Fever at normal temperature. Regulation of the breathing process

Symptoms of neurovegetative disorders

Temperature may increase due to disturbances in neurovegetative processes. Accompanied by a feeling of heat in the head when normal temperature and other symptoms such as

headache;
dizziness;
sweating;
feeling of lack of air;
heartbeat;
horse racing blood pressure;
tides;
trembling of fingers, convulsions;
shortness of breath, difficulty breathing;
feeling of fear, excitement;
convulsions;
dry mouth;
loss of appetite;
discomfort that occurs in the stomach when eating food;
chills;
numbness of fingers;
bad dream.

This happens when the central nervous system controls the production of hormones responsible for psycho-emotional state, vascular tone, respiratory centers. The causes of these symptoms may include: physiological processes, and pathological, requiring diagnosis and treatment.

Causes of autonomic disorders

Most common reasons that lead to the development of such symptoms are:

In addition, such complaints may be caused by the following conditions:

chronic fatigue;
lack of sleep;
long-term stress.

Vegetative-vascular insufficiency

The most typical disease, accompanied by a feeling of heat in the body at normal temperature, is vegetative-vascular dystonia, a pathology in which a violation occurs autonomic system body, which controls the functions of all organs. The reason leading to this failure is prolonged stress.

Diagnostics of this disease difficult: the patient is forced to undergo comprehensive examination all organs and systems to exclude the presence of other organic pathology. Such patients are consulted by therapists, neurologists, psychiatrists, and gastroenterologists.

Diagnosis may include, in addition to standard examinations ( general analysis blood, general urine analysis, ECG, fluorography), cerebral vascular examination, echocardiography, ultrasound internal organs, if necessary - computed tomography.

Diagnosing VSD is no less a serious task than developing a strategy for its treatment. Despite the fact that the disease is not severe, it does not pose any danger to life and can cause the patient a lot of discomfort.

The main condition for a full quality of life is to avoid stressful situations or change your attitude towards them. It is very important not to focus on your illness, try to get positive emotions. For this, the following activities are recommended:

daily long walks in the fresh air, preferably in a forested area;
water treatments such as cold and hot shower, swimming;
morning exercises, always in combination with breathing exercises;
vitamin therapy, both with compounds included in food products, and in the form of medicines.

During an exacerbation of the disease, when a feeling of heat in the head and body interferes with a full existence, taking soothing drops of tincture of hawthorn, motherwort, and valerian is indicated. In an acute situation, a specialist may prescribe the tranquilizer phenazepam, which has a calming effect that relieves anxiety and emotional stress.

Among antidepressants, amitriptyline has become widespread.

Characteristics of the premenstrual period

Diagnosis of the feeling of heat that occurs during the premenstrual period is determined by the cyclical nature of complaints that appear several days before menstruation. In addition, patients may notice hardening and tenderness of the mammary glands, the appearance of swelling, pain in the lower abdomen, increased appetite, the presence of acme, mood swings, and irritability.

Therapeutic measures include the following:

psychotherapeutic sessions;
diet (excluding alcohol and caffeinated drinks);
physical therapy;
vitamin therapy;
taking tranquilizers, antidepressants, starting from 10-14 days of the menstrual cycle;
in severe cases, use of hormone therapy.

Characteristics of menopausal syndrome

The climacteric period of a woman, which usually begins at the age of 50-51, can be asymptomatic, but is quite often accompanied by the development of climacteric syndrome, that is, a set of symptoms characterizing a complicated course.

At the same time, hot flashes, or a feeling of heat appearing in the face, head, moving to the torso, are noted by up to 90% of women.

This state lasts 1-2 minutes. Additional symptoms include palpitations, sweating, and shortness of breath. Per day similar condition may occur 10 to 20 times. At the same time, the total duration climacteric syndrome lasts from six months to two years, in severe cases it is prolonged to several years.

TO non-drug methods treatment of this pathological condition include the following:

Maintaining healthy image life (in mandatory eliminating smoking as a factor that negatively affects blood vessels, as well as alcohol);
Physical education and especially yoga;
Water treatments, including oxygen baths, contrast showers or a visit to the pool;
Avoid eating foods containing caffeine.

Medications used in menopause, are tranquilizers and antidepressants. In severe cases, hormone replacement therapy may be considered.

Composition of space, feelings and words

(Gasparov M.L. Selected works. T. II. About poetry. - M., 1997. - P. 21-32)

Wonderful picture

How dear you are to me:

White plain,

Full moon,

Light of the high heavens

And shining snow

And distant sleighs

Lonely running.

This poem by Fet is one of the most textbook: we usually get acquainted with it in childhood, remember it right away and then rarely think about it. It seems: what to think about? it's so simple! But this is exactly what you can think about: why is it so simple, that is, so integral? And the answer will be: because the images and feelings that replace each other in these eight lines are replaced in an orderly and harmonious sequence.

What do we see? “White Plain” - we are looking straight ahead. “Full moon” - our gaze slides upward. “The light of the high heavens” - the field of vision expands, it no longer contains only the moon, but also the expanse of the cloudless sky. “And shining snow” - our gaze slides back down. “And the distant sleigh runs alone” - the field of vision narrows again, in the white space the gaze stops at one dark point. Higher - wider - lower - narrower: this is the clear rhythm in which we perceive the space of this poem. And it is not arbitrary, but given by the author: the words “...plain”, “...high”, “...distant” (all in a line, all in rhymes) are width, height and depth, all three dimensions space. And from such an examination, space does not become fragmented, but, on the contrary, appears more and more unified and integral: “plain” and “moon” are still, perhaps, opposed to each other; “heaven” and “snow” are already united in a common atmosphere - light, splendor; and, finally, the last, key word of the poem, “running,” reduces both breadth, height, and distance to one denominator: movement. The motionless world becomes moving: the poem is over, it has led us to its goal.
This is a sequence of images; and the sequence of feelings? This descriptive poem begins with an emotional exclamation (its meaning: this picture described below is not good, but this picture described below is good!). Then the tone changes sharply: from a subjective attitude the poet moves on to an objective description. But this objectivity - and this is the most remarkable thing - before the reader’s eyes, subtly and gradually again acquires a subjective, emotional coloring. In the words: “White plain, full moon” it is not yet there: the picture before us is calm and dead. In the words “the light of heaven... and shining snow” it is already there: before us is not color, but light, living and shimmering. Finally, in the words “a distant sleigh running lonely” - the picture is not only alive, but also felt: “lonely running” is no longer a feeling of an outside viewer, but of the rider himself, guessed in the sleigh, and this is not only delight in front of the “wonderful” , but also sadness among the desert. The observed world becomes the experienced world - from the external it turns into the internal, it is “interiorized”: the poem has done its job.

We don’t even immediately notice that we have eight lines in front of us without a single verb (only eight nouns and eight adjectives!) - it so clearly evokes in us both a movement of gaze and a movement of feeling. But maybe all this clarity is only because the poem is very small? Maybe eight images are such a small load for our perception that, no matter what order they appear in, they will form a whole picture? Let's take another poem in which there are not eight, but twenty-four such changing images:

This morning, this joy,

This power of both day and light,

This blue vault

This cry and strings,

These flocks, these birds,

This talk of the waters

These willows and birches,

These drops are these tears,

This fluff is not a leaf,

These mountains, these valleys,

These midges, these bees,

This noise and whistle,

These dawns without eclipse,

This sigh of the night village,

This night without sleep

This darkness and heat of the bed,

This fraction and these trills,

It's all spring.

The poem is structured very simply - almost like a catalogue. The question is, what determines the sequence of images in this catalogue, what is the basis of their order? The basis is the same: narrowing the field of view and interiorization of the depicted world.

The poem has three stanzas. How do they relate, what overlapping subheadings do they ask for? Two options can be offered. Firstly, it is (I) light - (II) objects - (III) states. Secondly, this is (I) the discovery of the world - (II) the acquisition of space by the world - (III) the acquisition of time by the world. In the first stanza, the world before us is whole and undivided; in the second, it is divided into objects located in space; in the third, objects turn into states extended in time. Let's see how this happens.

The first stanza is a look up. The first impression is visual: “morning”; and then - a series of nouns, as if before the reader’s eyes, clarifying this impression, choosing a word for what he saw: “day”, “light”, “vault”. Morning is a transitional time; a poem about unsteady twilight could begin with the word “morning”; and the poet hastens to say: the main thing in the morning is that it opens the day, the main thing in the day is the light, and the visible appearance of this light is the firmament. The word “vault” is the first outline, the first boundary in the opening picture, the first stop of the gaze. And at this stop, the second impression is activated - the sound one, and again a series of words pass through, clarifying it to its exact name. The sound image of “scream” (whose?) is interrupted by the visual image of “strings” (whose?), they are associated with each other in the word “flocks” (as if the poet already understood whose cry and strings it was, but has not yet found the right word) and, finally, they get their name in the word “birds” (that’s whose!). The word “birds” is the first object in the outlined picture, the second stop of the gaze, no longer at its border, but between the border and the eye. And at this stop a new direction is switched on - for the first time not upward, but to the sides. From the outside - from all sides? - a sound is heard (“talking...”), and this sound is heard to the side - in all directions! - the glance slides (“...water!”).

The second stanza is a look around. This glance is cast low from the ground and therefore immediately rests on the “willows and birches” - and from them it is cast ever closer, into ever larger plans: “these drops” on the leaves (they are still distant: they can be mistaken for tears), “this ... leaf” (it’s already completely before your eyes: you can see how fluffy it is). You have to take a second glance, this time higher above the ground; he goes further until he runs into “mountains” and “valleys”; and from them it glides back again, ever closer, meeting on the way, in the air, first distant small midges, and then close large bees. And from them, like from the birds in the first stanza, in addition to visual sensations the auditory ones are turned on: “tongue and whistle”. This is how the external horizon is finally outlined: first the high circle of the sky, then the narrow circle of nearby trees and, finally, the middle circle of the horizon connecting them; and in each circle the gaze moves from the far rim to the near objects.

The third stanza is a look inside. It immediately changes the perception of the external world: until now, all images were perceived as being seen for the first time (and even difficult to name), here they are perceived as already familiar to internal experience - against the backdrop of expectation. Waiting says that evening gives way to night, at night life freezes and sleep reigns; and only in contrast to this does the poem describe “dawns without an eclipse”, “sigh... of the village” and “night without sleep”. Waiting includes a sense of time: “dawns without an eclipse” are lasting dawns, and “night without sleep” is a lasting night; and the transition itself from the picture of morning to the picture of evening and night is impossible without the inclusion of time. In retrospect, this allows you to feel the temporal relationship of the first two, static stanzas: the first is early spring, melting snow; the second – blooming spring, greenery on the trees; the third is the beginning of summer, “dawns without an eclipse.” And against this background, the field of vision again narrows: the sky (“dawns”), the earth (“village”), “night without sleep” (the whole village and mine?), “darkness and heat of the bed” (only mine, of course). And, having reached this limit, the imagery again switches to sound: “fraction and trills.” (They suggest the image of a nightingale, the traditional companion of love, and this is enough for the “beat and trill” to feel more interiorized than the “tongue and whistle” of the previous stanza.)

This is the figurative series that determines the structure of the poem. It corresponds to gradual change emotional connotations: at the beginning of the poem there are the words “joy”, “power”, and at the end – “sigh”, “darkness”, “heat” (in the middle there is no emotional connotation - except that it is hinted at by the metaphor of “tears”: the word , which equally resonates with both the feeling of “joy” and the feeling of “sigh”). So emphasized extreme points poems: spring from the face and spring from the inside, spring from the outside and spring in the utmost interiorization. The entire poem between these two points is a path from light to darkness and from joy and power to sigh and heat: the same path from the visible to the experienced as in our first poem.

How to schematically depict the composition of this poem - the relationship between the beginning, middle and end? There are only so many possible options: based on the presence or absence of any sign, the beginning can be identified (Ahh), end (aaa), middle (aaa) poems, the feature may strengthen or weaken gradually from beginning to end (aAA) and finally can be maintained evenly (ahh), that is, to be compositionally neutral. In our poem, the figurative series highlights the ending-interiorization - therefore, the scheme aaa; and the emotional series highlights the condensation of emotions at the beginning and end around the weakened middle - therefore, the scheme aaa.

But this is only one level of the structure of the text, and in total in the structure of any text there are three levels, each with two sublevels. First, top, - ideologically figurative, semantic: firstly, ideas and emotions (we have traced the emotions in our poem, but there are simply no ideas in it, except for the idea, for example, the statement “spring is wonderful!”; poems without ideas have the same right to exist, like, say, poems without rhymes, and only in certain eras “lack of ideas” becomes a swear word - for lack of ideas, as we know, modern criticism scolded Fet very much), secondly, images and motives (potentially every noun denoting a person or an object is an image, each verb is a motive). Second level, intermediate, – stylistic: firstly, vocabulary, secondly, syntax. Third level, lower, – phonic, sound: firstly, metrics and rhythm, secondly, phonics itself, sound writing. This was discussed in more detail in the previous article, when analyzing Pushkin’s “Again the clouds are above me...”. Of course, such a systematization (proposed in the 1920s by B.I. Yarkho) is not the only possible one, but it seems to us the most practically convenient for analyzing poetry.

If so, then let’s pause and see how the other levels of Fetov’s poem resonate with the composition of the ideological-figurative level we have traced.

Lexico-stylistic accompaniment is three clearly distinguished stylistic figures, one per stanza. In the first - gendiadis (“These flocks, these birds” instead of “these flocks of birds”; “gendiadis” literally means “one expression in two”). In the second there are two metaphors (“drops - tears”, “fluff - leaf”) with a chiastic, criss-cross arrangement of the terms of parallelism (the exact word is metaphorical - metaphorical - exact). In the third there are two antitheses (“dawns without an eclipse”, “night without sleep”); to them we can add the metonymy “sigh... of the village” and, perhaps, hyperbole (“dawns without an eclipse” in June are real at the latitude of the white nights of St. Petersburg, but not at the latitude of Fet’s Oryol estates). The first figure fits in one line, the second in two, the third in three. Gendiadis is a figure of identity, metaphor is a figure of similarity, antithesis is a figure of contrast: before us is a consistent increase in stylistic tension. Scheme - aAAA.

Syntactic accompaniment is the monotony of continuous constructions “this is...” and the variety of variations given to them. Of the six short lines, not one repeats the other in syntactic structure. Of the long lines, the penultimate ones in each stanza are uniform: “These flocks, these birds,” “These midges, these bees,” “This fraction and these trills”; in the middle stanza this uniformity also covers the middle of the stanza (“These drops are these tears”, “These mountains, these valleys”), in the extreme ones it is weaker. This roll call of the extreme stanzas over the head of the (simplest) middle one is supported by a very subtle analogy of the syntax of the lines “This power is both day and light” and “This darkness and heat is the bed.” Thus, in syntax, complexity is concentrated at the edges of the poem, uniformity - in the middle; scheme - aaa.

Metrical accompaniment is the arrangement, firstly, of stress omissions and, secondly, of word divisions. There are only three omissions of stress in the entire poem: in the lines “This cry and the strings”, “These willows and birches”, “These dawns without an eclipse” - once in each stanza. This is an even arrangement, compositionally neutral: ahh. With such a frequent arrangement of stresses, word divisions are only possible for women (“this...”) and men’s (“cry...”), and the frequent repetition of the words “this, these...” gives an advantage to the feminine ones. But throughout the poem this preponderance is distributed unevenly: the ratio of female and male word divisions in the first stanza is 12:3, in the second - 13:2, in the third - 8:7. Thus, in the first and second stanzas, the rhythm of the word sections is very uniform, almost predictable, but in the third stanza (where the turn from the external to the internal world takes place) it becomes vague and unpredictable. This is what makes the ending stand out: diagram – aaB.

Phonic accompaniment is the arrangement of sounds: vowels and consonants. Of the vowels, we will focus only on the more noticeable ones - stressed ones. Of five percussive sounds a, o, e, i, y decisively prevails (again thanks to “this, these...”) e , occupying the first accent of all lines. If we discard these 18 e , then among the remaining 45 stressed vowels there will be the following proportion a:o:e:i:y : first stanza – 3:4:3:4:1, second stanza – 1:6:3:4:1, third stanza – 4:6:5:0:0. In other words, from stanza to stanza the concentration and monotony intensify: in the second stanza two lines (“These mountains...”) are built on a completely identical e-o-e-o , the third stanza generally makes do with only three stressed vowels. This, therefore, is a gradual increase, a pattern - aAAA. Of the consonant sounds, we will focus only on those that are repeated (alliterate) within one line. The most common repetitions (again due to “this is...”) are T And t . If we discard them, then among those remaining in the first stanza there will be five repetitions - r, s/s, k, r, v ; in the second stanza there are two: l, s ; in the third stanza there are seven: z, n, n, i, l/l, r/r, s/s (note how easy it is to read the anagram “heat” here). The first and third stanzas are decidedly richer in repetitions than the second: the compositional scheme is ahhh.(This circular arrangement is emphasized by the direct echo of the alliterations of the first and last hemistrophies: “at tr O, R hellishness" - " etc. ob, tr ate" and " With And n th With water" - "in With e ve sn A".)

Thus, the composition of words and sounds complements the composition of images and emotions. This is the answer to a question that may have arisen in one of the readers: if there are only four types of composition, not counting the neutral one, then where does such a variety of uniquely individual poems come from? In fact, poems with figurative composition aaa(like ours) you can count many; but for the composition of all the other rows to accompany this figurative row exactly as it does for us, the likelihood of this is negligible. The elements that make up the composition of a poem are few, but their combinations are infinitely many; hence the opportunity for the reader to enjoy the endless variety of living poetry, and for the scientist the opportunity to pedantically analyze it.

But we lingered too long on “This morning, this joy...” - and this is not the most famous and, of course, not the most complex of Fet’s “verbless” poems. Let's consider the most famous: “Whisper, timid breathing...”. It is more complex: it is based not on one movement “from wide to narrow”, “from external to internal”, but on the alternation of several such narrowings and expansions, developing into a tangible but unsteady rhythm. (And the poem itself speaks of things much more fragile than the picture of a clear winter or a joyful spring.)

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears,

And dawn, dawn!..

Let us first trace the change in expansion and contraction of our field of vision. The first stanza is before us an expansion: first, “whispering” and “breathing,” that is, something heard very close by; then - “nightingale” and “stream”, that is, something audible and visible from some distance. In other words, first in our field of vision (more precisely, in our field of hearing) only the heroes, then - their immediate surroundings. The second stanza is before us a narrowing: first “light”, “shadows”, “shadows without end”, that is, something external, the light atmosphere of a moonlit night; then - a “sweet face”, which reflects this change of light and shadows, that is, the gaze is transferred from far to near. In other words, first we have the environment in front of us, then only the heroine. And finally, the third stanza - we see first a narrowing, then an expansion: “in the smoky clouds the purple of the rose” is, apparently, the dawning sky, “the reflection of amber” is its reflection in the stream (?), in the field of view is a wide world (even wider, the check that was covered by the “nightingale” and “stream”); “and kisses and tears” - only heroes are in sight again; “and dawn, dawn!” - again a wide world, this time - the widest one, embracing at once both the dawn in the sky and the dawn in the stream (and the dawn in the soul? - more on that later). At this limit of latitude the poem ends. We can say that its figurative rhythm consists of a large movement “expansion - narrowing” (“whisper” - “nightingale, stream, light and shadows” - “sweet face”) and a small countermovement “narrowing - expansion” (“purple, reflection” - “kisses and tears” - “dawn!”). The large movement occupies two stanzas, the small (but much wider) counter-movement one: the rhythm accelerates towards the end of the poem.

Now let us trace the change in the sensory filling of this expanding and narrowing field of vision. We will see that here the sequence is much more direct: from sound to light and then to color. The first stanza: at the beginning we have sound (first an articulate “whisper”, then an inarticulate, unsteady “breath”), at the end – light (first a distinct “silver”, then an indistinct, unsteady “sway”). Second stanza: at the beginning we have “light” and “shadows”, at the end - “changes” (both ends of the stanzas emphasize movement, instability). Third stanza: “smoky clouds”, “purple of roses”, “glimmer of amber” - from smoky color to pink and then to amber, the color becomes brighter, more saturated, less and less unsteady: there is no motive of hesitation, changeability here, on the contrary, repetition The word “dawn” perhaps emphasizes firmness and confidence. Thus, in the rhythmically expanding and contracting boundaries of the poetic space, more and more tangible things replace each other - uncertain sound, uncertain light and confident color.

Finally, let us trace the change in the emotional saturation of this space: how much it is experienced, interiorized, how much a person is present in it. And we will see that here the sequence is even more direct: from observed emotion - to passively experienced emotion - and to actively manifested emotion. In the first stanza, breathing is “timid”: it is an emotion, but the emotion of the heroine, the hero notes it, but does not experience it himself. In the second stanza, the face is “sweet”, and its changes are “magical”: this is the hero’s own emotion, which appears when looking at the heroine. In the third stanza, “kisses and tears” are no longer a look, but an action, and in this action the feelings of the lovers, hitherto presented only separately, merge. (In an early edition, the first line read “Whisper of the heart, breath of the mouth...” - obviously, “whisper of the heart” could be said more about oneself than about a friend, so there the first stanza spoke even more clearly about the hero, the second about the heroine , and the third is about them together.) From the audible and visible to the effective, from adjectives to nouns - this is how the poem expresses the growing fullness of passion.

Is “Whisper, timid breathing...” more complex than “This morning, this joy...”? The fact that there the visible and experienced images replaced each other as if in two clear parts: two stanzas - the external world, the third - the interiorized one. Here these two lines (“what we see” and “what we feel”) intertwine and alternate. The first stanza ends with the image of the visible world (“silver stream”), the second stanza with the image of the emotional world (“sweet face”), the third stanza with an unexpected and vivid synthesis: the words “dawn, dawn!” in their final position are comprehended simultaneously and in direct meaning(“dawn of the morning!”), and metaphorically (“dawn of love!”). It is this alternation of two figurative rows that finds its correspondence in the rhythm of expansion and contraction of the lyrical space.

So, the basic compositional scheme of our poem is aaa: the first two stanzas are movement, the third is countermovement. How do other levels of verse structure respond to this?

Syntactic accompaniment also emphasizes the scheme aaa: in the first and second stanzas the sentences are constantly lengthened, in the third stanza they are shortened. The sequence of sentences in the first and second stanzas (exactly the same): 0.5 verse - 0.5 verse - 1 verse - 2 verses. The sequence of sentences in the third stanza: 1 verse (long) – 1 verse (short) – 0.5 and 0.5 verse (long) – 0.5 and 0.5 verse (short). All sentences are simple, nominal, so their juxtaposition allows you to feel the relationships of their length very clearly. If we assume that short phrases express greater tension, and long ones - greater calm, then the parallelism with the increase in emotional fullness will be undeniable.

Lexico-stylistic accompaniment, on the contrary, does not emphasize the main scheme. Regarding the lexical figures, one can notice: the first stanza has no repetitions, the second stanza begins with a one-and-a-half chiasmus “night light, night shadows, endless shadows”, the third stanza ends with an emphatic doubling “dawn, dawn!..”. In other words, the first stanza is highlighted by weakness, the diagram is Ahh. In terms of semantic figures, one can notice: in the first stanza we have only a pale metonymy “timid breathing” and a weak (hidden in an epithet) metaphor-personification of a “sleepy stream”; in the second stanza there is an oxymoron, very sharp - “night light” (instead of “ Moonlight"); in the third stanza there is a double metaphor, quite sharp (substantivized): “roses”, “amber” - about the color of dawn. (In the early edition, in place of the second line there was an even sharper oxymoron, which shocked critics with its agrammatism: “Speech without speaking.”) In other words, the scheme - again highlighting the weakened beginning, Ahh, and for the early edition - with a smooth increase in voltage from weakened beginning to strengthened end, aAA.

Metrical accompaniment emphasizes the basic scheme aaa, beats the final stanza. Long lines (4-foot) alternate as follows: in the first stanza - 3rd 2-stress, in the second - 4- and 3-stress, in the third - 4- and 2-stress; The relief of the verse towards the end of the stanza in the third stanza is more pronounced. The short lines change like this: from the first to the penultimate they are 2-stressed with the stress omitted on the middle foot (and in each stanza the first short line has a feminine word section, “trills...”, and the second - dactylic, “sleepy”), the last the line is also 2-stressed, but with the stress omitted on the initial foot (“And the dawn...”), which gives a sharp contrast.

Phonic accompaniment emphasizes the basic scheme aaa only one sign - the density of consonants. In the first stanza, for the 13 vowels of each half-strophe there are first 17, then 15 consonants; in the second stanza there are 19 and 18 respectively; and in the third stanza there are 24 and 121. In other words, in the first and second stanzas the relief of consonantal phonics towards the end of the stanza is very weak, and in the third stanza it is very strong. The remaining features - the distribution of stressed vowels and the distribution of alliterations - are located more or less evenly across all stanzas; they are compositionally neutral.

Finally, let us turn to Fet’s fourth “verbless” poem, the latest and most paradoxical. The paradox is that in appearance it is the simplest of the four, simpler even than “Wonderful Picture...”, but in terms of the composition of space and feeling it is the most whimsical:

Only in the world is there something shady

Dormant maple tent.

Only in the world is there something radiant

Childishly thoughtful look.

Only in the world is there something fragrant

Sweet headdress.

Only in the world is there this pure

Parting to the left.

There are only 16 non-repeating words, all of them are only nouns and adjectives (two adverbs and one participle are closely adjacent to adjectives), end-to-end parallelism, end-to-end rhyme. The four couplets that make up the poem can even be easily rearranged in any order. Fet chose exactly this order. Why?

We are already accustomed to seeing that the compositional core of a poem is interiorization, a movement from the external world to its internal development. In this poem, such a habit would lead one to expect a sequence: “maple tent” (nature) - “headdress”, “clean parting” (human appearance) - “radiant gaze” ( inner world person). Fet goes against this expectation: he brings forward two extreme members of this row, pulls back the two middle ones and receives an elusive alternation: narrowing - widening - narrowing (“tent - gaze”, “gaze - headdress”, “headdress - parting”), interiorization - exteriorization (“tent - gaze”, “gaze - headdress - parting"). Why is he doing this? Probably, in order to place in the most important, most significant, most highlighted place at the end of the poem - the most external, most optional member of its list: “parting to the left.” (Note that this is the only image of extension and movement in the poem, especially against the background of the initial images of “slumbering...”, “pensive...”) The cumbersome multiple parallelism “Only in the world is...” builds up anticipation something very important; psychologized, emotionally emphasized preceding members - “slumbering” maples, “childishly pensive” gaze, “sweet” head - force us to assume enhanced internalization here too; and when such an unexpected image as a “parting” appears in this place, it makes the reader think something like this: “How great is the love that, even when looking at the parting of the hair, fills the soul with such delight! " This - strong effect, but this is also a risk: if the reader does not think so, then the entire poem will perish for him - it will seem unmotivated, forced and pretentious.

We will not trace how this basic compositional level is accompanied by other compositional levels. Many observations could be made. Let us note that here for the first time in our material the olfactory epithet “fragrant dress” appears and that it is perceived as more interiorized than the visual “clean parting” - perhaps because the “olfactory person” is thought of as closer to the object than the “spectator”. Let us note how the three words “slumbering maple tent” contain two metaphors at once, “slumbering maples” and “maple tent”; they partially cover each other, but do not coincide completely (“maples” in the first metaphor are animate, in the second they are not animate) . Note how short lines alternate between odd ones, starting with adjectives and participles (“slumbering”, “sweetheart”), and even ones, starting with adverbs (“childishly”, “to the left”). Note that in odd couplets the semantic centers of short lines (“maples”, “head”) do not coincide with their syntactic centers (“tent”, “dress”) - the former are in the oblique cases, and the latter in the nominative. Let us note how the supporting consonants in the rhymes of long verses are arranged through a couplet (“radiant - pure”), and in the rhymes of short verses - in a row (“headdress - parting”). Note how in short poems alternating sequences of stressed vowels eoo – eoo – eoo – eoo , and at the same time – the complete absence of a wide shock A (which permeated all the rhymes in the previous poem, “Whisper, timid breathing ...”). It is possible, but difficult, to combine all these and similar observations into a system. Is that the only super-scheme stress within the verse - “this” in the penultimate line - is immediately semantized as a signal of the ending, emphasizing the paradoxical climax of the poem - the word “parting”.

Our entire small analysis is not a literary study, but only a diagram of it: an attempt to give oneself an account of the impression produced by reading four very famous poems by Fet: what causes it? It is with such an attempt at self-report that every literary study begins, but by no means ends with it. Some readers find this attempt unpleasant: it seems to them that aesthetic pleasure is possible only as long as we do not understand what causes it. At the same time, they willingly talk about the “miracle” of poetry and the “secret” that must be respected. We are not encroaching on the secret of poetry: of course, such an analysis will not teach anyone the art of writing poetry. But, perhaps, from such an analysis one can learn at least the art of reading poetry - that is, seeing more in them than you see at the first cursory glance.

Therefore, let's finish our reading lesson with an exercise that Fet himself seems to suggest to us. We have already noticed that the four couplets that make up the poem can be easily interchanged in any order. 24 are possible here various combinations, and it is absolutely impossible to say in advance that they are all worse than the one that Fet chose. Maybe they are not worse - they are just different, and the impression they give is different. Let every inquisitive reader try, at his own risk, to make several such permutations and give himself an account of how the impressions from each of them differ. Then he will experience the feeling that every literary critic experiences when starting his work. Perhaps such a spiritual experience will be useful for others.

R.S.When this analysis of “This morning, this joy...” was discussed among colleagues, some other observations and considerations were expressed. Thus, it was assumed that in three stanzas there are not three, but five moments of spring: the “blue arch” - February, waters - March, leaves - April, midges - May, dawns - June. And, perhaps, the composition that beats the ending is felt not only at the level of the stanzas of the entire poem, but also at the level of the lines of the third, final stanza: after five lines of the emotional list, the same emotional last line is expected, for example: “... How I them I love you!”, and instead the reader is offered an unexpectedly contrasting logical: “... This is all spring.” Logic against the background of emotion can be no less poetic than emotion against the background of logic. Further, there are almost no color epithets in the poem, but they are reconstructed from painted objects: the color of the first stanza is blue, the second is green, the third is “glow”. In other words, in two stanzas there is color, in the third there is light, and again the ending is broken. Maybe it’s not true that “drops are tears” are visible from afar, and “fluff is a leaf” from close up? Maybe, or rather, it’s the other way around: “drops are tears” before our eyes, but the foliage on the spring branches, visible from afar, seems like fluff? And perhaps the syntactic contrast “This power - both day and light” and “This darkness and heat - the bed” is far-fetched, but in fact the second of these lines is divided in the same way as the first: “This darkness (implied: nights ) – and the heat of the bed”? Thank you very much for these comments S.I. Gindin, Zh.A. Dozorets, I.I. Kovaleva, A.K. Zholkovsky and Yu.I. Levin.

Lack of air is a feeling of inadequate breathing that each of us has encountered. We climb the stairs, rush to work and begin to feel out of breath. This is normal physiological shortness of breath due to the increased load on the cardiovascular and respiratory systems. But today we will talk about the pathological lack of air, which can arise against the background of seemingly absolute health In young age.

Shortness of air is referred to by the term « hyperventilation syndrome» . This is one of the many syndromes of vegetative-vascular dystonia. Outside of a crisis, this syndrome manifests itself with deep sighs, frequent yawning, and coughing. The patient most often does not notice this, but people around him pay attention to the manifestations.

There are three types of shortness of breath:

“Empty” or incomplete breathing is a feeling of lack of air in which a person breathes freely, but periodically takes deep, “breathing” breaths. Against the background of absolutely identical breaths, he begins to distinguish “successful” and “unsuccessful” breaths, and tries to catch his breath. To compensate for this dissatisfaction with breathing, a person begins to open windows, even in cold weather. Patients' sense of smell is heightened, they are irritated by numerous odors, and a feeling of constant stuffiness appears. These sensations intensify indoors, in an elevator, when climbing to a height, during stressful situations.
Feeling of stopping breathing. The patient seems to control his breathing independently. He determines himself when he needs to inhale and exhale. Such a patient believes that the respiratory center does not automatically work even when weakened own control breathing will stop.
Feeling of difficulty breathing. The patient tries to inhale with effort, as if trying to overcome an obstacle in the respiratory tract. He feels a feeling of compression of the chest from the inside or pressure from the outside, a “lump in the throat,” difficulty in passing air in the larynx and trachea. The patient purposefully strains the respiratory muscles, breathing becomes chesty. In such a situation, the doctor differentiates hyperventilation syndrome from bronchial asthma, but pathologies respiratory system does not find.

How does an attack of shortness of breath manifest itself?

As a rule, the feeling of shortness of breath is combined with the following symptoms:

difficulty breathing, “empty” or “incomplete” breath
rapid shallow breathing
feeling of tightness, heaviness in the chest
"lump in the throat"
frequent yawning
dizziness, headache
palpitations, heart pain
anxiety, fear of death
general weakness, sweating
numbness and coldness of the extremities, trembling in the body, chills

Thus, an attack of lack of air in combination with the above symptoms represents a vegetative-vascular crisis, which causes panic in the patient and a desire to be examined. However, complete diagnostic examination, as a rule, does not find serious pathology. Why? Because hyperventilation syndrome is usually based on a psychogenic disorder.

Three main causes of hyperventilation syndrome:

Psychogenic diseases
Organic diseases nervous system
Diseases of other body systems ( endocrine disorders, poisoning, etc.)

The mechanism of development of air shortage.

The trigger mechanism in the development of hyperventilation syndrome is, as a rule, severe nervous stress and anxiety. Often mental trauma associated with the process of breathing. For example, the experience of a bone getting stuck in the throat, the situation of a drowning person, exacerbation of bronchial asthma in close relatives. Previous sports activities, especially swimming and running, play a role, when respiratory parameters are very important.

Breathing rhythm disturbances lead to changes gas composition blood (decrease in partial pressure of CO2 and increase in partial pressure of O2), violation acid-base balance, which further aggravates changes in activity respiratory center. autonomic nervous system. As a result, a vicious circle closes, from which it can be very difficult to get out.

Criteria for diagnosing “Hyperventilation syndrome”:

Complaints about respiratory, autonomic disorders.
History of mental trauma
Positive hyperventilation test: deep and rapid breathing for 3-5 minutes leads to symptoms of hyperventilation.
Disappearance of a spontaneous attack or an attack caused by a hyperventilation test when inhaling a mixture of gases containing 5% CO2, or when breathing into a plastic bag. Breathing into the bag leads to the accumulation of CO2, which compensates for the lack of CO2 in the alveolar air and improves the patient’s condition.
Symptoms of excessive neuromuscular excitability: Chvostek's symptoms, positive Trousseau-Bonsdorff test, positive EMG test for hidden muscle spasms.

In the next article we will talk about treating the feeling of shortness of breath (

The modern name of this condition “hyperventilation syndrome” means a state of increased breathing (hyper - increased, increased; ventilation - breathing). At the end of the twentieth century, it was proven that the main cause of all symptoms of HVS (shortness of breath, a feeling of a lump in the throat, a sore throat, annoying coughing, a feeling of being unable to breathe, a feeling of chest tightness, pain in the chest and in the heart area, etc.) are psychological. stress, anxiety, worry and depression. As mentioned above, the respiratory function is influenced by the somatic nervous system and psyche and therefore responds to any changes that occur in these systems (mainly stress and anxiety). Another reason for the occurrence of HVS is the tendency of some people to imitate the symptoms of certain diseases (for example, cough, sore throat) and to unconsciously reinforce these symptoms in their behavior. Development of hot water supply in adult life may contribute to monitoring patients with dyspnea in childhood. This fact may seem unlikely to many, but numerous observations have proven the ability of a person’s memory (especially in the case of impressionable people or people with artistic inclinations) to firmly record certain events (for example, memories of sick relatives or one’s own illness) and subsequently try to reproduce them in real life, many years later. With hyperventilation syndrome, disruption of the normal breathing program (changes in the frequency and depth of breathing) leads to changes in blood acidity and the concentration of various minerals in the blood (calcium, magnesium), which in turn causes the occurrence of such symptoms of HVS as trembling, goosebumps, convulsions, pain in the heart, feeling of muscle stiffness, dizziness, etc.

Symptoms and signs of hyperventilation syndrome. Different Types of Breathing Disorders

Breathing disorders with hyperventilation syndrome can be permanent or occur in the form of attacks. HVS attacks are characteristic of conditions such as panic attacks and anxiety disorders, in which various symptoms breathing disorders are combined with some symptoms characteristic of these conditions.

Panic attacks and breathing problems

Panic attacks are attacks of strong unmotivated fear accompanied by shortness of breath and a feeling of lack of air. During a panic attack, you usually experience at least 4 of the following symptoms:

strong heart beats
sweating
chills
shortness of breath, suffocation (feeling of lack of air)
pain and discomfort in the left side of the chest
nausea
dizziness
a feeling of unreality of the surrounding world or one’s own self
fear of going crazy
fear of dying
tingling or numbness in the legs or arms
flashes of hot and cold.

Read more about panic attacks read our article

Anxiety Disorders and Breathing Symptoms

Anxiety disorder is a condition in which the main symptom is a feeling of intense internal anxiety. Feeling of anxiety when anxiety disorder, as a rule, is unjustified and is not related to the presence of a real external threat. Strong inner restlessness with an anxiety disorder it is often accompanied by shortness of breath and a feeling of lack of air. Read more about panic attacks in our article. The constant presence of symptoms of HVS is observed more often than paroxysmal development this state. As a rule, patients with hyperventilation syndrome simultaneously have three types of disorders: respiratory, emotional and muscular. Respiratory disorders during hot water supply:

constant or periodic feeling of shortness of breath
a feeling of being unable to take a deep breath or of “not getting air into the lungs”
feeling of difficulty breathing or tightness in the chest
annoying dry cough, frequent sighs, sniffling, yawning.

Emotional disorders during hot water supply:

inner feeling of fear and tension
feeling of imminent disaster
fear of death
fear of open or closed spaces, fear of large crowds of people
depression

Muscle disorders during HVS:

feeling of numbness or tingling in the fingers or toes
spasms or cramps in the muscles of the legs and arms
feeling of stiffness in the hands or muscles around the mouth
pain in the heart or chest

Principles of development of HVS symptoms

As mentioned above, the triggering factor in the development of symptoms of HVS is psychological stress or another factor that influenced the psychological life of the patient. It is important to note that often patients with HVS cannot say exactly after which stressful situation they first developed breathing problems or cannot remember at all unpleasant situation, which could provoke this disease, however, with detailed questioning, the cause of HVS is most often determined. Very often this may be a hidden or not fully realized concern about the patient’s state of health, an illness suffered in the past (or an illness of relatives or friends), conflict situations in the family or at work, which patients tend to hide or unconsciously reduce their significance. Under the influence of a mental stress factor, the work of the breathing center changes: breathing becomes more frequent, more superficial, and more restless. Long-term changes in the rhythm and quality of breathing lead to changes internal environment body and to the development of muscle symptoms of HVS. The appearance of muscle symptoms of HVS usually increases the stress and anxiety of patients and thereby closes the vicious circle of the development of this disease.

Respiratory disorders during hot water supply

The respiratory symptoms of hyperventilation syndrome do not occur chaotically, but systematically, in certain associations and ratios. Here are the most characteristic combinations of symptoms of respiratory failure during hot water supply: Feeling empty breath– characterized by a feeling of incomplete inspiration or the inability to take a full breath. Trying to breathe more air, patients do deep breaths, open the vents, windows, go out onto the balcony or onto the street. As a rule, the “feeling of lack of air” intensifies in crowded places (in a store), in public transport (on a bus, in the subway), in closed spaces (in an elevator). Often the feeling of “incomplete breathing” or “lack of air” intensifies during excitement before public speaking, before an exam or an important conversation. Difficulty breathing and lump in throat- characterized by a feeling of obstacles in the way of air passing through respiratory tract or chest tightness that makes breathing extremely difficult and incomplete. Difficulty breathing makes the patient restless and often raises suspicion of bronchial asthma or goiter. The feeling of a “lump in the throat” is often observed for a long time and without visible difficulty breathing. Irregular breathing– characterized by a feeling of interruption (stopping breathing) and fear of suffocation. Due to the feeling of stopping breathing, patients are forced to constantly monitor and manage the breathing process. Obsessive dry cough, yawning, deep breaths - This is another type of breathing disorder during hot water supply. Patients with HVS often complain of a chronic dry cough, which is accompanied by a feeling of a lump in the throat or a constant sore throat. Typically, patients with such symptoms undergo long and unsuccessful treatment for pharyngitis and sinusitis, and also undergo unnecessary examinations of the thyroid gland for suspected goiter.

Other symptoms of hot water supply

In addition to breathing problems due to hyperventilation syndrome, other symptoms are often observed:

Pain in the heart or chest, short-term increase in blood pressure
Occasional nausea, vomiting, intolerance to certain foods, episodes of constipation or diarrhea, abdominal pain, irritable bowel syndrome
Feeling of unreality of the surrounding world, dizziness, feeling of near fainting
A prolonged increase in temperature to 37 -37.5 C without other signs of infection.

Hyperventilation syndrome and lung diseases: asthma, chronic bronchitis

Quite often, symptoms and signs of hyperventilation syndrome develop in patients with certain lung diseases. Most often, patients with asthma and chronic bronchitis suffer from HVS. The combination of HVS with lung diseases always complicates the situation significantly: the symptoms of HVS are very similar to the symptoms of asthma or bronchitis, but require completely different treatment than the symptoms of these diseases. According to modern statistics, about 80% of patients with bronchial asthma also suffer from HVS. In this case, the trigger point in the development of HVS is precisely asthma and the patient’s fear of the symptoms of this disease. The appearance of HVS against the background of asthma is characterized by an increase in the frequency of attacks of shortness of breath, a significant increase in the patient’s need for medications, and the appearance atypical seizures(attacks of shortness of breath develop without contact with the allergen, at unusual times), reducing the effectiveness of treatment. All patients with asthma should carefully monitor respiratory parameters during attacks and in the period between them in order to be able to distinguish an asthma attack from an attack of HVS.

Modern methods of diagnosis and treatment of breathing disorders during hot water supply

Diagnosis of hyperventilation syndrome is often quite difficult due to the need to exclude many diseases that may be accompanied by symptoms similar to those of HVS. Most patients with HVS and the doctors who advise them, who are unfamiliar with the problem of HVS, believe that the cause of the symptoms is diseases of the lungs, heart, endocrine glands, stomach, intestines, and ENT organs. Very often, the symptoms of HVS are considered as symptoms chronic pharyngitis, chronic bronchitis, asthma, angina pectoris, pleurisy, tuberculosis, gastritis, pancreatitis, goiter, etc. As a rule, patients with HVS undergo a very long diagnosis and treatment, which not only does not eliminate the symptoms of the disease, but often intensifies them. Despite this, full examination in the case of HVS, it is still necessary, but not in order to “find the cause of the disease,” but in order to exclude all other diseases that may occur with similar symptoms. The minimum examination plan for suspected HVS includes:

Consultation with a therapist
Consultation with an endocrinologist
Consultation with a neurologist
Ultrasound of internal organs and thyroid gland
X-rays of light

The situation in the diagnosis of HVS is often complicated by the patients themselves. Many of them, paradoxically, in no case want to agree that the symptoms they experience are not a sign of a serious illness (asthma, cancer, goiter, angina) and are due to the stress of disruption of the breathing control program. In the assumption of experienced doctors that they are sick with HVS, such patients see a hint that they are “faking the disease.” Typically, such patients find some benefit in their painful condition(relief from some responsibilities, attention and care from relatives) and that is why it is so difficult to part with the idea of a “serious illness”. Meanwhile, the attachment of the patient himself to the idea of a “serious illness” is the most significant obstacle to effective treatment DHW.

Express diagnostics of hot water supply

For DHW diagnostics A special questionnaire was developed that allows a correct diagnosis to be made in more than 90% of cases. To take the test, go to . To confirm the diagnosis of HVS and treatment, you should contact a neurologist.

Treatment of hyperventilation syndrome

Treatment of HVS includes the following approaches: changing the patient’s attitude towards his illness, breathing exercises, medications to eliminate internal tension.

Changing the patient's attitude towards his illness

Often, the symptoms of HVS can be eliminated only by changing the patient’s attitude towards them. Patients who trust the doctor's experience and really want to get rid of HVS usually very positively perceive the doctor's explanations that HVS is not a serious disease and in no case leads to death or disability. Often, the mere understanding of the absence of a serious illness frees patients with HVS from the obsessive symptoms of this disease.

Breathing exercises in the treatment of breathing disorders during hot water supply

Violation of the rhythm and depth of breathing during HVS is not only a manifestation, but also the driving mechanism of this disease. For this reason, during HVS, breathing exercises and teaching the patient “proper breathing” are recommended. During severe attacks of shortness of breath or a feeling of lack of air, it is recommended to breathe into paper or plastic bag: The edges of the bag are pressed tightly to the nose, cheeks and chin, the patient inhales and exhales air into the bag for several minutes. Breathing into a bag increases concentration carbon dioxide in the blood and very quickly eliminates the symptoms of an attack of HVS. To prevent HVS or in situations that may provoke symptoms of HVS, “belly breathing” is recommended - the patient tries to breathe by raising and lowering the stomach due to the movements of the diaphragm, while exhalation should be at least 2 times longer than inhalation. Breathing should be rare, no more than 8-10 breaths per minute. Breathing exercises should be carried out in a calm, peaceful environment, against the backdrop of positive thoughts and emotions. The duration of the exercises is gradually increased to 20-30 minutes.

Psychotherapy for hot water supply

Psychotherapeutic treatment is extremely effective for HVS. During psychotherapy sessions, the psychotherapist helps patients realize internal cause their illness and get rid of it.

Medicines for the treatment of HVS

Due to the fact that most often hyperventilation syndrome develops against the background of anxiety or depression for quality treatment this disease requires additional drug treatment associated psychological disorders. In the treatment of HVS great efficiency have drugs from the group of antidepressants (Amitriptyline, Paroxetine) and anxiolytics (Alprazolam, Clonazepam). Drug treatment of GVS is carried out under the supervision of a neurologist. The duration of treatment ranges from 2-3 months to a year. As a rule, the drug treatment for HVS differs high efficiency and in combination with breathing exercises and psychotherapy guarantees the cure of patients with HVS in the vast majority of cases.

K. D. Balmont noted that Fet saw the world holistically, without dividing it into separate details, that is, as a kind of harmonic, musical unity, and also that “none of the Russian poets have such airy melodic songs about love.” Indeed, it is very difficult, almost impossible, to convey in words such a feeling as love for nature, for life, for people. According to Fet, this can only be done with the help of sounds like music.

This morning, this joy,
This power of both day and light,
This blue vault
This cry and strings,
These flocks, these birds,
This talk of water...

The poet was born in October or November in the village of Novoselki, Oryol province. His father was the wealthy landowner Shenshin, his mother was Caroline Charlotte Feth, who came from Germany. The parents were not married. The boy was registered as the son of Shenshin, but when he was 14 years old, the legal illegality of this recording was discovered, which deprived him of the privileges given to hereditary nobles. From now on he had to bear the surname Fet, the rich heir suddenly turned into a “man without a name” - an unknown foreigner of dubious origin. Fet took this as a shame. It became possible to regain the lost position obsession, which determined his entire life path.

Gogol gave Fet his “blessing” for serious literary work, saying: “This is an undoubted talent.” Fet’s first collection of poems, “Lyrical Pantheon,” was published in 1840 and received Belinsky’s approval, which inspired his further work. His poems have appeared in many publications.

These willows and birches,
These drops - these tears,
This fluff is not a leaf,
These mountains, these valleys,
These midges, these bees,
This sound and whistle...

In order to achieve his goal - to return the title of nobility

In 1845 he left Moscow and entered the military service to one of the provincial regiments in the south. Continues to write poetry.

In 1858, Fet retired, settled in Moscow and energetically engaged in literary work, demanding from publishers an “unheard-of price” for his works. A difficult life path developed in him a gloomy outlook on life and society. His heart was hardened by the blows of fate, and his desire to compensate for his social blows made him a difficult person to communicate with.

The music of the verse, the musicality of the verse - most important feature Fet's lyrics. This was noted by the poet’s contemporaries. M. Tchaikovsky, for example, spoke about “the very mysterious secret“Fetov’s lyricism: “Fet, in his best moments, goes beyond the limits indicated by poetry and boldly takes a step into our field,” that he is “not just a poet, but rather a poet-musician, as if avoiding even such topics that are easy to express in a word." In his poetry, Fet does not seek to depict anything, to convince the reader of anything with the help of words. To inspire, to inspire - this is the only thing the poet wants to achieve. The words are too rude for this, the language is poor:

How poor is our language! - I want to, but I can’t. -
This cannot be conveyed to either friend or enemy,
What rages in the chest like a transparent wave...

Sometimes it is impossible to determine exactly what Fet’s poem is about and what his mood is. His works are distinguished by the complexity of feelings and blurred poetic image. But what definition of Fetov’s poetry is exhaustive? None! Even if you put them together. It is incomprehensible, like inspiration, like love, like harmony itself. What is Fet’s harmony? This is the world of music, where everything is in tune and beautiful:

These dawns without eclipse,
This sigh of the night village,
This night without sleep
This darkness and heat of the bed,
This fraction and these trills,
It's all spring.

Harmony - this is what the poet sought and found in everything. He, like no one else, felt harmony, music, beauty... He described the beauty of nature, not only visible, but also audible. Nature in Fet's poems is filled with life. She sees, hears, feels, breathes and sounds. The poet strives to capture not just a moment, but to capture the moment of movement, transition from one state to another. It seems that here it is, this elusive “musical” property of Fet’s poetic works - defined, concretized and systematized. But will this make the mystery of the creation of music and poetry closer and clearer to us? Will the poet's Inspiration be available to us? It is impossible to understand poetry in the full sense of the word, but it can be felt.