolstoy's War and Peace, Denisov, who is in love with Natasha, calls her a sorceress. The lyrical heroine of the poetic miniature, Feta, is also a sorceress: she performed a miracle, awakening the hero’s strong and sincere feeling, and then years later reviving it again.

“The night was shining. The garden was full of the moon" Afanasy Fet

The night was shining. The garden was full of moonlight. were lying
Rays at our feet in a living room with no lights
The piano was all open, and the strings in it were trembling,
Just like our hearts are for your song.

You sang until dawn, exhausted in tears,
That you alone are love, that there is no other love,
And I wanted to live so much, so that without making a sound,
To love you, hug you and cry over you.

And many years have passed, tedious and boring,
And in the silence of the night I hear your voice again,
And it blows, as then, in these sonorous sighs,
That you are alone - all life, that you are alone - love.

That there are no insults from fate and burning torment in the heart,
But there is no end to life, and there is no other goal,
As soon as you believe in the sobbing sounds,
Love you, hug you and cry over you!

Analysis of Fet's poem “The night shone. The garden was full of the moon"

The poet Afanasy Fet is an unsurpassed lyricist, whose works surprisingly accurately convey the feelings experienced by the author and create an unusually romantic atmosphere. True, the poet’s youthful poems are devoid of secret sadness inspired tragic death Maria Lazic. Fet was in love with this girl and the impoverished noble family, but refused to marry her due to financial difficulties. Subsequently, having regained his title and family estate, and also successfully married the rich merchant daughter Maria Botkina, the poet reproached himself for the fact that, having acquired wealth, he lost love.

Poem “The night was shining. The garden was full of the moon,” written in 1877, when the poet was already in his sixties, is a work of recollection dedicated to one of the brightest and happiest periods of Fet’s life. He was young and in love, enjoying life in the company of a girl who shared his feelings. And the memory of these romantic dates formed the basis of a poem filled with joy and peace, which, nevertheless, are seasoned keen sense bitterness and the realization that nothing can be returned.

The first lines of the poem take readers to an old mansion, immersed in darkness. Only moonlight lies at the feet of two people who are in the living room. From it comes the sounds of a piano and gentle female voice who sings about love. “You sang until dawn, exhausted in tears,” the poet notes. Apparently, this was the last night he spent with Maria Lazic, saying goodbye to his beloved, but not suspecting that in less than a month she would leave his life forever, remaining only in his memory. However, at the moment of farewell, the poet “wanted to live so much so that, without making a sound, I could love you, hug you and cry over you.”

Fet did not yet realize that by abandoning his beloved, he would forever change his life, which from now on would be deprived of ordinary human happiness. Therefore, the poet admits that “many years have passed, tedious and boring.” But the memories of lost love become more acute and painful every year, the author is no longer happy financial well-being, to which he so strived, and for the sake of which he betrayed the one who, as it turned out, was dearer to him than all earthly goods. And now, after a quarter of a century, the poet imagines that he hears his beloved singing again, and the enchanting sounds of her voice seem to return the author to the past, where “there are no insults from fate and no burning torment in the heart.”

Afanasy Fet, setting off on a journey through the waves of his memory, does not want to return to the reality that frightens him, cold and gloomy. In his family, he feels infinitely lonely and doomed to a joyless old age. Therefore, he really wants there to be no other goal in life, “as soon as to believe in the sobbing sounds, to love you, hug you and cry over you!” But these dreams are not destined to come true, since Maria Lazic has been laid to rest for almost 30 years now. rural cemetery. The poet never dared to visit her grave in his entire life, believing that he was indirectly involved in the death of his beloved. And it is precisely this feeling of guilt that explains the repeated repetition of the word “cry” in the poem. This is the only thing that remains for the poet, who has realized what exactly he has lost in his life, and understands that even all the treasures of the world are not able to return him to the past and allow him to correct the mistake that he made in the life of the poet fatal role. His destiny is to indulge in memories that give joy and, at the same time, cause unbearable heartache, which fills the poem “The Night Shined. The garden was full of the moon."

(Perception, interpretation, evaluation.)

Poem “The night was shining. The garden was full of moonlight. They were lying..." - one of the lyrical masterpieces of A. A. Fet. Created on August 2, 1877, it was inspired by the singing of T. A. Kuzminskaya (sister of Sofia Andreevna Tolstoy), who described this episode in her memoirs. The work opens a whole cycle of poems in the collection “Evening Lights,” which Fet called “Melodies.” Of course, this is not accidental. The poem is really written in a romance-song vein, unusually musical. The poet believed that beauty - the main idea of ​​lyricism - is expressed not in lines, not in refined words, but above all “sounds subtle.” This means that one of the most important characteristics of poetry should be melody.

The musicality of this work is achieved through repetitions on different levels poetic text. Thus, in the lyrical syntax there are anaphors (And...And..., What...What...) parallel constructions within the stanza ("That you are alone - all life, that you are alone - love; And there is no end to life, and there is no other goal" .... ). Fet compares words that are similar in sound composition - “sonorous sighs” - giving the poem additional semantic and emotional “overtones”. The phonetic techniques of assonance (repetition of the sounds [a], [o]), alliteration (repetition of the sound [r] in the line “The piano was all open and the strings in it were trembling”) are used here.

The composition of the poem also contributes to its melody. In this lyrical monologue, the author uses the ring technique. In the line “Love you, hug you and cry over you,” which frames the work, Fet expresses the main feelings of the hero: delight and admiration for the power of vocal art.

Of course, the musicality of the poem is dictated by its theme. After all, this work is not only about love and nature, it is, first of all, about wonderful singing, about a voice that gives rise to many vivid experiences:

The night was shining. The garden was full of moonlight. were lying

Rays at our feet in a living room without lights.

The piano was all open, and the strings in it were trembling,

Just like our hearts follow your song.

You sang until dawn, exhausted in tears,

That you alone are love, that there is no other love,

And I wanted to live so much, so that without making a sound,

To love you, hug you and cry over you.

Fet does not depict a specific landscape or interior, but everything comes together in perfect harmony. The poet creates a holistic, dynamic picture in which visual, auditory, tactile, and sensory impressions are immediately presented. Generalization and combination of images of nature, love, music help the poet express the fullness of the joy of perceiving life.

The poem is autobiographical. His lyrical hero is Fet himself.

This work tells how the poet experiences two meetings with his beloved, between which there is a long separation. But Fet does not paint a single stroke of the portrait of the woman he loves, does not trace all the changes in their relationship and his condition. He captures only the trembling feeling that covers him under the impression of her singing:

And many years have passed, tedious and boring,

And it blows, as then, in these sonorous sighs,

That you are alone - all life, that you are alone - love.

The feeling itself is also difficult to describe in words. The lyrical hero conveys the uniqueness, depth and complexity of his experiences with the help of “global” metaphors in the last line.

This poem once again convinces us that only art can truly ennoble a person, cleanse the soul, liberate and enrich it. Enjoying wonderful work, be it music, painting, poetry, we forget about all our problems and failures, we are distracted from the bustle of everyday life. Human soul everything opens up to beauty, dissolves in it and thus gains strength to live on: to believe, to hope, to love. Fet writes about this in the last stanza. Magic voice the singer frees the lyrical hero from “the grievances of fate and the burning torment of the heart,” presenting new horizons:

But there is no end to life, and there is no other goal,

As soon as you believe in the sobbing sounds,

Love you, hug you and cry over you!

Speaking about the lyrical character of the poem, the author involuntarily touched upon the theme of the creator and his mission. The singer's voice, which awakens a whole range of feelings in the hero, sounds so delightful because the heroine devotes herself passionately to her occupation and is herself fascinated by the magic of music. At the moment of performing the song, it must seem to her that there is nothing more important in the world than these beautiful sounds, than the feelings invested in the work. To forget about everything except creativity is the part of a true creator: a poet, an artist, a musician. This is also mentioned in the work.

Poem “The night was shining. The garden was full of moonlight. They lay..." amazes with the variety of themes, the depth and brightness of the images, the extraordinary melody, as well as its idea, which, in my opinion, lies in the author’s amazing desire to convey the beauty of art and the world in an all-encompassing way.