- Theme of space and chaos
- Nature as part of the whole
Tyutchev - master of philosophical lyricism
Philosophical lyrics as a genre are always thoughts about the meaning of existence, about human values, about the place of man and his purpose in life.
We not only find all these characteristics in the works of Fyodor Tyutchev, but, re-reading the poet’s legacy, we understand that Tyutchev’s philosophical lyrics are the creations of the greatest master: in depth, versatility, psychologism, and metaphor. Masters whose words are weighty and timely, regardless of the century.
Philosophical motives in Tyutchev's lyrics
Whatever philosophical motives no matter how they sound in Tyutchev’s lyrics, they always force the reader, willy-nilly, to listen attentively, and then think about what the poet writes about. This feature was unmistakably recognized in his time by I. Turgenev, saying that any poem “began with a thought, but a thought that, like a fiery point, flared up under the influence deep feeling or strong impression; as a result of this ... always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inseparably.”
Theme of space and chaos
For the poet, the world and man, the entire human race and the Universe are “inseparably and inextricably” connected, because Tyutchev’s poems are based on an understanding of the integrity of the world, which is impossible without the struggle of opposites. The motif of space and chaos, the original basis of life in general, the manifestation of the duality of the universe, like no other, is significant in his lyrics.
Chaos and light, day and night - Tyutchev reflects on them in his poems, calling the day a “brilliant cover”, a friend of “man and the gods”, and the healing of a “sick soul”, describing the night as revealing an abyss “with its fears and darkness” in human soul. At the same time, in the poem “What are you howling about, night wind?”, turning to the wind, he asks:
Oh, don’t sing these scary songs
About ancient chaos, about my dear!
How greedily the world of the soul is at night
Hears the story of his beloved!
It tears from a mortal breast,
He longs to merge with the infinite!
Oh, don’t wake up sleeping storms -
Chaos is stirring beneath them!
Chaos is “dear” for the poet, beautiful and attractive, - after all, it is part of the universe, the basis from which light, day, the light side of the Cosmos appears, again turning into the dark - and so on ad infinitum, the transition of one to another is eternal.
But with a new summer - a new cereal
And a different leaf.
And again everything that is will be
And the roses will bloom again,
And thorns too, -
we read in the poem “I sit thoughtfully and alone...”
The eternity of the world and the temporality of man
Chaos, the abyss, space are eternal. Life, as Tyutchev understands it, is finite, man’s existence on earth is precarious, and man himself does not always know how or want to live according to the laws of nature. Speaking in the poem “There is melodiousness in sea waves…” about complete consonance, order in nature, the lyricist complains that we realize our discord with nature only in “ghostly freedom.”
Where and how did the discord arise?
And why in the general choir
The soul sings something other than the sea,
And the thinking reed murmurs?
For Tyutchev, the human soul is a reflection of the order of the universe, it contains the same light and chaos, the change of day and night, destruction and creation. “The soul would like to be a star... in the pure and invisible ether...”
In the poem “Our Century,” the poet argues that a person strives for light from the darkness of ignorance and misunderstanding, and having found it, “murmurs and rebels,” and so, restless, “today he endures the unbearable...”
In other lines he regrets the limit of human knowledge, the impossibility of penetrating the mystery of the origins of being:
We soon get tired in the sky, -
And no insignificant dust is given
Breathe divine fire
And he comes to terms with the fact that nature, the universe, moves on in its development dispassionately and uncontrollably,
One by one all your children,
Those who accomplish their useless feat,
She equally greets her
An all-consuming and peaceful abyss.
In a short poem “Thought after thought, wave after wave...” Tyutchev poignantly conveys the “affinity of nature and spirit, or even their identity” that he perceived:
Thought after thought, wave after wave -
Two manifestations of one element:
Whether in a cramped heart, or in a boundless sea,
Here - in prison, there - in the open -
The same eternal surf and rebound,
The same ghost is still alarmingly empty.
Nature as part of the whole
Another famous Russian philosopher Semyon Frank noted that Tyutchev’s poetry is permeated by a cosmic direction, turning it into philosophy, manifesting itself primarily in the generality and eternity of themes. The poet, according to his observations, “directed his attention directly to the eternal, imperishable principles of existence... Everything in Tyutchev serves as the subject of artistic description not in their individual... manifestations, but in their general, enduring elemental nature.”
Apparently, this is why examples of philosophical lyricism in Tyutchev’s poems attract our attention primarily in landscape art, whether the artist “writes” the rainbow words in his lines, “the noise from a flock of cranes,” the “all-encompassing” sea, the “rashly and madly” approaching thunderstorm, “radiant in the heat” river, “half-naked forest” spring day or autumn evening. Whatever it is, it is always part of the nature of the universe, an integral component of the universe-nature-man chain. Observing in the poem “Look how in the expanse of the river...” the movement of ice floes in the expanse of the river, he states that they are floating “towards the same place” and sooner or later “all - indifferent, like elements - will merge with the fatal abyss!” The picture of nature evokes reflections about the essence of the “human self”:
Isn't this your meaning?
Isn't this your destiny?..
Even in the seemingly completely simple in essence and perception of the poem “In the Village,” describing a familiar and nondescript everyday episode of a dog’s prank that “disturbed the majestic peace” of a flock of geese and ducks, the author sees the non-randomness, the conditionality of the event. How to disperse stagnation “in the lazy herd... a sudden onslaught of the fatal was needed, for the sake of progress,”
So modern manifestations
The meaning is sometimes stupid... -
...Another, you say, just barks,
And he performs his highest duty -
He, comprehending, develops
Duck and goose talk.
The philosophical sound of love lyrics
We find examples of philosophical lyrics in Tyutchev’s poems in any topic of his work: powerful and passionate feelings give rise to philosophical thoughts in the poet, no matter what he talks about. The motive for recognition and acceptance of the impossibly narrow limits of human love, its limitations, sounds in love lyrics endlessly. In “the violent blindness of passions, we most likely destroy what is dear to our hearts!” - the poet exclaims in the poem “Oh, how murderously we love...”. And in love, Tyutchev sees the continuation of confrontation and unity inherent in the cosmos, he speaks about this in “Predestination”:
Love, love - says the legend -
Union of the soul with the dear soul -
Their union, combination,
And their fatal merger,
And... the fatal duel...
The duality of love is visible in Tyutchev’s work from the very beginning. A sublime feeling, a “ray of sunshine,” an abundance of happiness and tenderness and at the same time an explosion of passions, suffering, “ fatal passion”, destroying the soul and life - all this is the poet’s world of love, which he so passionately narrates in the Denisievsky cycle, in the poems “I remember the golden time ...”, “I met you - and all the past ...”, “Spring” and many others.
The philosophical nature of Tyutchev's lyrics
The philosophical nature of Tyutchev’s lyrics is such that it not only affects the reader, but also completely influences the work of poets and writers. different eras: the motives of his lyrics are found in the poems of A. Fet, symbolist poets, in the novels of L. Tolstoy and F. Dostoevsky, the works of A. Akhmatova, O. Mandelstam, I. Bunin and B. Pasternak, I. Brodsky, E. Isaev.
Budgetary educational institution of additional professional education (advanced training) for specialists “Chuvash Republican Institute of Education”Ministry of Education of Chuvashia
Department of Russian Language and Literature
Course work
“The main themes and ideas of F.I.’s lyrics. Tyutchev"
Performed:
Vishnyakova T. M.
Teacher of Russian language and literature MAOU
"Lyceum No. 3" Cheboksary
Scientific adviser:
Nikiforova V.N.,
Associate Professor of the Department
Cheboksary 2011
Introduction 3
Chapter 1. Biography of the Russian poet F.I. Tyutcheva 4
Chapter 2. Main themes and ideas of F.I.’s lyrics. Tyutcheva 13
Landscape lyrics by F. I. Tyutchev 13
Philosophical motives in the poetry of F. I. Tyutchev 22
Poems by F.I. Tyutchev about love 25
Conclusion 30
References 31
Introduction
The outstanding Russian lyricist Fyodor Ivanovich Tyutchev was in all respects the opposite of his contemporary and almost the same age as Pushkin. If Pushkin received the very deep and fair title of “the sun of Russian poetry,” then Tyutchev was a poet of the night. Although Pushkin published in his Sovremennik in the last year of his life a large selection of poems then unknown to anyone, who was at diplomatic service poet in Germany, it is unlikely that he liked them very much. Although there were such masterpieces as “Vision”, “Insomnia”, “How the Ocean Envelops the Globe”, “ The Last Cataclysm", "Cicero", "What are you howling about, night wind?..." First of all, the tradition on which Tyutchev relied was alien to Pushkin: German idealism, to which Pushkin remained indifferent, and poetic archaism XVIII beginning XIX century (primarily Derzhavin), with whom Pushkin waged an irreconcilable literary struggle.
Coursework objectives:
Acquaintance with the biography of F.I. Tyutchev, identifying features of the life path that influenced character, creativity and personality;
To form a holistic idea of F.I.’s worldview. Tyutchev, his character and way of thinking;
Acquaintance with the main themes of the poet's lyrics.
Chapter 1. Biography of the Russian poet
F.I. Tyutcheva
Tyutchev Fedor Ivanovich (1803, the village of Ovstug, Oryol province - 1873, Tsarskoe Selo, near St. Petersburg) - a famous poet, one of the most outstanding representatives of philosophical and political poetry.
Born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, into a well-born noble family, who lived openly and richly in Moscow in the winter. In a house “completely alien to the interests of literature and especially Russian literature,” the exclusive dominance of the French language coexisted with adherence to all the features of the Russian old noble and Orthodox way of life.
When Tyutchev was ten years old, S.E. Raich was invited to teach him, who stayed in the Tyutchevs’ house for seven years and had a great influence on the mental and moral development his pupil, in whom he developed a keen interest in literature. Having mastered the classics perfectly, Tyutchev was not slow to test himself in poetic translation. Horace's message to Maecenas, presented by Raich to the society of lovers of Russian literature, was read at the meeting and approved by the most significant Moscow critical authority at that time - Merzlyakov; After that, the work of the fourteen-year-old translator, awarded the title of “collaborator,” was published in the XIV part of the “Proceedings” of the society. In the same year, Tyutchev entered Moscow University, that is, he began to attend lectures with a teacher, and the professors became ordinary guests of his parents.
Having received his candidate's degree in 1821, Tyutchev in 1822 was sent to St. Petersburg to serve in state board foreign affairs and in the same year went abroad with his relative Count von Osterman-Tolstoy, who assigned him as a supernumerary official of the Russian mission in Munich. He lived abroad, with minor interruptions, for twenty-two years. Staying alive cultural center had a significant impact on his spiritual makeup.
In 1826 he married a Bavarian aristocrat, Countess Bothmer, and their salon became the center of the intelligentsia; Among the numerous representatives of German science and literature who visited here was Heine, whose poems Tyutchev then began to translate into Russian; a translation of "Pines" ("From the Other Side") was published in "Aonids" for 1827. A story about Tyutchev's heated debate with the philosopher Schelling has also been preserved.
In 1826, three poems by Tyutchev were published in Pogodin's almanac "Urania", and the following year in Raich's almanac "Northern Lyre" - several translations from Heine, Schiller ("Song of Joy"), Byron and several original poems. In 1833, Tyutchev, at his own request, was sent as a “courier” on a diplomatic mission to the Ionian Islands, and at the end of 1837, already a chamberlain and state councilor, he, despite his hopes of getting a place in Vienna, was appointed senior Secretary of the Embassy in Turin. At the end next year his wife died.
In 1839, Tyutchev entered into a second marriage with Baroness Dernheim; like the first, his second wife did not know a word of Russian and only subsequently studied her husband’s native language in order to understand his works. For his unauthorized absence to Switzerland - and even while he was entrusted with the duties of an envoy - Tyutchev was dismissed from service and deprived of rank chamberlain. Tyutchev settled again in his beloved Munich, where he lived for another four years. During all this time, his poetic activity did not stop. In 1829 - 1830 he published several excellent poems in Raich's "Galatea", and in "Rumor" in 1833 (and not in 1835, as Aksakov said) his wonderful "Silentium" appeared, only much later appreciated. . In the person of I. S. ("Jesuit") Gagarin, he found a connoisseur in Munich, who not only collected and brought out the abandoned poems by the author, but also reported them to Pushkin for publication in Sovremennik; here, during 1836 - 1840, about forty poems by Tyutchev appeared under the general title “Poems sent from Germany” and signed by F.T. Then, for fourteen years, Tyutchev’s works did not appear in print, although during this time he wrote more than fifty poems.
In the summer of 1844, Tyutchev's first political article was published - "Lettre a M. le Dr. Gustave Kolb, redacteur de la "Gazette Universelle" (d" Augsburg)". At the same time, having previously traveled to Russia and settled his affairs in the service, moved with his family to St. Petersburg. His official rights were returned to him and honorary titles and was given an appointment to serve on special assignments at the State Chancellery; He retained this position even when (in 1848) he was appointed senior censor at the special office of the Ministry of Foreign Affairs. He was a great success in St. Petersburg society; his education, his ability to be both brilliant and profound, his ability to provide theoretical justification for accepted views created for him an outstanding position. At the beginning of 1849, he wrote the article “La Russie et la Revolution”, and in the January book “Revue des Deux Mondes” for 1850, another article of his was published - without a signature: "La Question Romaine et la Papaute". According to Aksakov, both articles made a strong impression abroad: very few people in Russia knew about them. The number of connoisseurs of his poetry was also very small. In the same 1850, he found an outstanding and supportive critic in the person of Nekrasov, who (in Sovremennik), without knowing the poet personally and making guesses about his personality, highly rated his works. I.S. Turgenev, having collected with the help of the Tyutchev family, but - according to I.S. Aksakov - without any participation of the poet himself, about a hundred of his poems, handed them over to the editors of Sovremennik, where they were reprinted and then published as a separate edition (1854). This meeting caused an enthusiastic review (in Sovremennik) by Turgenev. From then on, Tyutchev's poetic fame - without, however, going beyond certain limits - was strengthened; magazines approached him with requests for cooperation, his poems were published in “Russian Conversation”, “Den”, “Moskvityanin”, “Russian Messenger” and other publications; Some of them, thanks to anthologies, become known to every Russian reader in early childhood ("Spring Thunderstorm", "Spring Waters", "Quiet Night in Late Summer", etc.). Tyutchev’s official position also changed. In 1857, he turned to Prince Gorchakov with a note about censorship, which was passed around in government circles. At the same time, he was appointed to the position of chairman of the foreign censorship committee - the successor of the sad memory of Krasovsky. His personal view of this position is well defined in an impromptu recording he wrote in the album of his colleague Vaqar: “We are obedient to the command of the highest, at the thought of standing on the clock, we were not very perky ... - They rarely threatened and rather kept guard of honor rather than a prisoner with her." The diary of Nikitenko, Tyutchev's colleague, more than once dwells on his efforts to protect freedom of speech. In 1858, he objected to the projected double censorship - observational and consistent; in November 1866 “Tyutchev, at a meeting of the Council for Press Affairs, rightly noted that literature does not exist for gymnasium students and schoolchildren, and that it is impossible to give it children's direction". According to Aksakov, "the enlightened, rationally liberal chairmanship of the committee, which often diverged from our administrative worldview, and therefore in the end limited in its rights, is memorable to all who valued lively communication with European literature"The “restriction of rights” that Aksakov speaks of coincides with the transfer of censorship from the department of the ministry public education to the Ministry of Internal Affairs.
In the early seventies, Tyutchev experienced several blows of fate in a row, too severe for a seventy-year-old man; Following his only brother, with whom he had an intimate friendship, he lost his eldest son and married daughter. He began to weaken, his clear mind dimmed, his poetic gift began to betray him. After the first stroke of paralysis (January 1, 1873), he almost never got out of bed, after the second he lived for several weeks in excruciating suffering - and died on July 15, 1873.
As a person, he left behind the best memories in the circle to which he belonged. A brilliant interlocutor, whose bright, apt and witty remarks were passed on from mouth to mouth (raising in Prince Vyazemsky the desire that Tyutcheviana, “a charming, fresh, living modern anthology”, be compiled from them), a subtle and insightful thinker who understood with equal confidence higher issues existence and in the details of the current historical life, independent even where he did not go beyond the boundaries of established views, a man imbued with culture in everything, from external address to methods of thinking, he made a charming impression of a special - noted by Nikitenko - "courtesy of heart, which did not consist in observing secular decency (which he never violated), but in delicate human attention to the personal dignity of everyone." The impression of the undivided dominance of thought - such was the prevailing impression produced by this frail and ailing old man, always enlivened by the tireless creative work of thought. The poet-thinker is honored in him, first of all, by Russian literature. Literary heritage it is not large: several journalistic articles and about fifty translated and two hundred and fifty original poems, among which there are quite a few unsuccessful ones. Among the rest, there are a number of pearls of philosophical lyricism, immortal and unattainable in depth of thought, strength and conciseness of expression, and scope of inspiration.
The talent of Tyutchev, who so willingly turned to the elemental foundations of existence, itself had something elemental; V highest degree It is characteristic that the poet, who by his own admission expressed his thoughts more firmly in French than in Russian, wrote all his letters and articles only in French and all his life speaking almost exclusively in French, the most intimate impulses of his creative thought could only be expressed in Russian verse; several of his French poems are completely insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself and thereby understand his own condition. In this regard, he is exclusively a lyricist, alien to any epic elements. Aksakov tried to connect with this spontaneity of creativity the carelessness with which Tyutchev treated his works: he lost the scraps of paper on which they were sketched, left the original - sometimes careless - concept untouched, never finished his poems, etc. The latter indication has been refuted by new research; Poetic and stylistic negligence is indeed found in Tyutchev, but there are a number of poems that he reworked, even after they were in print. What remains indisputable, however, is the reference to “the correspondence of Tyutchev’s talent with the life of the author,” made by Turgenev: “... his poems do not smell like composition; they all seem to be written in famous case, as Goethe wanted, that is, they were not invented, but grew on their own, like fruit on a tree." The ideological content of Tyutchev's philosophical lyrics is significant not so much in its diversity as in its depth. Smallest place occupies here the lyrics of compassion, represented, however, by such exciting works as “Tears of Men” and “Send, Lord, Your Joy.” The inexpressibility of thought in words (“Silentium”) and the limits set to human knowledge (“Fountain”), the limited knowledge of the “human self” (“Look, like on the river expanse”), the pantheistic mood of merging with the impersonal life of nature (“Twilight”, “So; there are moments in life”, “Spring”, “The spring day was still rustling”, “Leaves”, “Noon”, “When that in life we called ours”, “Spring calm” - from Uland), inspired descriptions nature, few and brief, but in terms of the scope of moods almost unparalleled in our literature (“The storm has subsided”, “Spring thunderstorm”, “Summer evening”, “Spring”, “Flowing sand”, “Not cooled down from the heat”, “ Autumn Evening”, “Quiet Night”, “There Is in the Initial Autumn”, etc.), associated with the magnificent proclamation of the original spiritual life of nature (“Not what you think, nature”), a gentle and bleak recognition of limitations human love ("last love", "Oh, how murderously we love", "She was sitting on the floor", "Predestination", etc.) - these are the dominant motives philosophical poetry Tyutcheva. But there is one more motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and power by the late V.S. Solovyov’s motive of the chaotic, mystical fundamental principle of life. “And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and was not so clearly aware of that mysterious basis of all life - natural and human - the basis on which meaning is based space process, and the fate of the human soul, and the entire history of mankind. Here Tyutchev is truly quite unique and, if not the only one, then probably the strongest in all poetic literature." In this motif, the critic sees the key to all of Tyutchev's poetry, the source of its content and original charm. The poems "Holy Night", "What Are You Howling About , night wind”, “On the mysterious world of spirits”, “Oh, my prophetic soul”, “How the ocean embraces the globe”, “Night voices”, “Night sky”, “Day and night”, “Madness”, “Mall "aria" and others represent a one-of-a-kind lyrical philosophy of chaos, elemental ugliness and madness, as "the deepest essence of the world soul and the basis of the entire universe." Both descriptions of nature and echoes of love are imbued with this all-consuming consciousness in Tyutchev: behind the visible shell of phenomena with its apparent clarity, their fatal essence is hidden, mysterious, from the point of view of our earthly life, negative and terrible. The night with particular force revealed to the poet this insignificance and illusory nature of our conscious life compared to the “burning abyss” of the element of unknowable but tangible chaos. Perhaps this bleak worldview should be associated with a special mood that distinguishes Tyutchev: his philosophical reflection is always shrouded in sadness, a melancholy awareness of his limitations and admiration for irreducible fate. Only Tyutchev's political poetry - as one would expect from a nationalist and supporter of realpolitik - is imprinted with cheerfulness, strength and hopes, which sometimes deceived the poet.
ABOUT political beliefs Tyutchev, which found expression in his few and small articles. With minor modifications, this political worldview coincides with the teachings and ideals of the first Slavophiles. And he responded to the various phenomena of historical life that found a response in Tyutchev’s political views lyrical works, the strength and brightness of which can captivate even those who are infinitely far from the political ideals of the poet. Tyutchev's actual political poems are inferior to his philosophical lyrics. Even such a favorable judge as Aksakov, in letters not intended for the public, found it possible to say that these works of Tyutchev “are dear only by the name of the author, and not in themselves; these are not real Tyutchev poems with originality of thought and turns, with amazingness paintings”, etc. In them - as in Tyutchev’s journalism - there is something rational, - sincere, but not coming from the heart, but from the head. To be a real poet of the direction in which Tyutchev wrote, one had to love Russia directly, know it, believe it with faith. This - according to Tyutchev's own admissions - he did not have. Having spent from eighteen to forty years of age abroad, the poet did not know his homeland in a number of poems (“On the way back”, “Again I see your eyes”, “So, I saw again”, “I looked, standing over the Neva”) admitted that his homeland was not dear to him and was not “his native land for his soul.” Finally, his attitude towards the people’s faith is well characterized by an excerpt from a letter to his wife (1843), cited by Aksakov (we are talking about how, before Tyutchev’s departure, his family prayed and then went to the Iveron Mother of God): “In a word, everything happened in accordance with the orders of the most demanding Orthodoxy... Well? For a person who joins them only in passing and to the extent of his convenience, there are in these forms, so deeply historical, in this Russian-Byzantine world, where life and religious service constitute one thing... there is in all this for a person equipped with a flair for similar phenomena, the extraordinary greatness of poetry, so great that it overcomes the most ardent hostility... For the feeling of the past - and the same old past - is fatally joined by a premonition of an incommensurable future." This recognition throws light on Tyutchev's religious beliefs, which were obviously based , not at all a simple faith, but above all theoretical political views, in connection with a certain aesthetic element. Rational in origin, Tyutchev’s political poetry has, however, its own pathos - the pathos of convinced thought. Hence the power of some of his poetic denunciations (“Away, away from the Austrian Judas from his grave board,” or about the Pope: “He will be destroyed by the fatal word: “Freedom of conscience is nonsense”). He also knew how to give an outstanding in strength and concise expression of his faith in Russia (the famous quatrain “Russia cannot be understood with the mind”, “These poor villages”), in its political calling (“Dawn”, “Prophecy”, “Sunrise”, “ Russian geography" and others).
^ Chapter 2. Main themes and ideas of the lyrics
F.I. Tyutcheva
We get acquainted with Tyutchev's poetry in elementary school, these are poems about nature, landscape lyrics. But the main thing for Tyutchev is not the image, but the understanding of nature - natural-philosophical lyrics, and his second theme is the life of the human soul, the intensity of the feeling of love. Lyrical hero, understood as the unity of personality, which is both the object and subject of lyrical comprehension, is not typical for Tyutchev. The unity of his lyrics gives an emotional tone - a constant vague anxiety, behind which there is a vague but constant feeling of the approaching universal end.
^2.1. Landscape lyrics by F. I. Tyutchev
The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, the image of nature and the thought about nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and his thought acquires expressiveness.
In relation to nature, Tyutchev shows, as it were, two hypostases: existential, contemplative, perceiving the world“with the help of the five senses” - and the spiritual, thinking, striving to guess behind the visible veil great secret nature.
Tyutchev the contemplator creates such lyrical masterpieces as “Spring Thunderstorm”, “There is in the original autumn...”, “The Enchantress in Winter...” and many similar short, like almost all Tyutchev’s poems, charming and imaginative landscape sketches.
Tyutchev the thinker, turning to nature, sees in it an inexhaustible source for reflection and generalizations of the cosmic order. This is how the poems “Wave and Thought”, “There is melodiousness in the sea waves...”, “How sweetly the dark green garden slumbers...”, etc. were born. These works are accompanied by several purely philosophical ones: “Silentium!”, “Fountain”, “Day and Night”.
The joy of being, a happy harmony with nature, a serene rapture with it are characteristic primarily of Tyutchev’s poems dedicated to spring, and this has its own pattern. Constant thoughts about the fragility of life were the poet’s constant companions. “Feelings of melancholy and horror have become my usual state of mind for many years now” - this kind of confession is not uncommon in his letters. Constant regular secular salons, a brilliant and witty interlocutor, “a charming talker,” according to P. A. Vyazemsky, Tyutchev was forced to “avoid, at all costs, for eighteen hours out of twenty-four, any serious meeting with himself.” And few people could comprehend his complex inner world. This is how Tyutchev’s daughter Anna saw her father: “He seems to me to be one of those primordial spirits, so subtle, intelligent and fiery, who have nothing in common with matter, but who, however, do not have a soul. He is completely outside of any laws and rules. It's amazing, but there's something creepy and unsettling about it."
The awakening spring nature had the miraculous ability to drown out this constant anxiety and pacify the poet’s anxious soul.
The power of spring is explained by its triumph over the past and future, complete oblivion of past and future destruction and decay:
And the fear of inevitable death
Not a leaf falls from the tree:
Their life is like a boundless ocean,
Everything in the present is spilled.
The love of life, the almost physical “excess” of life, is clearly visible in many of the poet’s poems dedicated to spring. Glorifying spring nature, Tyutchev invariably rejoices at the rare and brief opportunity to feel the fullness of life, not overshadowed by the harbingers of death - “You will not meet a dead leaf” - with the incomparable joy of completely surrendering to the present moment, participation in “divine-universal life.” Sometimes even in the fall he imagines a breath of spring. A striking example of this was the poem “Autumn Evening”, which is one of the brightest examples Tyutchev's mastery of the landscape painter. The poem is clearly generated by domestic impressions and the sadness they cause, but at the same time it is permeated with Tyutchev’s tragic thoughts about the lurking storms of chaos:
There are in the brightness of autumn evenings
Touching, mysterious charm:
The ominous shine and diversity of trees,
Crimson leaves languid, light rustle,
Misty and quiet azure.
Over the sadly orphaned land
And, like a premonition of descending storms,
Gusty, cold wind at times,
Damage, exhaustion - and everything
That gentle smile of fading,
What in a rational being we call
Divine modesty of suffering.
The short, twelve-line poem is not so much a description of the uniqueness of an autumn evening as a generalized philosophical reflection on time. It should be noted that not a single point interrupts the excitement of thought and observation; the entire poem is read in prayerful adoration before the great sacrament, before " divine modesty suffering." The poet sees a gentle smile of decay on everything. The mysterious beauty of nature absorbs both the ominous shine of the trees and the dying purple of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind sweeps with a premonition of storms. Behind the visible phenomena of nature invisibly "chaos stirs" - the mysterious, incomprehensible, beautiful and destructive depth of the primordial... And in this single breath of nature, only man realizes the "divinity" of its beauty and the pain of its "shameful suffering."
In contrast, or rather, in preference to the dubious heavenly bliss of the indisputable, reliable enjoyment of the beauty of spring nature, selfless rapture with it, Tyutchev is close to A.K. Tolstoy, who wrote: “God, how wonderful it is - spring! Is it possible that in another world we will be happier than in this world in the spring! Exactly the same feelings fill Tyutchev:
What is the joy of paradise before you,
It's time for love, it's time for spring,
Blooming bliss of May,
Ruddy color, golden dreams?
Tyutchev’s poetry is also aware of completely different moods: a sense of transience human existence, awareness of its fragility and fragility. In comparison with the ever-renewing nature (“Nature does not know about the past...”; “Her gaze shines with immortality...” and much more), man is nothing more than an “earthly grain,” a dream of nature”:
Look how on the river expanse,
Along the slope of the newly revived waters,
Into the all-encompassing sea
The ice floe floats after the ice floe.
Is it shining iridescently in the sun,
Or at night in the late darkness,
But everything inevitably melts away,
They are swimming towards the same place.
Oh, our thoughts are seduced,
You, human self,
Isn’t this your meaning?
Isn't this your destiny?
But neither the triumphant shouts spring waters”, nor the tragic notes of the poem “Look, how in the river space...” do not yet give a complete idea of the pathos of Tyutchev’s poetry. In order to unravel it, it is important to understand the very essence of the philosophical and artistic interpretation of nature and man in Tyutchev’s poetry. The poet rises to the understanding of the relationship between these two worlds - the human self and nature - not as an insignificant drop and an ocean, but as two infinities: “Everything is in me and I am in everything...”. Therefore, Tyutchev’s poetry is imbued not with the numbness of melancholy, not with a sense of the illusory nature of individual existence, but with the intense drama of a duel, albeit unequal:
Take courage, O friends, fight diligently,
Although the battle is unequal...
The apotheosis of life. full of burning, the lines of the poem “As over hot ashes...” sound, and “Spring Thunderstorm” is perceived as a hymn to youth and human renewal.
Tyutchev’s lyrical landscapes bear a special stamp, reflecting the properties of his own spiritual and physical nature- fragile and painful. His images and epithets are often unexpected, unusual and extremely impressive. Its branches are boring, the earth is frowning, the leaves are emaciated and decrepit, the stars talk to each other quietly, the day is growing thin, movement and the rainbow are exhausted, the fading nature smiles weakly and frailly, and much more.
The “eternal order” of nature either delights or depresses the poet:
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Ourselves are just a dream of nature.
But in his doubts and painful search for the true relationship between the part and the whole - man and nature - Tyutchev suddenly comes to unexpected insights: man is not always at odds with nature, he is not only a “helpless child,” but he is also equal to her in his creative potential:
Bound, connected from time to time
Union of consanguinity
Intelligent human genius
With the creative power of nature...
Say the cherished word -
And a new world of nature
But on the other hand, nature in Tyutchev’s poems is spiritualized, humanized.
It has love, it has language.
Like a person, nature lives and breathes, rejoices and is sad, constantly moves and changes. Pictures of nature help the poet convey the passionate beat of thought. To embody complex experiences and deep thoughts in vivid and memorable images. The very animation of nature is usually found in poetry. But for Tyutchev this is not just a personification, not just a metaphor: he “accepted and understood the living beauty of nature not as his fantasy, but as the truth.” The poet's landscapes are imbued with a typically romantic feeling that this is not just a description of nature, but dramatic episodes of some continuous action.
Tyutchev finds inquisitive thought in the theme of nature philosophical problems. Each of his descriptions: successions of winter and summer, spring thunderstorms - is an attempt to look into the depths of the universe, as if to lift the veil of its secrets.
Nature - sphinx.
And the more faithful she is.
His temptation destroys a person,
What may happen, no longer
There is no riddle and she never had one.
Tyutchev's "landscapes in verse" are inseparable from man, his state of mind, feelings, moods:
Moth flight invisible
Heard in the night air.
An hour of unspeakable melancholy!
Everything is in me, and I am in everything!
The image of nature helps to identify and express the complex, contradictory spiritual life of a person, doomed to eternally strive for merging with nature and never achieve it, because it brings with it death, dissolution in the primordial chaos. Thus, F. Tyutchev organically connects the theme of nature with the philosophical understanding of life.
The landscape lyrics of F. I. Tyutchev are presented in two stages: early and late lyrics. And there are many differences in poems from different times. But, of course, there are similarities. For example, in the landscape lyric poems of both stages, nature is captured in its movement, the change of phenomena, Tyutchev’s “landscapes in verse” are imbued with the tension and drama of the poet’s aspiration to the secrets of the universe and the “human self.” But in late lyric poetry Tyutchev’s nature seems to be approaching man; increasingly, the poet’s attention switches to the most immediate impressions, to the most concrete manifestations and features of the surrounding world: “the first yellow leaf, spinning, flies onto the road"; “dust flies like a whirlwind from the fields”; the rain “threads are gilded” by the sun. All this is especially acutely felt in comparison with the earlier landscape lyrics the poet, where the month is a “luminous god”, the mountains are “familiar deities”, and the day “the brilliant cover” of the “high will of the gods” hangs over the abyss of the “fateful world”. It is significant that, reworking the previously written “ Spring thunderstorm", Tyutchev introduces a stanza into the poem that enriches the pictorial picture with those visually concrete images that it lacked:
Young peals thunder,
Here the rain began to splash. Dust flies
Rain pearls hung,
And the sun gilds the threads.
The figurative system of Tyutchev's lyrics is an unusually flexible combination of concretely visible signs of the external world and the subjective impression that this world makes on the poet. Tyutchev can very accurately convey the visual impression of the approaching autumn:
There is in the initial autumn
Short but wonderful time –
The whole day is like crystal,
And the evenings are radiant...
Watching spring awakening nature, the poet notices the beauty of the first green translucent leaf (“First Leaf”). On a hot August day, he catches the “honey” smell wafting from the “whitening fields” of buckwheat (“Clouds are melting in the sky...”). In late autumn, he feels the blow of a “warm and damp” wind, reminiscent of spring (“When surrounded by murderous worries...” ). A vivid visual impression arises even when the poet names not the object itself, but those signs by which it is guessed:
And the evening clouds' shadow
It flew across the light roofs.
And pine trees, along the road, shadows
The shadows have already merged into one.
Tyutchev's ability to give a plastically correct image of the external world, to convey the completeness of the external impression is amazing. But no less amazing is his skill in expressing the fullness of inner sensation.
Nekrasov wrote that Tyutchev manages to awaken “the reader’s imagination” and force him to “complete” what is only outlined in the poetic image. This feature of Tyutchev’s poetry was also noticed by Tolstoy, who singled out unusual, unexpected phrases in his poems that hold the reader’s attention and awaken creative imagination. How unexpected and even strange at first glance is this combination of two seemingly incompatible words: “idle furrow.” But it is precisely this, this strange and amazing phrase, that helps to recreate the whole picture as a whole and convey the fullness of its inner sensation. As Tolstoy said: “It seems that everything has been said at once, it is said that the work is finished, everything has been removed, and the complete impression is obtained.” Such a “complete impression” constantly arises when reading Tyutchev’s poems. How can one not recall in this regard Tyutchev’s famous images: “exhausted” - about a rainbow. “mingled” - about the shadows, “the blue of the sky will confuse” - about a thunderstorm, “resolved into the unsteady twilight, into a distant roar” - about the colors and sounds of the evening day, etc.
The sound side of the poem never seemed to Tyutchev to be an end in itself, but the language of sounds was close and understandable to him.
There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious rustle of music
Flows through the shifting reeds.
The gray shadows mixed,
The color faded, the sound fell asleep...
Around me the rocks sounded like cymbals,
The winds called and the waves sang...
The reader hears in Tyutchev's poems the roar of summer storms, the barely intelligible sounds of the approaching twilight, the rustle of unsteady reeds... This sound recording helps the poet capture not only the external aspects of natural phenomena, but his sensation, his sense of nature. The bold colorful combinations in Tyutchev’s poems (“hazy-linear”, “radiant and bluish-dark”, etc.) also serve the same purpose. Besides. Tyutchev has the gift of reproducing colors and sounds in the inseparability of the impression he makes. This is how “sensitive stars” and a ray of sunshine appear in his poetry, bursting into the window with a “ruddy loud exclamation”, imparting the dynamics and expression of Tyutchev’s poetic fantasy, helping to transform poetic sketches from nature into such “landscapes in verse”, where visually specific images are imbued with thought, feeling, mood, reflection.
^2.2. Philosophical motives in the poetry of F. I. Tyutchev
Tyutchev's poetics comprehends the beginnings and foundations of existence. There are two lines in it. The first is directly related to the biblical myth of the creation of the world, the second, through romantic poetry, goes back to ancient ideas about the world and space. The ancient teaching about the origin of the world is constantly quoted by Tyutchev. Water is the basis of existence, it is the main element of life:
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
And here is another excerpt from “Fountain”:
Oh, water cannon of mortal thought,
Oh, inexhaustible water cannon,
What an incomprehensible law
Does it urge you, does it bother you?
Sometimes Tyutchev is frank and magnificent in a pagan way, endowing nature with soul, freedom, language - the attributes of human existence:
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
One of the main motives of Tyutchev's poetry is the motive of fragility, the illusory nature of existence. The ghostly past, everything that was and what no longer exists. “Ghost” is Tyutchev’s usual image of the past: “The past, like the ghost of a friend, We want to press to our chest,” “O poor ghost, weak and vague, Forgotten, mysterious happiness,” “ghosts of the past better days" From “living life” only memories remain, but they inevitably fade and disappear: the soul is condemned to “watch as all the best memories die out within it.” “Everything without a trace.”
But the present, since it ceaselessly, inexorably and completely disappears, is also just a ghost. The symbol of the illusory nature of life is a rainbow. She is beautiful, but this is just a “vision”:
Look - it has already turned pale,
Another minute, two - and then what?
Gone, somehow gone completely,
What do you breathe and live by?
(“How unexpected and bright...”)
This feeling is sharply expressed in poems such as “Day and Night,” where the entire external world is perceived as a ghostly “veil thrown over the abyss”:
But the day fades - night has come;
She came, and from the world of fate
Fabric of blessed cover
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
This image is repeated even in detail. The day moves away like a veil, goes away “like a vision”, “like a ghost” - and a person remains in true reality, in boundless loneliness: “He is abandoned to himself”, “In his soul, as in an abyss, he is immersed, And there is no outside support, no limit.” The element of the “night soul” is revealed, the element of primordial chaos, and a person finds himself “Face to face before the dark abyss”, “And in the alien, unsolved, night He recognizes the ancestral heritage.”
To understand Tyutchev’s poetry, it is essential that behind such poems there is a feeling of loneliness, isolation from the world in which the poet lives, a deep disbelief in the powers of this world, and the consciousness of the inevitability of its death.
The motif of loneliness is also heard in Tyutchev’s poems about a homeless wanderer alien to the world (the poems “The Wanderer”, “Send, Lord, your joy...”), about living in the past and abandoning the present (especially “My Soul, Elysium of Shadows...” ."), about a generation driven out of life and “carried into oblivion” (these are not senile laments; cf. the poem of the 20s “Insomnia”, the poem of the 30s “Like a bird, the early dawn ...”), about aversion to noise, to the crowd, a thirst for solitude, silence, darkness, silence.
Behind Tyutchev’s “philosophical” thoughts there is a feeling deep loneliness, and the desire to break out of it, to find a way to the world around us, to believe in its value and strength, and despair from the awareness of the futility of attempts to overcome one’s rejection, one’s isolation in one’s own self.
The feeling of the illusory nature of the world and one’s isolation from the world is opposed in Tyutchev’s poetry by an ardent “passion” for the earth with its pleasures, sins, evil and suffering and, above all, a passionate love for nature:
No, my passion for you
I can’t hide it, Mother Earth!
Spirits of ethereal voluptuousness,
Is yours faithful son, I'm not thirsty.
What is the joy of paradise before you,
It's time for love, it's time for spring,
Blooming bliss of May,
Ruddy light, golden dreams?..
Fyodor Ivanovich Tyutchev is known for his brilliant poetic talent and ability to convey complex philosophical things in the most subtle way, make vivid psychological sketches, and create truly beautiful landscapes filled with feeling and lyricism.
The poet's world is mysterious. One of its mysteries is nature, where there is always a struggle between two opposing forces - chaos and harmony. Where life reigns in abundance, death always looms as a dark shadow. The joyful light of day hides the darkness of an impenetrable night. For Tyutchev, nature is a kind of polar phenomenon, the different poles of which are in eternal opposition. Thus, one of his most favorite and most frequently used literary devices is the antithesis (“blessed south” - “fateful north”, “dull earth” - “sky shining with a thunderstorm”, etc.).
The nature of Tyutchev is incredibly diverse, beautiful and dynamic. In the poet's lyrics there are a variety of landscapes at different hours and seasons. It could be an early morning in the mountains, or the “night sea,” or “the first thunder of spring,” or winter, which “is angry for good reason.”
The author also skillfully conveys the moments of transition from one state of nature to another. For example, in the poem “The gray shadows mixed...” the reader observes an amazing metamorphosis when the evening twilight quickly gives way to the darkness of the night. The poet paints the transformation of one picture into another using non-union designs, frequently used verbs. The word “movement” contains an understanding of life itself; it is in some way synonymous with being, vital energy.
Another feature of Tyutchev’s poetry is the spirituality of Russian nature. She is like a young beauty - just as beautiful, free, capable of love, sharing her thoughts and feelings, inspiring, she has a living human soul.
The poet strives with all his might to understand this beautiful creature the universe - nature - and tries to convey to the reader pictures of all its various incarnations. Tyutchev, as a true artist, carefully observes everything that happens in the world around him, creating magnificent poetic paintings with great love summer evenings, autumn landscapes, endless snowy distances, spring thunder.
In all its manifestations, Tyutchev’s nature is beautiful and attracts the eye. Even in the furious riot of the elements, the poet sees harmony and creation. The author contrasts the natural balance with disorder and discord in human life. According to the poet, people are too self-confident, defending their freedom and forgetting about belonging to nature, that they are part of it. Tyutchev denies the independence of man as a separate unit, regardless of nature, the world, the Universe. He believes in World Soul, which acts as a certain foundation of all things. Forgetting about this, a person condemns himself to suffering, risking being at the mercy of Rock. Chaos represents the rebellious spirit of nature that scares people away. A person argues with Rock, rejects chaos, which can upset the balance of energy. He resists Rock in every possible way, defending his rights.
All the poet’s work is permeated with a thread of thoughts about contradictory phenomena and the things that fill life around us.
According to the poet, a person is like a grain of sand in outer space. He is at the mercy of fate and natural elements. But at the same time, Tyutchev encourages the struggle, courage and fearlessness of people, their desire for heroism. Despite the fragility of human life, people are overcome by a huge thirst for the fullness of being, a great desire to move forward, to rise higher.
Several interesting essays
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Kazbich is a robber, a horseman. He is not afraid of anything and, like any other Caucasian, takes care of his honor and dignity
- Essay Old Count Bezukhov in the novel War and Peace
Kirill Bezukhov is one of the minor characters in Tolstoy’s magnificent novel “War and Peace.” The old count appeared only at the very beginning, his characteristics are small, but one cannot ignore this personality.
- The image and characteristics of the Landowner in the fairy tale Wild Landowner by Saltykov-Shchedrin essay
The main character of the work, which is written in the genre of a fairy tale, is a landowner, depicted by the writer as a stupid man who considers himself a hereditary Russian nobleman, Prince Urus-Kuchum-Kildibaev.
- Gypsy character and image in the story Gorky's Childhood essay
The character of Maxim Gorky's story, nineteen-year-old Ivan, is very ambiguous. He received the nickname Gypsy because of his appearance - dark skin, dark hair, plus he often stole from the market
Every year winter comes to us. Winter activities are different from summer fun. It's not always possible to spend a lot of time outside. There is no opportunity to swim or sunbathe.
The main themes and motives of Tyutchev's lyrics
The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative heritage to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy were creating. Contemporaries considered Tyutchev the smartest, most educated man of his time and called him a “real European.” From the age of eighteen, the poet lived and studied in Europe, and in his homeland his works became known only in the early 50s of the 19th century.
A distinctive feature of Tyutchev’s lyrics was that the poet did not seek to remake life, but tried to understand its secrets, its innermost meaning. That is why most of his poems are permeated with philosophical thoughts about the mystery of the Universe, about the connection of the human soul with the cosmos.
In Tyutchev's lyrics one can distinguish philosophical, civil, landscape and love motives. But in each poem these themes are closely intertwined, turning into works that are surprisingly deep in meaning.
Civil lyric poetry includes the poems “December 14, 1825”, “Above this dark crowd...”, “The Last Cataclysm”. Tyutchev witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.
In the poem “December 14, 1825,” dedicated to the Decembrist uprising, the poet angrily denounces the autocracy that has corrupted the ruling elite of Russia:
The people, shunning treachery,
Blasphemes your names -
And your memory from posterity,
Like a corpse in the ground, buried.
The poem “Above this dark crowd...” reminds us of Pushkin’s freedom-loving lyrics. In it, Tyutchev is indignant at the “corruption of souls and emptiness” in the state and expresses hope for a better future:
…When will you rise, Freedom,
Will your golden ray shine?
The poem “Our Century” refers to philosophical lyrics. In it, the poet reflects on the state of the soul of a contemporary person. There is a lot of strength in the soul, but it is forced to remain silent in conditions of lack of freedom:
It is not the flesh, but the spirit that is corrupted in our days,
And the man is desperately sad...
He is rushing towards the light from the shadows of the night
And, having found the light, he grumbles and rebels.
According to the poet, a person has lost faith, without the light of which the soul is “dried up”, and his torment is unbearable. Many poems convey the idea that man has failed in his mission on Earth and must be swallowed up by Chaos.
Tyutchev's landscape lyrics are filled with philosophical content. The poet says that nature is wise and eternal, it exists independently of man. Meanwhile, he only draws strength for life from her:
So bound, united from eternity
Union of consanguinity
Intelligent human genius
With the creative power of nature.
Tyutchev's poems about spring " Spring waters" and "Spring Thunderstorm" became very famous and popular. The poet describes a stormy spring, the revival and joy of the emerging world. Spring makes him think about the future. The poet perceives autumn as a time of sadness and fading. It encourages reflection, peace and farewell to nature:
There is in the initial autumn
A short but wonderful time -
The whole day is like crystal,
And the evenings are radiant.
From autumn the poet moves straight into eternity:
And there, in solemn peace
Unmasked in the morning
The white mountain is shining
Like an unearthly revelation.
Tyutchev loved autumn very much; it’s not for nothing that he says about it: “Last, last, charm.”
In the poet's love lyrics, the landscape is often combined with the feelings of the hero in love. So, in wonderful poem“I met you...” we read:
Like late autumn sometimes
There are days, there are times,
When suddenly it starts to feel like spring
And something will stir within us.
The masterpieces of Tyutchev’s love lyrics include the “Denis’ev cycle,” dedicated to his beloved E. A. Denis’eva, whose relationship lasted 14 years until her death. In this cycle, the poet describes in detail the stages of their acquaintance and subsequent life. The poems are a confession, like a personal diary of the poet. The last poems written on the death of a loved one are shockingly tragic:
You loved, and the way you love -
No, no one has ever succeeded!
Oh God!.. and survive this...
And my heart didn’t break into pieces...
Tyutchev's lyrics rightfully entered the golden fund of Russian poetry. It is full of philosophical thoughts and is distinguished by the perfection of its form. Interest in the study of the human soul made Tyutchev's lyrics immortal.