What are you howling about, night wind. Fedor Tyutchev

Analysis of the poem by F.I. Tyutchev "What are you howling about, night wind?"

The poem “What are you howling about, night wind? ..” was written by F.I. Tyutchev, apparently no later than the mid-1830s. It belongs to those 24 that saw the light in Sovremennik in 1836, designated as "Poems sent from Germany".

Features of Tyutchev's artistic worldview, which formed a specific poetic system, have been sufficiently studied by now. There have been stable ideas about this phenomenon, without which any serious analysis - both general and particular - is difficult to imagine.

We note some of the most important provisions that we will take into account when reading Tyutchev's text:

Tyutchev's orientation, on the one hand, to the philosophy of Schelling and the aesthetics of older German romantics (Novalis, Heine), on the other hand, to Derzhavin and Zhukovsky, is generally recognized.

“Tyutchev belonged to the complex type of romantics; using the themes of romanticism, he is much more related to the classics in terms of his methods, ”considered, for example, Yu.N. Tynyanov.

From this the fundamental qualities of the poetic system and style are derived: “the “high” odic structure of poetry<...>Tyutchev's stanza, syntax and vocabulary go back to classical samples ", in particular," methods of oratorical word" are noted. Yu.N. Tynyanov, the formation of a new genre in Tyutchev's lyrics - a fragment with "amazing regularity" and completeness. Plannedness is special, “binary” in nature, which is habitually related for a long time to the characteristic romantic duality. However, it turned out that here it is also possible to detect other, much earlier influences (for example, a modern researcher sees in Tyutchev's dual world a reflection of the most important philosophical features of Platonism).

Structural-semantic binarity (whatever its nature) is a recognized hallmark of Tyutchev's poetic world and is reflected in every element of it. We read in the work of Yu.N. Tynyanov 1926: “... natural-philosophical parallelism, “duality” did not remain with him only material and style, but also entailed the entire organization of poetic material. His construction itself became parallelistic or antithetical, depending on the material. More than half a century of follow-up observations on Tyutchev's poetics revealed many new things, but did not shake the main thing in Tyyanov's statement. So, Yu.M. Lotman writes in 1990: "Tyutchev's lyrics<...>an exceptional phenomenon: distinguished by the diversity, contrasting inconsistency of all the colors that form her paintings, she is exceptional in her structural features. There are various shifts within the semantic oppositions, a complex game of their combinations comes into force, but the oppositions themselves are strong throughout the entire creative work (emphasized by me. - O.O.) ” .

Tyutchev's "binarity" also forms a special concept of a person, far from both classic and romantic stereotypes. “A world with paradoxical simultaneous extreme personality and equally extreme generality inherent only to it (emphasized by me. - O.O.)”, - this is how Yu.M. Lotman. A L.Ya. Ginzburg, on the contrary, does not separate, but brings these two extremes together in some borderline, where they touch: “For Tyutchev, a person, to the extent that he is torn away from the unity of nature and the historical environment, leads a ghostly existence, sliding without a trace along an elusive line ( emphasized by me. - O.O.) between the past and the present ".

The absence of a lyrical hero gives rise to a special, condensed contextuality of his lyrics. Again L.Ya. Ginzburg: “Tyutchev does not have a single, passing image of a lyrical hero, but he has passing ideas, permanent images that build Tyutchev’s world ... This is a large context of his work, in which individual keywords are born (emphasized by me - O.O.) - carriers of constant meanings that own all this semantic structure.

Summing up the listed characteristic ideas about Tyutchev's lyrics, we briefly formulate the starting positions of our approach to the analysis of the poem:

- "dualism" of the poetic world, irreducible to either the romantic or the classic canon, which manifests itself at all structural levels of the text and is, in particular, reflected in the special significance of the LIMIT between the two spheres of this single world, simultaneously uniting and separating them;
- the specific position of the lyrical subject, highlighting the contextual connections and through images realized in key words.

Now that the main landmarks have been identified, we present the text with a parallel rhythmic scheme and proceed to its analysis:

What are you howling about, night wind?

What are you complaining about so madly? ..

S - "U - U" - "U -

S - "U - U U" U - U

-" - U" - U" - U" -

Either deafly plaintive, then noisy?

In a language understandable to the heart

You keep talking about incomprehensible flour -

And dig and explode in it

Sometimes violent sounds! ..

U - U" - U U" U - U

U - U" - U" U U -

U - "U U U - U" - U

U-U" U U-U"-

U - "U - U U U" - U

Oh, do not sing these terrible songs

About ancient chaos, about dear!

How greedily the world of the night soul

Heeds the story of his beloved!

From the mortal it is torn in the chest,

He longs to merge with the infinite!..

Oh, do not wake up the storms of those who have fallen asleep -

Chaos stirs beneath them!..

S - U" - U" -" U -

U-U"-U" U U-U

S - U "-" U - "U -

U - U" - U U" U - U

U - U" - U" -" U -

- "U U - U" - U" - U

S - "U - U" U U -

U-U"-U" U U-U

The poem “What are you howling about, night wind? ..” written by Ya4, consists of two eight-line rhymes aBaBvGvG, while the 1st and 3rd verses of both stanzas are connected by a common rhyme: I night - yours; II sing - night.

Я4, as is known, is the most common and, consequently, the most universal measure in Russian versification (at least since the 1920s). As for Tyutchev, according to L.P. Novinskaya, 56% of his poems are written in this size. And according to M.L. Gasparov, the use of R4 in the poetry of the 20s of the XIX century. is more than 40%, but in the 1830s. this level begins to decline, i.e. Tyutchev's "addiction" to R4 is much higher than average, which indirectly indicates a desire for an ordinary, even ordinary metrical "dictionary". The strophic organization of the poem, even at first glance, is much more individual. On the one hand, the eight-verse is quite popular in the poetic practice of the first half of the 19th century. - it is in second place after the quatrain (although in a significant quantitative separation from it). Tyutchev has 11.9% of works written in eight lines. Of the 79 poems attributed to the 1820s-1830s, 21 (26.5%) have eight-line forms, i.e., the concentration of such stanzas in this period is more than twice as high as the average for the entire corpus of creativity.

On the other hand, the 8-verse in this miniature immediately leaves the impression of originality due to the specific two-stanza composition, which is an essential sign of Tyutchev's lyrics. In the period of interest to us, 12 out of 21 eight-line works have just such an organization, which seems to be the most consistent with the genre education that Yu.N. Tynyanov called a fragment.

The stanza aBaBvGvG Ya4, with which the analyzed work was written, is found in the original work of Tyutchev, as reported by L.P. Novinskaya, only 4 times, while one of these poems consists of stanzas with non-identical clauses (aBaBvGvG + AbAbVgVg - “Like a bird, early dawn ...”), in the second, Y4 alternates with Y3 (“Sea horse”), the third is actually written by Y5 interspersed with R4 (“Holy night has ascended into the sky”) and only “What are you howling about, night wind? ..” is an absolutely “pure” example of this metro-strophic form. Thus, we are dealing with a truly individual, the only strophic formation in Tyutchev's poetry.

As for the rhythmic “quality” of L4 of this poem, it is quite usual: the predominance of the IV form (missing the stress on the 3rd ikt), associated with the development of poetry in the 19th century. the so-called secondary alternating rhythm. But the general rhythmic organization of the text is interesting, which reinforces such a clear, primarily graphically expressed strophic two-part structure. Upon closer examination, each of the two stanzas, in turn, reveals a two-part square rhythmic structure (4 + 4), while the first semi-stanzas are rhythmically identical: they alternate between I full-stress and IV forms.

And here, again, symmetrical (this time - the third) lines are especially distinguished by their dissimilarity:

The second half-stanzas of the rhythmic composition, on the contrary, are completely different and are built according to different principles:

In the second - as if there is a familiar beginning: I is a full-stressed form, but then - the only case here of missing the stress on I ikta (II form), and even complicated by super-scheme stress, which leads to a special emphasis on this verse:

He longs to merge with the infinite!

- "U U - U" - U" - U

And finally, the doubling of the IV form, perceived as a resolution of the maximum rhythmic tension of the previous line:

Thus, a two-part, at first glance, rhythmic composition turns out to consist of three rhythmic “periods”:

Thanks to this, the primary two-partness is restored: the second stanza, acquiring a special rhythmic unity, is compared with the first as a whole.

This juxtaposition of stanzas as two parts of a common composition can also be traced at the phonetic level. Take, for example, the vocal structure of the rhyme vertical:

	oh oh oh oh
	oi oi ii ii

As you can see, the correlation of the first two semi-stanzas (I41 and II41) is provided by the back-language “O”, but, in essence, both stanzas are clearly opposed according to the principle: back-language (o, y) I stanzas - front-language (and) II stanzas. In addition, rhythmically similar parts I41 and II41 turn out to be opposed at this level: in the first one, vowels of the same row are presented, in the second - the alternation of vowels of different rows.

Some vocal parallels on the horizontal level also attract attention. So, the 2nd and 8th verses correspond in each of the stanzas:

At the same time, vocal pairs of different stanzas are opposed to each other.

Thus, the rhythmic similarity of the two "internal quatrains" (I41 and II41) is somewhat loosened, which once again demonstrates the integrity of the main components of the two-part composition - stanzas.

The principle of duality manifests itself differently in the distribution of consonant groups. Two contrasting parts are clearly distinguished here: “noise” and “explosive”. Let's follow their movements:



Total: 13 units, 7 units	21 units, 11 units

Total: hissing-whistling - 34 units, p - 18 units.

With the general greater saturation of the “noise” theme, it, like the “explosive” one, manifests itself more tangibly in stanza II. But the principles of “sound science” in both stanzas are different: if in the first the lowest density of sound layers forms a common frame composition and at the same time another, internal “frame” appears in part I42, where the sound parallels are especially expressive, then in the second stanza the “noise” and "explosive" themes come into conflict: their condensation and rarefaction fall on different (usually adjacent) lines:

Thus, stanza II begins with a sound climax, spanning two lines:

Oh, don't sing these terrible songs

About Ancient ChaoS about Darling

True, in this stanza one can see a tendency towards a frame composition, but it is formed by only one, “noise” theme. As for the internal two-part nature of stanza II, one can note the boundaries of the parts only in the distribution of the sound P, which is absent in the last verses of the constituent “quatrains”.

As you can see, alliterations clearly indicate the contrast between stanzas, which is felt both due to different sound saturation and due to the specifics of the development of sound themes.

Thus, the rhythmic parallelism of parts I41 and II41 at the prosodic level is questioned: the comparison is set off by opposition, which ultimately again contributes to the selection of two main large compositional units equal to stanzas.

The same pattern is revealed by the syntactic structure of the poem. Let's show it schematically:

4 (2 - + 2)!
2 (1, + 1)! + 2 (1 - + 1)!

It is clearly seen that the rhythmic similarity of parts I41 and II41 is replaced at the syntactic level by the brightest contrast: non-square organization - 3 syntactic parallels with interrogative intonation in the first case and squareness of exclamatory constructions - in the second. Parts I42 and II43, which are pairs of exclamatory sentences, are closer related. But even here there is no complete correspondence: part II43 consists of more “fractional” syntactic segments. So the syntax constructs a large two-part form with a sharply limited parts, graphically separated by a space, and with an internal weak square articulation.

It is natural to assume that the principle of binarity, implemented at all basic structural levels of the text, is also decisive in the semantic aspect.

In fact, the question-answer construction itself, which forms the artistic whole, already testifies to a binary semantic attitude.

Typical Tyutchev oppositions immediately come to mind: being - non-being, day - night, chaos - harmony ... I must say that there are no direct oppositions of these or similar key images in our poem, although comparisons of two different figurative-conceptual systems undoubtedly play an important role in the deployment the meaning of the work.

Let us trace the formation of co- and opposition in the sequence of the semi-stanza parts identified at the beginning of our analysis.

I41. The wind reigns supreme here, and the very archaic “highness” of the image leaves no doubt that we have before us the embodiment of the elements.

The wind is perceived as a sounding substance (howling). The adverb insanely, most likely, indicates the nature of the sound that goes beyond a certain norm, and below its timbre range is determined: either deafly mournful, or noisy.

3 parallel questions are addressed to the wind, calling for the semantization of a strange voice: about what? about what? What means? The addresser (lyrical subject) is not manifested.

I42. In this part, it turns out that the questions asked are purely rhetorical, because the answer, however not well defined, is known to the questioner. The subjective vagueness intensifies even more, growing into a kind of stratification: the voice of the wind is understandable to the heart, but at the same time it repeats about incomprehensible torment. Incomprehensible to whom? Heart? But it was stated above that language is understandable to the heart. This means that the voice is inaccessible to comprehension, i.e. reason? Apparently, for the heart - the language, for the mind - just a voice. This stratification of the subjective essence into two elements, one of which is named (heart) and the other is assumed (reason), is emphasized by the triad of verbs concentrated in verses 6-7 (recall that these lines are written in rhythmic form III): you repeat, dig, explode.

The first designates not only repetition, but also actions aimed at memorization (cf. the expression “repeating a lesson” common in the first half of the 19th century), i.e. having an intellectual nature and addressed to reason. The second and third - in fact, different types of the same verb - rather denote actions in the emotional sphere. And if the result of the first action (repeat) is unknown, then the sequence of imperfective and perfective verbs (digging - blowing up) speaks of the achieved result - and it is in relation to the heart that responds to the voice of the wind with frantic sounds. The strength of the resonance turns out to be quite adequate (the position of similar images at the end of the lines is symptomatic:

I 2 - you complain madly

II 8 - frantic sounds)

True, the nature of the response is still not completely clear: you explode ... SOMETIMES frantic sounds or you explode ... sometimes FURIOUS sounds? Where is the logical emphasis? Sound “prominences” sometimes arise in the heart under the influence of the wind, or is this reciprocal sounding constant, but sometimes it is violent?

II41. It is easy to assume that in the second stanza (if it exists) vague answers to the questions "about what?" and "what does it mean?" will be consistently concretized and provided with a conclusion. These light assumptions are immediately and sharply swept aside. The parallelism of the preposition "O" of the first stanza with the interjection "O" of the second stanza emphasizes (with complete, as we remember, the rhythmic identity of the corresponding parts) a qualitatively different intonation: very tense, especially in the first couplet period. And the condensation in the first two lines of two opposite alliterative layers further exacerbates the tension. It is in these lines that the direct and complete answer to the questions of part I41 is concentrated: the STRANGE voice of the wind sings TERRIBLE songs (internal consonance turns into additional semantic parallelism). However, the answer, like the previous one, turns out to be imaginary: it is known in advance to the questioner (the repetition of the preposition PRO: about ancient chaos, about native - reinforces this impression). The next couplet adds almost nothing new to the content of the songs of the wind, but strengthens the reader in the sense of the ghostly duality of the position of the subject, supposedly simultaneously asking and knowing the answer, understanding and not understanding the voice of the elements, not wanting to hear and eagerly listening to this voice. In addition, it turns out that the lyrical moment captured in part I41 (questions are asked here and now), moving apart in time in part I42 (sometimes from time to time, sometimes), here borders on infinity: after all, if “terrible songs” are favorite story, which means that it was necessary, firstly, to listen to it repeatedly, and secondly, again repeatedly, to compare it with others. It is obvious that the beloved story is comparable here with eternal truths.

But the increased duality of the subject's position, oddly enough, does not prevent him from gaining greater certainty: the implicit opposition of feeling and reason (heart and mind) in part I42 is replaced by unity, designated as the world of the soul at night, congenial and consonant with the elements (the rhyming tautological roll call is not accidental: I1 night wind - II3 night world of the soul).

In the same part, the famous chaos appears, for any sympathetic reader of Russian classical poetry, which is almost the emblem of Tyutchev's lyrical world.

Chaos is the ancestral home (ancient, dear). But whose? Following the logic of the text, you assume that it is again about the wind, to which the question is addressed in the first stanza and the protest in the first couplet of the second stanza. Indeed, who, no matter how the elements, comes from chaos? But something prevents you from fully accepting such an answer. Perhaps, the idea that has developed when reading part I42 that the voice of the elements is not only understandable to the mind, but also evokes an adequate response in it (crazy lamentations of the wind - frantic sounds of the heart), which hints at a certain co-nature of both principles. The impression is reinforced by the following couplet, where the rhythmic parallelism of the last verses I41 and II41

once again correlates the element and the “night world of the soul”.

In the last part (II43) there is a new intonation and semantic surge. Here, with sudden clarity, the boundary between two co-natural substances is indicated: formed, finite, and without outlines, boundless. Between the night soul and the elements there is a material barrier: a mortal chest, but the impulse to unity, to overcome the barrier is extremely strong - it is not for nothing that the verse He longs to merge with the boundless, as we have shown above, occupies a special place in the composition due to its rhythmic emphasis. Here attention is riveted to the world of the soul at night, named in the previous part: the pronoun OH is repeated twice, and the chain of verbs fixes the dynamics of overcoming the obstacle (listens ==> rushes ==> longs to merge). Moreover, this impulse is observed from the outside: the position of the lyrical subject is not only still uncertain, but looks even more distant than in the first stanza. There, the I is simply not named, but the unmanifested first person addresses the elements on YOU, creating a dialogical setting. In the II stanza, it would seem that I receives a greater formalization (the world of the soul at night), but in reality it ceases to exist, being replaced by the pronoun of the 3rd person (ON). Twice repeated, and even underlined by super-scheme stress, it removes the subject from the lyrical I further than from elemental forces.

The lyrical "plot" is finally completed in the two previous lines. And the latter functionally resemble not a cadenza, but a coda. This is not a resolution, not a conclusion, but rather a kind of "epilogue". The semantically final couplet is especially ambiguous and even, perhaps, "dark". The last appeal to the wind: ... do not wake the storms who have fallen asleep. It is clear that this is not about weather phenomena, but where are the notorious storms raging? In the heart, as is clear from stanza I, i.e. in the world of feeling? Or in the nocturnal soul that appears in stanza II and synthesizes, it seems, feeling and reason? When did the storms go to sleep? There is not a single hint of this in the text. On the contrary, the semantics of the verbs and their sequence in each stanza, as we have seen, speaks precisely of a powerful dynamic uplift.

And, in the end, where is the chaos - in the soul (heart) or outside it?

These or similar questions remain unanswered, but the unusually complete and consistent parallelism of the first and last couplets of stanza II - both rhythmic, and intonation, and syntactic - draws attention:

This gives rise to the impression of the omnipresence and omnipresence of primordial chaos, which does not need logical clarity. The stanza finally ends, and at the same time the general two-part (two-strophe) composition is perceived as an integral unity with a culmination in the 9th - 10th lines and the coda correlated with it (15th - 16th lines).

The semantic ambiguity (openness) of the code, however, does not destroy the semantic core of the work, provided by all the prosodic, rhythmic-intonational and syntactic structure of the text.

Thus, we see that the poem “What are you howling about, night wind?” embodies the principle of binarity, which becomes even more pronounced due to some violations, which, however, can also be reduced to "two-part". For example, three rhythmic compositional parts: I 41 + 42 and II 41 + 43 can be interpreted as a ratio of TWO similar half-stanzas with TWO contrasting ones.

This poem is a cast of an individual world, tragically contradictory, dual, unsteady, but constantly striving for orderliness, in which at least the illusion of harmony can be found. tyutchev binarity rhythmic scheme poem

It seems that this attempt at analysis, on the one hand, helps to see the reflection in one poem of some important features of Tyutchev's poetic world, discovered by prominent researchers of his poetics, on the other hand, to make sure that this world, very clearly organized, at the same time contradictory in its integrity, unsteady and "obscure" for logical explanations.

On this page, read the text by Fyodor Tyutchev, written in 1830.

What are you howling about, night wind?
What are you complaining about so madly? ..
What does your strange voice mean
Either deafly plaintive, then noisy?
In a language understandable to the heart
You keep talking about incomprehensible flour -
And you dig and explode in it Sometimes frantic sounds!..

Oh, do not sing these terrible songs
About ancient chaos, about dear!
How greedily the world of the night soul
Heeds the story of his beloved!
From the mortal it is torn in the chest,
He longs to merge with the infinite!..
Oh, do not wake up the sleeping storms -
Chaos stirs beneath them!..

Other editions and variants:

Now mournful, now noisy!
And whine and explode in it

And longs to merge with the boundless...

Modern 1854. Vol. XLIV. pp. 15–16.

Note:

Autograph - RGALI. F. 505. Op. 1. Unit ridge 16. L. 2.

First publication - Modern. 1836. Vol. III. P. 18, under the general title "Poems sent from Germany", No. XIII, with the general signature "F. T.". Then - Sovr. 1854. Vol. XLIV. pp. 15–16; Ed. 1854, p. 29; Ed. 1868, p. 34; Ed. SPb., 1886. S. 135; Ed. 1900. S. 99.

Printed by autograph. See "Other editions and variants". S. 243.

The autograph is on a small sheet of paper, almost the same format as the one on which "No, my addiction to you ...", although the handwriting is more legible. Written in ink; on the back of the page - "The stream has thickened and is fading ...". In the 4th line - "Then deafly plaintive, then noisy." In the 7th line in the first word, the letter "r" is written differently from Tyutchev's usual; it is more like “n”, in this case the word “noesh” is obtained. In the second stanza, two allegedly necessary punctuation marks are missing: in the 10th line, after the word “darling”, there is no sign; in the 13th line there is also no sign, hence the assumption arises that the next line could begin not with the word “He”, but with the union “And” (“And he longs to merge with the infinite”; such an option is given by the lists and Sovr.). Each stanza is crossed out, especially with a bold line - the last one, signifying the end of the poem.

In Sushk. notebooks (p. 23) and in Muran. album (p. 25) lists: 4th line - “either deafly plaintive, then noisy?”; 7th line - “And whine and explode in it”; 14th - "And it longs to merge with the boundless." In the modern 1836, a variant was given - “Either deafly mournful, then noisy?”, But the 7th - “And you dig, and you explode in it”; in the 14th - "He longs to merge with the boundless." In the modern 1854 4th line - "Then deafly plaintive, then noisy!"; 7th - “And whine and explode in it”; 14th - "And it longs to merge with the boundless." In all lifetime editions, as well as in Ed. SPb., 1886 and Ed. 1900 is printed in the same way.

Dated to the 1830s; at the beginning of May 1836 it was sent to I.S. Gagarin.

L.N. Tolstoy marked the poem with the letters "T. G.K.!” (Tyutchev. Depth. Beauty.) (TE. S. 146). The main responses date back to the end of the 19th - beginning of the 20th centuries. V.S. Solovyov clarifies the aesthetic meaning of the sounds of poetic speech: silence does not always accompany an aesthetic impression, as in the picture of an approaching night thunderstorm. “On the other hand, in other phenomena of the inorganic world, their entire vital and aesthetic meaning is expressed exclusively in sound impressions alone. Such are the mournful sighs of Chaos chained in the cosmic darkness” (Soloviev, Beauty, p. 52). Here the philosopher fully quoted Tyutchev's poem. Further, he argues: “Gusts of elemental forces or elemental impotence, in themselves alien to beauty, give rise to it already in the inorganic world, becoming will or captivity, in various aspects of nature, material for a more or less clear and complete expression of the universal idea or positive all-unity” . V.Ya. Bryusov (see Ed. Marx. S. XXXVIII-XXXIX), starting his explanations of Tyutchev's chaos, turned to this particular poem and considered it together with such as “Yu.F. Abaze”, “Day and Night”, “Vision”, “How the Ocean Embraces the Globe…”; the researcher discovered Tyutchev's attraction to "ancient, native chaos." Bryusov believed that this chaos appears to the poet as the primordial beginning of all being, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those moments in the life of nature, when “behind the visible shell” one can see “her very self”, her dark essence, are dear and desirable to Tyutchev. “And, listening to the lamentations of the night wind, to his songs “about ancient chaos, about dear”, Tyutchev confessed that his night soul eagerly “listens to the story of his beloved ...”. But chaos can be peeped not only in external nature, but also in the depths of the human soul.

D.S. Merezhkovsky believed that N.A. Nekrasov: “It was not for nothing that Nekrasov heard these sounds of the autumn wind from Tyutchev: after all, his own song was born from the same music: “If the day is cloudy, if the night is not bright, / If the autumn wind is raging ...”. From the same music of the night wind: “What are you whining about, night wind, / What are you madly complaining about?” For Nekrasov - about the torment of slavery, about the will of man; for Tyutchev - also about the will, but different, inhuman - about "ancient chaos" (Merezhkovsky. S. 5-6). And further in his brochure, the author again turned to the same poem and quoted four verses (“In a language understandable to the heart,” etc.), reflecting on the relationship between the conscious and unconscious principles in Tyutchev’s work: “Through him, a person, as through a mouthpiece, the inhuman elements speak... Understandable about the incomprehensible, conscious about the unconscious - this is the whole poetry of Tyutchev, the whole poetry of our time: the beauty of Knowledge, Gnosis" (p. 10). S.L. Frank quoted the second stanza of the poem, explaining the essence of Tyutchev's pantheism: the merging of personal consciousness with the universal and at the same time a sense of the duality of the universe. “Why does horror seize the soul precisely when the soul longs to merge with the boundless, and this merging is felt as the soul’s immersion in dark chaos?” (Frank. p. 18). Answering the question, he points to the bifurcation of the very unity, in which the light and dark elements are hidden (see also the commentary on the verse “Spring”, p. 466; “Shadows of blue-gray mixed ...”, p. 436).

In the above reviews, the context of Tyutchev's poems is determined. But the poet himself connected it with the verse. “The stream has thickened and is fading…”; indeed, they are united by the image-motive of darkness, psychological parallelism in the figurative drawing of two stanzas, the idea of secret, hidden, painful, which breaks out, both in cosmic existence and in the human soul.

What are you howling about, night wind?
What are you complaining about so madly? ..
What does your strange voice mean
Either deafly plaintive, then noisy?
In a language understandable to the heart
You keep talking about incomprehensible flour -
And dig and explode in it
Sometimes violent sounds! ..

O! don't sing scary songs
About ancient chaos, about dear!
How greedily the world of the night soul
Heeds the story of his beloved!
From the mortal it is torn in the chest,
He longs to merge with the infinite!..
O! do not wake the sleeping storms -
Chaos stirs beneath them!..

Analysis of Tyutchev's poem "What are you howling about, night wind? ..."

The work, belonging to the corpus of early Tyutchev's works, was published in 1836. The recognizable image of the "holy night" appears in the text, which rids the world around us of deceptive daytime pictures, so familiar and understandable to man. The latter, confused and weak, has to face the personification of the chaotic beginning - the abyss. The incomprehensible secrets of the dark abyss are both frightening and fascinating.

The central place in the figurative structure of the analyzed text is given to the night wind. His personified image is elevated to the rank of a lyrical addressee, whose aspirations the anxious hero is trying to understand. The mental confusion of the subject of speech is expressed through a series of rhetorical questions that open the poem. The howls of bad weather are likened to manifestations of human emotions: in the gusts of wind one hears lamentations, the degree of charge of which is constantly changing. They are reminiscent of deaf desperate complaints, then stormy, hysterical protests.

The variety of strange sounds generated by the intensification of the wind is metaphorically identified with speech. The mind is unable to comprehend its content, only the heart, intuitively recognizing the emotional component, correlates the appeal with the expression of grief, suffering or pain. In a sensitive soul, a response is born, but sincere sympathy becomes a starting point, later generating an unexpectedly strong effect. To depict it, the author uses two homogeneous predicates "dig" and "blow up", used in an allegorical sense. These components are united by a common semantics: active influence, leading to cardinal changes in the surface of the earth, correlates with the powerful, unrestrained nature of the emotional reaction. The general impression is reinforced by the epithets "violent" and "terrible", the first of which closes the initial stanza, the last - opens the final fragment.

In the second octave, the opposition of two psychological portraits, the mental states of the hero - day and night, is modeled. Only in the dark time of the day can one feel the attractive force of the triumph of the elements, similar to thirst, to feel dear and beloved in the "boundless".

New feelings, inspiring fear with their contradictory nature and power of manifestation, evoke a request-plea. The subject of speech would prefer not to penetrate the veil that hides the indomitable chaotic principle.

More poems:

The Oak began to blame the Wind: “Open up to me, Borey! Why did you sweep along the grove, among the fields of My dear children? By your mercy I am without leaves and branches; Yesterday I blew so hard that...
The wind howls in the vast steppe, And the snow is falling. There goes a dear dark Poor man. Joyful faith in the heart Amid the evil turmoil, And heavy gray clouds hung over the earth ....
Almost without saying: “You are a real insignificance!”, The printed judge of my poems Advises great caution In the use of the letter “I”. I'm sorry: you're right, my zealous connoisseur And common place swagger squanderer - Against your ...
A fire burned under the Crimean sky, Shooting stars into the darkness, And the resinous smell of smoke reminded me of Gorky in the Crimea. He listened to the violent sound of the surf And the crackling of the charred bark. And yes, I saw...
- My horse is tired, my shoes are worn out. Where am I to go? Tell me please. - Along the Red River, my joy, along the Red River, To the Blue Mountain, my joy, to ...
When in a seaside town, in the middle of a cloudy night, out of boredom, you open a window, whispering sounds will spill in the distance. Listen and distinguish the sound of the sea, breathing on the land, protecting the soul that listens to it in the night. All...
…And there my marble counterpart, Downcast under the old maple tree, He gave his face to the lake waters, Heeds the green rustles. And the light rains wash His dried-up wound... Cold, white, wait, I will also become a marble....
Believe me, nothingness is good in this world. Why deep knowledge, thirst for glory, Talent and ardent love of freedom, When we cannot use them? We, the children of the north, are like local plants...
And in God's world, it happens, And sometimes it snows in May, But still Spring is discouraged And says: "It's my turn! .." Powerless, no matter how angry she is, Untimely ...
Where the ancient Kochergovsky 1 Over Rollen rested, Tredyakovsky conjured and conjured the newest days: The fool, turning his back to the sun, Under his cold Herald 2 Splashed with dead water, Splashed the living Izhitsa ....

F.I. Tyutchev. “What are you howling about, night wind?..”: An experience of analysis

Orlova O.A.

The poem “What are you howling about, night wind? ..” was written by F.I. Tyutchev, apparently no later than the mid-1830s. It belongs to the 24th, which saw the light in the "Contemporary" in 1836, designated as "Poems sent from Germany".

The features of Tyutchev's artistic worldview, which formed a specific poetic system, have been sufficiently studied by now. Stable ideas about this phenomenon have developed, without which any serious analysis, both general and particular, is difficult to imagine.

We note some of the most important provisions that we will take into account when reading Tyutchev's text:

Tyutchev's orientation, on the one hand, to the philosophy of Schelling and the aesthetics of the older German romantics (Novalis, Heine), on the other hand, to Derzhavin and Zhukovsky, is generally recognized.

“Tyutchev belonged to the complex type of romantics; using the themes of romanticism, he is much more related to the classics in terms of his methods, ”considered, for example, Yu.N. Tynyanov.

From this the fundamental qualities of the poetic system and style are derived: “the “high” odic structure of poetry<...>Tyutchev's stanza, syntax and vocabulary go back to classical samples ", in particular, "oratory techniques" are noted. Yu.N. Tynyanov, the formation of a new genre in Tyutchev's lyrics - a fragment with "amazing regularity" and completeness. Plannedness is special, “binary” in nature, which is habitually related for a long time to the characteristic romantic duality. However, it turned out that here it is also possible to detect other, much earlier influences (for example, a modern researcher sees in Tyutchev's dual world a reflection of the most important philosophical features of Platonism).

Structural-semantic binarity (whatever its nature) is a recognized hallmark of Tyutchev's poetic world and is reflected in every element of it. We read in the work of Yu.N. Tynyanov 1926: “... natural-philosophical parallelism, “duality” did not remain with him only material and style, but also entailed the entire organization of poetic material. His construction itself became parallelistic or antithetical, depending on the material. More than half a century of follow-up observations on Tyutchev's poetics revealed a lot of new things, but did not shake the main thing in Tyyanov's statement. So, Yu.M. Lotman writes in 1990: "Tyutchev's lyrics<...>an exceptional phenomenon: distinguished by the variety, contrasting inconsistency of all the colors that make up her paintings, she is exceptional in her structural features. There are various shifts within the semantic oppositions, a complex game of their combinations comes into force, but the oppositions themselves are strong throughout the entire creative work (emphasized by me. - O.O.) ” .

Tyutchev's "binarity" also forms a special concept of a person, far from both classic and romantic stereotypes. “A world with paradoxical simultaneous extreme personality and equally extreme generality (emphasized by me. - O.O.)”, - this is how Yu.M. Lotman. A L.Ya. Ginzburg, on the contrary, does not separate, but brings these two extremes together in some borderline, where they touch: “For Tyutchev, a person, to the extent that he is torn away from the unity of nature and the historical environment, leads a ghostly existence, sliding without a trace along an elusive line ( emphasized by me. - O.O.) between the past and the present.

Summing up the listed characteristic ideas about Tyutchev's lyrics, we briefly formulate the starting positions of our approach to the analysis of the poem:

the "dualism" of the poetic world, irreducible to either the romantic or the classic canon, which manifests itself at all structural levels of the text and is, in particular, reflected in the special significance of the LIMIT between the two spheres of this single world, which simultaneously unites and separates them;

the specific position of the lyrical subject, highlighting the contextual connections and cross-cutting images realized in key words.

Now that the main landmarks have been identified, we present the text with a parallel rhythmic scheme and proceed to its analysis:

Я4, as is known, is the most common and, consequently, the most universal meter in Russian versification (at least since the 1920s). As for Tyutchev, according to L.P. Novinskaya, 56% of his poems are written in this size. And according to M.L. Gasparov, the use of R4 in the poetry of the 20s of the XIX century. is more than 40%, but in the 1830s. this level begins to decline, i.e. Tyutchev's "addiction" to R4 is much higher than average, which indirectly indicates a desire for an ordinary, even ordinary metrical "dictionary". The strophic organization of the poem, even at first glance, is much more individual. On the one hand, the eight-verse is quite popular in the poetic practice of the first half of the 19th century. - it is in second place after the quatrain (although in a significant quantitative separation from it). Tyutchev has 11.9% of works written in eight lines. Of the 79 poems attributed to the 1820s–1830s, 21 (26.5%) are in eight-line forms, i.e., the concentration of such stanzas in this period is more than twice as high as the average for the entire body of creativity.

The stanza aBaBvGvG Ya4, with which the analyzed work was written, is found in the original work of Tyutchev, as reported by L.P. Novinskaya, only 4 times, while one of these poems consists of stanzas with non-identical clauses (aBaBvGvG + AbAbVgVg - “Like a bird, early dawn ...”), in the second, Ya4 alternates with Ya3 (“Sea horse”), the third is actually written Ya5 interspersed with R4 (“Holy night has ascended into the sky”) and only “What are you howling about, night wind? ..” is an absolutely “pure” example of this metro-strophic form. Thus, we are dealing with a truly individual, the only strophic formation in Tyutchev's poetry.

True, the presence of super-scheme stresses of varying severity (and not only in one of the verses quoted) does not allow this rhythmic similarity to become an identity. And here, again, symmetrical (this time - the third) lines are especially distinguished by their dissimilarity:

The second half-stanzas of the rhythmic composition, on the contrary, are completely different and are built according to different principles:

In the second, there seems to be a familiar beginning: I is a full-stressed form, but then there is the only case here of missing the stress on I ikta (II form), and even complicated by super-scheme stress, which leads to a special emphasis on this verse:

He longs to merge with the infinite!

–" U U - U" - U" - U

And finally, a doubling of the IV form, perceived as a resolution of the maximum rhythmic tension of the previous line:

Thus, a two-part, at first glance, rhythmic composition turns out to consist of three rhythmic “periods”:

Thanks to this, the primary two-partness is restored: the second stanza, acquiring a special rhythmic unity, is compared with the first as a whole.

This juxtaposition of stanzas as two parts of a common composition can also be traced at the phonetic level. Take, for example, the vocal structure of the rhyme vertical:

	oh oh oh oh
	oi oi ii ii

As you can see, the correlation of the first two semi-stanzas (I41 and II41) is provided by the back-language “O”, but, in essence, both stanzas are clearly opposed according to the principle: back-language (o, y) I stanzas - front-language (and) II stanzas. In addition, the rhythmically similar parts of I41 and II41 turn out to be opposed at this level: in the first one, vowels of the same row are presented, in the second, the alternation of vowels of different rows.

Some vocal parallels on the horizontal level also attract attention. So, the 2nd and 8th verses correspond in each of the stanzas:

At the same time, vocal pairs of different stanzas are opposed to each other.



Total: 13 units, 7 units	21 units, 11 units

Total: hissing-whistling - 34 units, p - 18 units.

With an overall greater saturation of the “noise” theme, it, like the “explosive” one, manifests itself more tangibly in stanza II. But the principles of “sound science” in both stanzas are different: if in the first the lowest density of sound layers forms a common frame composition and at the same time another, internal “frame” appears in part I42, where the sound parallels are especially expressive, then in the second stanza the “noise” and "explosive" themes come into conflict: their condensation and rarefaction fall on different (usually adjacent) lines:

Thus, stanza II begins with a sound climax, spanning two lines:

Oh, don't sing these terrible songs

About Ancient ChaoS about Darling

As you can see, alliterations clearly indicate the contrast between stanzas, which is felt both due to different sound saturation and due to the specifics of the development of sound themes.

The same pattern is revealed by the syntactic structure of the poem. Let's show it schematically:

2 (1, + 1)! + 2 (1 - + 1)!

It is natural to assume that the principle of binarity, implemented at all basic structural levels of the text, is also decisive in the semantic aspect.

In fact, the question-answer construction itself, which forms the artistic whole, already testifies to a binary semantic attitude.

Let us trace the formation of co- and opposition in the sequence of the semi-stanza parts identified at the beginning of our analysis.

I41. The wind reigns supreme here, and the archaic “highness” of the image itself leaves no doubt that we have before us the embodiment of the elements.

3 parallel questions are addressed to the wind, calling for the semantization of a strange voice: about what? about what? What means? The addresser (lyrical subject) is not manifested.

I42. In this part, it turns out that the questions asked are purely rhetorical, because the answer, however not well defined, is known to the questioner. The subjective vagueness intensifies even more, growing into a kind of stratification: the voice of the wind is understandable to the heart, but at the same time it repeats about incomprehensible torment. Incomprehensible to whom? Heart? But it was stated above that language is understandable to the heart. This means that the voice is inaccessible to comprehension, i.e. reason? Apparently, for the heart - the language, for the mind - just a voice. This stratification of the subjective essence into two elements, one of which is named (heart) and the other is assumed (reason), is emphasized by a triad of verbs concentrated in verses 6-7 (recall that these lines are written in rhythmic form III): you repeat, dig, explode.

The first designates not only repetition, but also actions aimed at memorization (cf. the expression “repeating a lesson” common in the first half of the 19th century), i.e. having an intellectual nature and addressed to reason. The second and third - in fact, different types of the same verb - rather denote actions in the emotional sphere. And if the result of the first action (repeat) is unknown, then the sequence of imperfective and perfective verbs (digging - blowing up) speaks of the result achieved - and it is in relation to the heart that responds to the voice of the wind with frantic sounds. The strength of the resonance turns out to be quite adequate (the position of similar images at the end of the lines is symptomatic:

I 2 - you complain madly

II 8 - violent sounds)

True, the nature of the response is still not completely clear: you explode ... SOMETIMES frantic sounds or you explode ... sometimes FURIOUS sounds? Where is the logical emphasis? Sound "prominences" sometimes arise in the heart under the influence of the wind, or is this reciprocal sounding constant, but sometimes it is violent?

II41. It is easy to assume that in the second stanza (if it exists) vague answers to the questions "about what?" and "what does it mean?" will be consistently concretized and provided with a conclusion. These light assumptions are immediately and sharply swept aside. The parallelism of the preposition "O" of the first stanza with the interjection "O" of the second stanza emphasizes (with complete, as we remember, the rhythmic identity of the corresponding parts) a qualitatively different intonation: very tense, especially in the first couplet period. And the condensation in the first two lines of two opposite alliterative layers further exacerbates the tension. It is in these lines that the direct and complete answer to the questions of part I41 is concentrated: the STRANGE voice of the wind sings TERRIBLE songs (internal consonance turns into additional semantic parallelism). However, the answer, like the previous one, turns out to be imaginary: it is known in advance to the questioner (the repetition of the preposition PRO: about ancient chaos, about native - reinforces this impression). The next couplet adds almost nothing new to the content of the songs of the wind, but strengthens the reader in the sense of the ghostly duality of the position of the subject, supposedly simultaneously asking and knowing the answer, understanding and not understanding the voice of the elements, not wanting to hear and eagerly listening to this voice. In addition, it turns out that the lyrical moment captured in part I41 (questions are asked here and now), moving apart in time in part I42 (sometimes from time to time, sometimes), borders on infinity here: after all, if “terrible songs” are beloved story, which means that it was necessary, firstly, to listen to it repeatedly, and secondly, again repeatedly, to compare it with others. It is obvious that the beloved story is comparable here with eternal truths.

But the increased duality of the subject's position, oddly enough, does not prevent him from gaining greater certainty: the implicit opposition of feeling and reason (heart and reason) in part I42 is replaced by unity, designated as the world of the soul at night, congenial and consonant with the elements (the rhyming tautological roll call is not accidental: I1 night wind - II3 night world of the soul).

In the same part, the famous chaos appears, for any sympathetic reader of Russian classical poetry, which is almost the emblem of Tyutchev's lyrical world.

Chaos is the ancestral home (ancient, dear). But whose? Following the logic of the text, you assume that it is again about the wind, to which the question is addressed in the first stanza and the protest in the first couplet of the second stanza. Indeed, who, no matter how the elements, comes from chaos? But something prevents you from fully accepting such an answer. Perhaps, the idea formed during the reading of part I42 that the voice of the elements is not only understandable to the mind, but also evokes an adequate response in it (crazy lamentations of the wind - frantic sounds of the heart), which hints at a certain co-nature of both principles. The impression is reinforced by the following couplet, where the rhythmic parallelism of the last verses I41 and II41

once again correlates the element and the “night world of the soul”.

In the last part (II43) there is a new intonation and semantic surge. Here, with sudden clarity, the boundary between two co-natural substances is indicated: formed, finite, and without outlines, boundless. Between the night soul and the elements there is a material barrier: a mortal chest, but the impulse to unity, to overcome the barrier is extremely strong - it is not for nothing that the verse He longs to merge with the boundless, as we have shown above, occupies a special place in the composition due to its rhythmic emphasis. Here attention is riveted to the world of the soul at night, named in the previous part: the pronoun OH is repeated twice, and the chain of verbs fixes the dynamics of overcoming the obstacle (listens ==> rushes ==> longs to merge). Moreover, this impulse is observed from the outside: the position of the lyrical subject is not only still uncertain, but looks even more distant than in the first stanza. There, the I is simply not named, but the unmanifested first person addresses the element on YOU, creating a dialogical setting. In stanza II, it would seem that I gets more formalized (the world of the soul at night), but in reality it ceases to exist, being replaced by the pronoun of the 3rd person (OH). Twice repeated, and even underlined by super-scheme stress, it removes the subject from the lyrical I further than from elemental forces.

And, in the end, where is the chaos - in the soul (heart) or outside it?

This gives rise to the impression of the omnipresence and omnipresence of primordial chaos, which does not need logical clarity. The stanza finally ends, and at the same time the general two-part (double-strophe) composition is perceived as an integral unity with a culmination in lines 9–10 and a coda correlated with it (lines 15–16).

The semantic ambiguity (openness) of the code, however, does not destroy the semantic core of the work, provided by all the prosodic, rhythmic-intonational and syntactic structure of the text.

This poem is a cast of an individual world, tragically contradictory, dual, unsteady, but constantly striving for orderliness, in which at least the illusion of harmony can be found.

Bibliography

Here, as you know, Pushkin's opinion was also published regarding the indifference of Russian poetry to "French influence" and its preference for friendly relations with "German poetry" (Pushkin A.S. Complete works. M., 1949. V.12. S. 74)

No wonder, apparently, the latter enthusiastically accepted, according to Vyazemsky, the poems later published in Sovremennik (see: Tynyanov Yu.N. Pushkin and Tyutchev // Tynyanov Yu.N. Pushkin and his contemporaries. M., 1969. C .178)

Tynyanov Yu.N. Tyutchev and Heine // Tynyanov Yu.N. Poetics. History of literature. Kino M., 1977. S.380.

Eikhenbaum B.M. Melody of Russian lyrical verse // Eikhenbaum B.M. About poetry. L., 1969. S.396.

Tynyanov Yu.N. The question of Tyutchev // Tynyanov Yu.N. Poetics. History of literature. Cinema. M., 1977. S.344.

Koshemchuk T.A. On Platonism in Tyutchev's Poetry // Ontology of Verse. In memory of V.E. Kholshevnikov. SPb., 2000. S.210–227.

Tynyanov Yu.N. Pushkin and Tyutchev. P.188.

Lotman Yu.M. The poetic world of Tyutchev // Lotman Yu.M. About poets and positions. SPb., 1996. S.593.

Lotman Yu.M. Notes on Tyutchev's poetics // Lotman Yu.M. Decree. op. P.560.

Ginzburg L.Ya. About lyrics. M., 1997. P.91. Let us give one more point of view: “Tyutchev’s man is an artistic abstraction, striving for the maximum distance from a specific personality in order to appear as a universal “generic” entity with a new concreteness of a higher order” (Kormachev V.N. The structure of artistic time in poetic works // Literary collection, issue 1. Donetsk, 1999, p.188).

Ginzburg L.Ya. Decree. op. S.97-98.

Noteworthy in this regard is the insightful remark of B.M. Eikhenbaum about the special nature of the emotional experience contained in a poetic work: “If a musician has specific musical experiences, then a poet has specific pronunciation, speech experiences. Not thinking, but experiencing, and not “figurative”, but verbal - this is the special affiliation of the poet. And if the reader wants to understand the poet, then he should not arouse feelings of sadness or joy in himself (what is the point in this artificial self-excitation - isn’t life giving enough of them in a natural form?), but a feeling of the word (I emphasized. - O.O. ) as a special feeling not taken into account by physiology ”(Eikhenbaum B.M. On the artistic word // Eikhenbaum B.M. On literature. M., 1987. P. 336).

See: Lotman Yu.M. The poetic world of Tyutchev. P.359.

See: Gasparov M.L. Essay on the history of Russian verse. Metrics. Rhythm. Rhyme. Strophic. M., 2000. P.113.

See: Lotman Yu.M. The poetic world of Tyutchev. P.382.

In general, two-stanza compositions are very popular in Tyutchev's lyrics. So, out of 79 poems of the 1820-1830s. there are 32 two-lined ones, and the quatrain and eight-line forms are in balance: 13 and 12, respectively.

Yu.N. Chumakov defines such an 8-line form in Tyutchev as "the genre of" two-line "with the principle of first division", pointing to the special role of the gap, which "acquired an important structural and semantic function, each time setting the optimal distance between stanzas" (Chumakov Yu.N. Principle "first divisions" in Tyutchev's lyrical compositions // Studia Metrica et Poetica: Collection of articles in memory of P. A. Rudnev. St. Petersburg, 1999. P. 121).

See: Lotman Yu.M. The poetic world of Tyutchev. P.402.

This correspondence is also emphasized by the general rhyme of male clauses, which we have already mentioned.

So, the clash of opposite rhythmic tendencies, expressed respectively by the III and IV forms, about which M.M. Girshman as a source of "interstrophic rhythmic contrasts" in Tyutchev (Girshman M.M. Rhythmic composition of a poem by A.S. Pushkin and F.I. Tyutchev written in iambic 4-foot // Girshman M.M. Selected articles. Donetsk, 1996 pp.51–68), in this poem provides contrast between the parts INSIDE the stanza.

The vowel U in rhyming female clauses, according to Ian Lilly, is not characteristic of L4. It is true that he only referred to the combination abAb, but I think that the rarer opposite configuration aBaB is unlikely to give different results. At the same time, Tyutchev, while maintaining the general trend, still quantitatively significantly exceeds the corresponding figures for Derzhavin, Pushkin, Lermontov: in his rhymes, U occurs much more often than among the named poets (Lilli I. Dynamics of Russian verse. M., 1997. C .67).

In poems of the 1820–1830s. the element is embodied in this way more than 10 times: wind (winds) - 6, whirlwind - 4, storms - 3. At the same time, WIND is always a powerful and unkind force, while WIND, BREEZE (3 more uses) are completely harmless.

Sound background in Tyutchev's lyrics in the 1820s–1830s prevails over the visual, while euphonious and neutral sounds are much more common than dissonant ones (42 words against 17), and there are only 8 sharply dissonant ones. woke up with a SCREAM and, finally, SCREAMS (of the day, of birds).

In this inaccurate antithesis (“deaf - noisy” instead of “deaf - voiced”), the influence of the German language (still - laut) may have affected, as well as in the control of the verb “complain” - about what? (klagen über) instead of what? However, Tyutchev's word usage in the latter case can also be explained by following the so-called obsolete norm of the contemporary literary language.

We note in passing that this (albeit hidden) opposition “feeling - reason” is uncharacteristic for the romantic worldview.

True, the change in the designation of the genre - scary songs turn into a story - perhaps contributes to the emergence of associations with the ballad, so popular in German romanticism.

Interestingly, the frequency of this keyword is not as high as it seems: in the 1820s–1830s. chaos, in addition to this poem, is found in Tyutchev 4 more times, of which twice - the chaos of sounds; close words: abyss - 5 times, element - 2 times; chaos is always associated with the night. Subsequently, this image does not become more common: in the verses of 1840 - early 1870s. chaos does not occur at all, the abyss - 6 times, the abyss - 1 time, elemental (belonging to the elements) - 4 times. It is noteworthy that the only vision of chaos (without a direct name) is found in a poem of 1848-1850. “Holy night has ascended into the sky”, both thematically and strophically doublet in relation to the analyzed. In it, the relationship between man and chaos reaches an extreme degree of tragedy: "there is no support from the outside, there is no limit."

In his well-known brief interpretation of the poem “What are you howling about, night wind? ..” E.G. Etkind (see: Etkind E.G. Matter of verse. St. Petersburg, 1997. P. 244) claims that Tyutchev's storms are always spiritual and this is confirmed by the context of creativity. Without challenging the authoritative opinion, based, it seems, on the numerous parallelisms of the states of the soul and the states of nature, characteristic of Tyutchev's poetic world, we will make some clarifications. “A heart that yearns for STORMS” is found in Tyutchev’s lyrics only once, in all other cases (by the way, not numerous: only 3 uses in poems of the 1820-1830s and 2 in subsequent original work) - we are talking about climatic and political cataclysms .

Perhaps this "plot" gap is associated with the omission of some link, immersed in the graphic gap between the stanzas.

For the preparation of this article, materials from the Internet from the public domain were used.