Secrete all your feelings and dreams. The history of the masterpiece “Silence”

Be silent, hide and hide
And your feelings and dreams -
Let it be in the depths of your soul
They get up and go in
Silently, like stars in the night, -
Admire them - and be silent.

How can the heart express itself?
How can someone else understand you?
Will he understand what you live for?
A spoken thought is a lie.
Exploding, you will disturb the keys, -
Feed on them - and be silent.

Just know how to live within yourself -
There is a whole world in your soul
Mysteriously magical thoughts;
They will be deafened by the outside noise,
Daylight rays will disperse, -
Listen to their singing - and be silent!..
_______________
* Silence! (lat.)

Firstly, it should be considered as a poetic appeal to the reader to keep the secret of the movements of the soul, the mysterious fullness of unspoken thoughts (“Be silent, hide and hide // And your feelings and dreams”).

Secondly, “silentium” can be understood as the forced “muteness” of the poet, his symbolic protest against the vulgarity of “external noise”, the world of everyday consciousness.

Thirdly, Tyutchev’s “silence” is a unique embodiment of the romantic motif of loneliness, the idea of the impossibility of true and absolute mutual understanding between people (“How can someone else understand you?”).

Finally, another meaning of the concept “silentium” is the powerlessness of the word to convey the internal movements of the soul, complex human feelings and experiences (“A spoken thought is a lie”).

Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...

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You see the leaf and color on the tree:
Or did the gardener glue them?
Or the fetus is ripening in the womb
The play of external, alien forces?..

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They don't see or hear
They live in this world as if in the dark,
For them, even the suns, you know, do not breathe,
And there is no life in the sea waves.

The rays did not descend into their souls,
Spring did not bloom in their chests,
The forests didn't speak in front of them
And the night in the stars was silent!

And in unearthly tongues,
Wavering rivers and forests,
I didn’t consult with them at night
There is a thunderstorm in a friendly conversation!

It's not their fault: understand, if possible,
Organa life of the deaf and dumb!
Soul him, ah! won't alarm
And the voice of the mother herself!..

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Be silent, hide and hide
And your feelings and dreams -
Let it be in the depths of your soul
They get up and go in
Silently, like stars in the night, -
Admire them - and be silent.

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You are now reading the Silentium verse! (Silence! (lat.)), poet Fedor Ivanovich Tyutchev

Be silent, hide and hide

And your feelings and dreams -

Let it be in the depths of your soul

They get up and go in

Silently, like stars in the night, -

Admire them - and be silent.

How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

A spoken thought is a lie -

Exploding, you will disturb the keys,

Feed on them - and be silent...

Just know how to live within yourself -

There is a whole world in your soul

Mysteriously magical thoughts -

They will be deafened by the outside noise,

Daylight rays will disperse -

Listen to their singing - and be silent!..

Other editions and options

2 And your thoughts and dreams!

4-5 They get up and hide,

Like peaceful stars in the night, -

16-17 They will be deafened by the noise of life,

The day's rays will disperse, -

4-5 And they rise and set

Like stars clear in the night:

16-17 They will be drowned out by external noise,

Daylight rays will blind:

Sovr. 1854. T. XLIV. P. 12 et seq. ed.

COMMENTS:

Autograph - RGALI. F. 505. Op. 1. Unit hr. 11. L. 1 vol.

First publication - Rumor. 1833. No. 32, March 16. P. 125. Entered - Sovr. 1836. T. III. P. 16, under the general heading “Poems sent from Germany,” under number XI, with the general signature “F.T.” Then - Sovr. 1854. T. XLIV. P. 12; Ed. 1854. P. 21; Ed. 1868. P. 24; Ed. St. Petersburg, 1886. pp. 88–89; Ed. 1900. pp. 103–104.

Printed by autograph. See "Other Editions and Variants." P. 242.

It probably dates back to no later than 1830.

Autograph - on the back of the page with the verse. "Cicero". The author's marks in the autograph are specifically Tyutchev's: six dashes (in lines 2, 5, 10, 13, 15, 17), three question marks, all in the second stanza (lines 1, 2, 3), an exclamation mark and ellipses - at the end. The end of the stanzas is based on the contrast of spiritual activity (calls: “admire”, “feed”, “listen”) and seemingly passive isolation - a call for silence. The last word in all stanzas - “be silent” - is accompanied in the autograph by various signs. In the first case there is a dot, in the second there is an ellipsis, in the third there is an exclamation point and an ellipsis. The semantic, emotional load of this word in the poem increases. The dash at the end of the famous paradox is especially expressive - “A thought expressed is a lie.” The judgment is open, the thought is not completed, the ambiguity of the statement is preserved.

IN Muran. album(pp. 18–19) the text is the same as in the autograph, but the 16th line is “They will be drowned out by the external noise” (in the autograph it is “deafened”). Signs: all dashes at the end of lines have been removed, instead of them there is an exclamation mark in the 2nd line, a colon in the 5th, a semicolon in the 10th, an exclamation mark in the 13th, a comma in the 15th , in the 17th there is a colon, at the end of the poem there is a period.

When printed, the text was subject to significant deformation. 2nd line, which is in the autograph - “And your feelings and dreams” - in Word of mouth has a different meaning: “And your thoughts and dreams!”, but in Pushkin’s Sovr. - “Both your feelings and dreams”; and so on in the future. In the autograph, the 4th and 5th lines - “They get up and go / Silently, like stars in the night -” (apparently, the emphasis is “they go”, “like stars”), but in Word of mouth- another option: “They rise and hide / Like peaceful stars in the night,” in Pushkin’s Sovr. - autograph option, but in Sovr. 1854 and in the other publications mentioned above, a new version of the lines is given: “And they rise and set / Like clear stars in the night.” The 16th and 17th lines in the autograph looked like: “The external noise will deafen them / The daylight rays will disperse -” (the word “disperse” here requires stress on the last syllable). IN Word of mouth these lines are “They will be deafened by the noise of everyday life / The rays of day will disperse them,” but in the editions of the 1850s. and the subsequent ones indicated - “They will be drowned out by external noise / Daylight rays will blind them.” Corrections aimed at making the poems smoother and devoid of ancient accents obscured Tyutchev's specifically expressiveness. Intonations are also far from sufficiently recorded in the lifetime and two subsequent editions. Not all Tyutchev's dashes were retained; the exclamation mark was unreasonably missing along with the ellipsis at the end of the poem. Thus, the emotional picture of the text was impoverished (in Word of mouth, on the contrary, an exclamation mark and an ellipsis were placed at the end of each stanza, but in this case the dynamics of emotion indicated by the poet were ignored).

A whole history of understanding and interpretation of this poem has developed. ON THE. Nekrasov, having completely reprinted it in his article, classified it as one of the group of the poet’s works “in which thought predominates,” but gave preference to verse. “Like a bird in early spring...”, although he did not deny the “obvious merits” of the verse. "Silentium!" and "Italian villa" ( Nekrasov. P. 215). Reviewer f. “Library for Reading” (1854. T. 127. Dept. 6. P. 3–4) highlighted in Ed. 1854 only two verses. - “As the ocean envelops the globe...” (see. comment. P.361) and “Silentium!” Regarding the latter, he noted: “Another poem, equally sweet in thought and its expression, bears the Latin title: “Silentium” (the poem is given in full. - VC.) <…>Everyone thinks exactly the same as Mr. Tyutchev, but new thoughts do not constitute dignity in art. Any thought can seem new only to someone who is little familiar with thoughts. Art inevitably acts with all known thoughts that visit everyone, and a great writer is the one who, for a thought felt by everyone, finds the truest, shortest and most beautiful expression, which others cannot find.”

I.S. Aksakov ( Biogr. P. 48) believed that this poem and “As over hot ashes...” represent “in addition to their high dignity, psychological and biographical interest. The first of them is the same “Silentium”, which was published in 1835 (Aksakov made a factual error. - VC.) V Word of mouth, did not attract any attention and in which all this weakness of the poet is so well expressed - to convey in precise words, with a logical formula of speech, the inner life of the soul in its fullness and truth.” Aksakov completely reprinted the poem, highlighting in italics lines 1, 2, 10, 11, 12, 13, containing aphoristically expressed thoughts.

"Silentium!" is one of L.N.’s favorite poems. Tolstoy. On Sat. poem. Tyutchev, he marked it with the letter “G” (Depth) ( THOSE. P. 145). According to the recollections of contemporaries, he often recited it by heart. A.B. Goldenweiser recalled the writer’s statement: “What an amazing thing! I don’t know a better poem” (Goldenweiser A.B. Near Tolstoy. M., 1922. T. II. P. 303). Quotes from the poem are used in the novel Anna Karenina. In one of the versions of the third chapter of the sixth part of the novel, Levin quoted him; Levin told Kitty about his brother Sergei Ivanovich: “He is a special, amazing person. He does exactly what Tyutchev says. They will be disturbed by some noise, listen to their singing and remain silent. So he listens to the foam of his love thoughts, if they exist, and will not show them for anything, will not defile them" ( LT. T. 20. P. 671). Subsequently, Tolstoy removed the reference to Tyutchev and the quote in relation to Sergei Ivanovich from Levin’s speech, bringing the image of Konstantin himself closer to the idea of “Silentium!” Tolstoy included the poem in the “Reading Circle” and accompanied it with philosophical reflection; in essence, he created a new type of commentary on the poem - philosophical and religious:

The more secluded a person is, the more he hears the voice of God always calling him.

(The poem is given in full. - VC.).

Just because a good intention has been expressed, the desire to fulfill it has already been weakened. But how can one keep the self-satisfied impulses of youth from expressing themselves nobly? Only much later, remembering them, do you regret them, like a flower that could not resist - plucked unbloomed and then saw on the ground withered and trampled<…>

Temporary renunciation from everything worldly and contemplation of one’s divine essence within oneself is the same necessary nourishment for life for the soul as food for the body” ( LT. T. 42. pp. 107–108).

What was important and original was that the meaning of Tyutchev’s poem was revealed outside the sphere of individualistic morality. Tyutchev’s idea “just know how to live within yourself” was developed by Tolstoy in the spirit of active humanism, active goodness. Tolstoy is against superficial sociability, it has no value in his eyes, it can be based on immoral considerations, he is for the deep unity of the individual with other people on the basis of great morality.

The first two judgments in Tolstoy’s “Reading Circle” reveal the psychological mechanism of the moral call to silence. The writer proposed two psychological motivations for the need for silence and denial of self-disclosure.

First. “Just because a good intention is expressed, the desire to fulfill it is already weakened.” Again Tolstoy reveals the psychology of an active person; from Tyutchev’s contemplation he leads a connecting thread to active and practical humanism: it is necessary to remain silent about the good movements of the soul in order to better realize them. This is a purely Tolstoyan-Levinian turn of thought. Verbosity is understood as a surrogate for the real deal.

Second. A person’s conscience requires an active inner life, inner concentration, and self-deepening: “The best part of the drama that happens in our soul is a monologue or, rather, an intimate discussion between God, our conscience and us.” An unscrupulous person, an empty one, is alien to this moral dialogue with himself, moral self-report, self-examination, self-examination. The judgment of one's own conscience can only take place in silence.

The ideological concept of “Silentium!” Tolstoy organically included personality in his philosophy, in his ethics. He explained and accepted the poem from a position of active philanthropy.

V.Ya. Bryusov ( Ed. Marx. P. XLII), considering the poem, solves the epistemological problem: “From the consciousness of the incomprehensibility of the world, something else follows - the impossibility of expressing one’s soul, telling one’s thoughts to another.

How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

Just as human thought is powerless, so is the human word. Before the beauty of nature, Tyutchev vividly felt this powerlessness and compared his thought to a “shot bird.” It is not surprising, therefore, that in one of his most sincere poems he left us with such stern advice:

Be silent, hide and hide

And your feelings and dreams.

Just know how to live within yourself..."

A. Derman argued with Bryusov (Testaments. 1912. No. 9. P. 197): “Thus, from the famous exclamation “a thought expressed is a lie!” Mr. Bryusov made a syllogistic bridge to the statement about the preference of non-rational forms of comprehension of the world over rational knowledge. This is clearly unconvincing and is based on an inexplicable ignorance of the direct meaning of the exclamation and the entire poem “Silentium” as a whole. Not " thought, that is, all rational knowledge, is a lie", but "thought spoken", and the meaning of the poem is solely that a thought is distorted at its birth when transformed into a word." Developing his thought and quoting the poem, the polemicist clarifies his understanding of Tyutchev’s idea: “ powerlessness of words is the inability to convey the power of thought, the point is not equality thoughts and words, and in differences, in the leakage and distortion of thoughts when transmitted to another.”

For D.S. Merezhkovsky’s poem is “today’s, tomorrow’s.” The logic of Tyutchev’s thought, according to the writer, is aimed at “suicide”: if the world is based on evil will, active action is meaningless, only contemplation is reasonable. A person is not needed by another person for action. If action is meaningless, then communication is not necessary. Hence the conclusion: “Only know how to live within yourself” - an expression of individualism, loneliness, and lack of society. The next step on the same path of development is taken by Balmont, who wanted to live by himself and be his own sun, and Z. Gippius, who wants to “love herself like God.” “Suicides still do not know that the potassium cyanide with which they are poisoned is Silence: “Be silent, hide and hide / And your feelings and dreams... / Just know how to live in yourself...”. His disease is ours: individualism, loneliness, lack of society" ( Merezhkovsky. P. 13).

K.D. Balmont singled out this poem from Tyutchev’s legacy: “The artistic impressionability of a symbolist poet, full of pantheistic sentiments, cannot submit to the visible; it transforms everything in the depths of the soul, and external facts, processed by philosophical consciousness, appear before us as shadows caused by a magician. Tyutchev understood the necessity of that great silence, from the depths of which, as from an enchanted cave, illuminated by an inner light, transformed beautiful ghosts emerge" ( Balmont. Book 1. pp. 88–89).

Vyach. Ivanov considered this poem to be decisive in Tyutchev’s worldview: “Be silent, hide and hide” - the banner of Tyutchev’s poetry; his words are “secret signs of the great and unspeakable music of the spirit” (According to the Stars. St. Petersburg, 1909). pp. 37–38); the poet-theorist means self-immersion, when “there are no barriers” between a person and the naked abyss; such communion with the world’s abysses is inexpressible in words and requires Silentium. This moment of existence is valuable and eternal.” Vyach. Ivanov brought the verse closer in meaning. "Silentium!" and “Day and Night”: “The newest poets never tire of glorifying silence. And Tyutchev sang about silence more inspiredly than anyone else. “Be silent, hide and conceal...” - this is the new banner raised by him. Moreover, Tyutchev’s most important feat is the feat of poetic silence. That is why there are so few of his poems, and his few words are meaningful and mysterious, like some secret signs of the great and ineffable music of the spirit. The time has come when the “thought expressed” became a lie” (ibid., p. 38).

Symbolists, studying the structure of Tyutchev’s image and trying to find a model of symbolic poetry in this poet, turned to “Silentium!”, Seeing in it a theoretical justification for the search for symbols. If “a thought expressed is a lie” and no logical combination of words, no specific image can adequately express the idea, the only way remains is “the poetry of hints, symbols” - this is how V.Ya. developed his thought. Bryusov (The meaning of modern poetry. Selected works. M., 1955. T. 2. P. 325). “Living speech is always the music of the inexpressible; “a thought expressed is a lie,” wrote A. Bely, referring to Tyutchev (The Magic of Words. Symbolism. M., 1910. P. 429) and concluded: “In a word-symbol, the “wordless” inner world of a person is connected with the “meaningless” the outside world." Ultimately, the development of this thought, he reduced lyrical creativity to a magical spell through onomatopoeia and found a model in the poetic experience of Tyutchev.

ILYA TYURIN THE SILENCE OF TYUTCHEV AND THE SILENCE OF MANDELSHTAM First, I would like to write out both poems so that we can see them together:
SILENTIUM! Be silent, hide and hide And your feelings and dreams - Let them rise and set in the depths of your soul Silently, like stars in the night - Admire them - and be silent. How can the heart express itself? How can someone else understand you? Will he understand what you live for? A spoken thought is a lie. By exploding, you will disturb the keys, - Feed on them - and be silent. Just know how to live within yourself - There is a whole world in your soul of mysteriously magical thoughts: They will be deafened by the external noise, The rays of the day will disperse, - Listen to their singing - and be silent!.. SILENTIUM She has not yet been born, She is both music and words, And therefore there is an unbreakable connection between all living things. The sea's breasts breathe calmly, But the day is bright like crazy, And the pale lilac foams in a black and azure vessel. May my lips acquire the original muteness, Like a crystalline note, Which is pure from birth! Remain as foam, Aphrodite, And, word, return to music, And, heart, be ashamed of hearts, Merged from the fundamental principle of life! Osip Mandelstam, 1910
Fyodor Tyutchev, 1830 This is why we need them together because it is impossible to imagine them together in another situation. Firstly, such time passed between the first experience and the second that during this period the author of the first managed to grow old and die, and the author of the second was born and grew up. Secondly, except for the casual researcher, no one, of course, would think of rushing in search of the first experience immediately after reading the second, or vice versa. Thirdly, the authors of both experiments were never ranked among specialists on the same level. Thus, the situation, contrary to everything that literature has to face - time, the reader and the literary critic, is unique. I dare say that it is unique for one more reason: it models the history of the appearance of the second poem. The matter did not end only with Mandelstam reading Tyutchev. He considered his second view to be as different from Tyutchev’s first as the number 1 is different from the number 2 - and the number of views doubled. (He argued: I say this on the basis that if consent is announced, then it is announced in prose). The entire foreign language part of Mandelstam’s poem (that is, the title) is built precisely in the style of the second remark in the conversation. Tyutchev has an exclamation mark after “Silentium”, while Mandelstam has a dot, which turns “be silent” into “silence”; in other words, Mandelstam, in response to the call to remain silent, actually falls silent. But while he is polite in Latin, in Russian Mandelstam, as we see, is also extremely careful at first. He, of course, is embarrassed by the awkwardness of the situation (at least twice in history someone is forced to talk about silence out loud), and he defines the ineffable with the pronoun “she,” saying: “I don’t know exactly what we’re talking about.” She has not yet been born, She is both music and words, And therefore there is an unbreakable connection between all living things. Silence can be passed off as anything. Mandelstam’s “she” is consonant with “music” and “connection”; but “connection”, being stressed at the end, has an advantage over “music”. The poem will also turn to “music”: And, word, return to music, And, heart, be ashamed of hearts, - giving “music” the birthright in relation to the “word”, and restoring balance to the structure. By the way, this last quatrain is immediately interesting to many. Not only does it reveal Aphrodite in the pronoun “she,” but it also seems to translate the first four lines from the language of “Silentium.” in the language of “Silentium!”, demonstrates the difference between the moment “before” and the moment “after”: She has not yet been born, She is both music and word, And therefore there is an unbreakable connection between all living things. ... Remain as foam, Aphrodite, And, word, return to music, And, heart, be ashamed of hearts, Merged from the fundamental principle of life! And here Mandelstam is almost impudent with Tyutchev. He says: “The imperative mood is, first of all, a sign of the second you have missed. I observe silence as a participant, and you only as a researcher.” Mandelstam fulfills Tyutchev’s demand to remain silent to his own benefit. 1997

The poetry of Fyodor Ivanovich Tyutchev is a classic example of versification from the golden age of Russian poetry. The ease and smoothness of language, the melodiousness and musicality of the verse are the distinctive features of the lyrics of that period, which the author embodied in his work. The most interesting direction of this poet’s creative energy is considered to be philosophical lyrics. In particular, researchers and readers are interested in the interpretation of the famous poem “Silentium” (which means “silence”).

F. M. Tyutchev composed the poem “Silentium” in 1830, but published it for the first time only 3 years later in the magazine “Rumor”. Three years later, the work took pride of place in the more prestigious Sovremennik publication, and was published there several times. The lyrical appeal was noted by prominent representatives of the era. For example, Leo Tolstoy rated him extremely highly, speaking about the exceptional depth of the poet’s thoughts. The writer also led an ascetic lifestyle and fully embodied the behests of Fyodor Ivanovich.

The origin of the title of the work is curious. The history of the creation of “Silentium” began in Germany, when the author served in the embassy and attended lectures at the University of Munich. There, a pithy Latin expression served as a call for silence and attention when the lesson began. The same word was used to preface toasts at student feasts. It was then that Tyutchev thought about the original title for his call for silence, which should preserve sublime thoughts as such, and not drop them in countless attempts to be understood.

Genre and size

In his mature years, Fyodor Ivanovich Tyutchev was fascinated by the works of ancient Greek thinkers, so his lyrics took on a philosophical direction. The genre of “Silentium” is called “lyric poem” (it is also called a fragment). It is characterized by brevity, clarity, absence of heroes and plot. The main object of attention of the artist of words is his own thoughts and feelings. The didactic, persuasive intonation originates from the ode. She “inherited” from this genre the pathos and pressure that are necessary to realize the author’s plan. “Be silent, hide and hide,” is an imperious command that is repeated three times, lingering in the memory for a long time.

The work is written in sextins, the meter of the poem “Silentium” is iambic tetrameter. This form simplifies perception and makes the message clear and intelligible. The extreme asceticism of the design only complements the author's idea: there is no need to produce an external effect, the main thing is to have a rich internal content. Similarly, “Silence” does not shine with the gloss of sophisticated stylistics, but captivates with the depth of its idea.

Composition

The poem "Silentium" consists of 18 lines, divided into three six-line lines. Each of them is relatively independent both in semantic and intonation-syntactic terms. However, the development of the lyrical theme holds them together as a single compositional whole. Among the formal means, the author chooses homogeneous end rhymes. These are precise, masculine, percussive rhymes that focus the reader’s attention on the main points of the work.

In the first stanza, the lyrical hero addresses the reader with a fiery speech with an appeal to keep sincere feelings and thoughts in the depths of the soul.
In the second stanza, the imperative intonation becomes persuasive; it explains why sincere impulses of the mind and heart need to be restrained and hidden. The author logically proves his point of view.
In the third stanza, the author formulated a threat that promises trouble for those who wanted to lay out all their ins and outs:

Just know how to live within yourself -
There is a whole world in your soul
Mysteriously magical thoughts;
They will be deafened by the outside noise,
Daylight rays will disperse, -
Listen to their singing - and be silent!

“Mysterious thoughts” return the thought to the first stanza; they are similar to “feelings and dreams”, which, like living beings, “both rise and set” - that is, these are not thoughts, but shades of states of the soul, feelings and dreams. The rays can “disperse” them and “deafen” the outside noise.

Subject

Integrity of the inner world- This is the main theme of the poem "Silentium". By expressing everything to everyone, a person will only disrupt inner harmony. It is better to stay in it and develop, so that only close people appreciate the riches of the soul. The bustle of life and the turmoil of everyday life distract a person, his sensory world suffers from contact with harsh reality. Therefore, the life of the soul should not go beyond its boundaries; only within will it maintain harmony.
Lie. Silence will provide a person with the necessary purity of thoughts, unclouded by the desire to please and produce an effect. The uttered thought already has a selfish motive to cause a certain reaction in the interlocutor, that is, its meaning is distorted depending on the intonation and context. Therefore, this or that idea acquires its true sound only in the head, and all further reproductions of it change the original meaning, it becomes overgrown with falsehood.
Loneliness. In this context, the author calls on a person to solitude in the name of creation. It allows him to get as close to the truth as possible. In endless conversations, on the contrary, any, even the most truthful thought, becomes banal.

main idea

The lyrical hero does not even mean thoughts, but a spiritual essence that cannot be conveyed in words. A feeling enclosed in the robe of everyday conversation will be fragmentary, incomplete, false, because it will not be fully expressed. The meaning of the poem “Silentium” is that, trying to bring down on people his revelations about the life of the soul, a person will not achieve his goal, he will ruin and vulgarize everything.

Exploding, you will disturb the keys, -
Feed on them - and be silent.

The eternal disunity of people, which we are afraid of and are trying to overcome, is shown by the author in these lines. Pouring out your soul is not a solution, because all people are different and many are simply not able to understand each other. The beauty of our world lies in the diversity of people, characters, types, so we cannot consider it a problem, leveling a person on a Procrustean bed. Everyone doesn't have to understand one thing. To avoid conflict, we can reveal the depths of our soul only to a very close circle: family or bosom friend. Tyutchev’s main idea in the poem “Silentium” lies in this peculiar selectivity.

Artistic means of expression

Tyutchev, as already mentioned at the beginning of the article, does not focus on the form of the work. He is attracted by the brevity and simplicity of the style, which provide the reader with the main thing - understanding. Ornate phrases, of course, look original, but do not correspond to the ideological and thematic originality of the poem. Thus, the tropes in “Silentium” are not striking, but emphasize the essence of what is written. They force you to look between the lines and reflect on what the author is expressing.

The verse includes the following figurative and expressive means: epithets (“mysteriously magical thoughts”), comparisons and metaphors (“Let them rise and set silently in the depths of their souls, like stars in the night...”). “One” is a lexical form belonging to the high style. Such words can be found in Derzhavin’s odes, for example. Here it is used as a tribute to tradition and atmosphere, setting the reader in a solemn mood. The poet also gives birth to real aphorisms: “A thought expressed is a lie.” This expression today can often be found without reference to the author, because it has become a truly popular catchphrase. In addition, Tyutchev creates gentle alliteration: “They will be deafened by the external noise.” This sound effect gives the feeling of a whisper.

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