On the philosophical lyrics of Tyutchev. Selection: Tyutchev's philosophical poems

Fyodor Ivanovich Tyutchev Oryol province - Tsarskoe Selo - Russian poet, diplomat, conservative publicist, corresponding member of the St. Petersburg Academy of Sciences since 1857, privy councillor.

Fedor Ivanovich Tyutchev was born on December 5, 1803 in the family estate of the Oryol province. Tyutchev was educated at home. Under the guidance of the teacher, poet and translator S. E. Raich, who supported the student's interest in versification and classical languages, Tyutchev studied Latin and ancient Roman poetry, and in translated Horace's odes for twelve years . Since 1817, as a volunteer, he began to attend lectures at the Literary Department at Moscow University.

Having received a certificate of graduation from the university in 1821, Tyutchev enters the service of the State Collegium of Foreign Affairs and goes to Munich as a freelance attaché of the Russian diplomatic mission. Here he met Schelling and Heine and in 1826 married Eleanor Peterson, nee Countess Bothmer, from whom he had three daughters. The eldest of them, Anna, later marries Ivan Aksakov.

Service in Russia

Returning to Russia in 1844, Tyutchev again entered the Ministry of Foreign Affairs (1845), where from 1848 he held position of senior censor.

Philosophy and poetry are close to each other, after all, the tool with the help of which both a poetic stanza and a philosophical treatise are created , serves human thought. In ancient times, great philosophers such as Aristotle expressed their philosophical reflections in the form of poetry, thereby demonstrating the power and elegance of thought. Aristotle, who is called the father of many sciences, was also the author of works on poetics. This suggests that the poetic perception of reality can be combined with the philosophical search for truth. The poet, who rises above everyday problems and penetrates into the deepest questions of being, strives to the very essence of our existence - to knowledge of the life of the human soul in the world around us.

Fedor Tyutchev is such a poet for us.. His work dates back to the second half of the 19th century, when literature was being formed in Russia, which the whole world will call the golden age of Russian poetry, "Olympic lyrics." Researchers of Tyutchev's poetic heritage attribute him to poets of a romantic direction, because his lyrics are always removed from everyday life and turned to eternity, unlike, for example, Nekrasov, who was interested in the social environment and moral issues. Poetry can reflect different aspects of life, and Tyutchev's lyrics have their own specifics - the problems of this poet's poems are philosophical in nature.

If you examine the lyrics of Fyodor Tyutchev, you will notice that the most important the problem for him is the problem of the unity of man with nature, as well as the problem of discord with it!!!

"Sand quicksand knee-deep" - echo with the poem Mtsyri, Mtsyri, left alone in the forest, dreams of unity with nature, kills the leopard, wakes up in the morning on the edge of the abyss, understands his helplessness.

T. He shows us a traveler walking through the desert, and as soon as the sun sets, fear is born in his soul.

In the early period of the poet's work, the question worries understanding between people. After all, if two thinking human beings, endowed with reason and speech, are unable to come to an agreement, then how to find mutual understanding with the outside world, which does not have the ability to talk?

How can the heart express itself? How can someone else understand you? Will he understand how you live? Thought spoken is a lie.(« Silentium!)

The author comes to the conclusion that words not only do not contribute to understanding, they, on the contrary, only confuse because the same phrase can be understood differently by different people. Hence the line is born in the form of an aphorism - “ thought spoken is a lie". A person can keep feelings and dreams deep in his soul, but if he wants to express them, he must be prepared for the fact that the vanity of life will give them a different meaning, and perhaps the thought that excites the soul will seem banal to the interlocutor: “mysteriously magical” thoughts can be deafened by “outside noise” (“Silentium!”). Thus, Tyutchev, even in his youth, tried to raise one of the key philosophical questions in his poems - how can one convey a thought to another person without distorting its meaning and without losing the feeling invested into this thought.

T. thinks that man is the smallest grain of sand in nature, but a grain of sand is thinking. Verse "There is melodiousness in the waves of the sea" - the voice of one crying in the wilderness is a biblical character.

Man, instead of understanding nature, merging with it in harmony, tries to subjugate it to himself. For a man, a huge desert world.

Tyutchev is trying to reveal the problem of mutual understanding at the highest level - philosophical, he is looking for the root of evil and finds it in the eternal discord of man with nature, with the universe. A person, as Tyutchev understood, should not rely only on the external form of things and on words. W the dark world of man is too distant from the divine world, man does not understand the laws The universe and therefore suffers, feeling lonely and unprotected, not feeling how nature takes care of him (“Holy night has risen to the sky”). But if human beings turned to nature, listened to the "voice of the mother", then they would find a way to communicate with the outside world in a special, understandable and accessible language...

T. follows science, but believes that it is impossible to finally understand the mechanisms that put pressure on earthly life with the mind. "Fountain"- the first part is a story about a fountain, which everyone admires. The fountain is a demonstration of the technical achievements of man, because the man made the water flow from the bottom up. The second part speaks about the human mind. The thought of a person strives upwards, but there is a limit to everything.

Tyutchev passionately protests against those narrow-minded individuals who seek to see in everything only an accidental coincidence, a probable incident, or, conversely, the arbitrariness of exclusively human will. Such people, answering the question of where the foliage comes from on the trees and how the fetus is formed in the mother's womb, will never talk about the power of mother nature, about the rational divine world, about the harmonious beginning in the Universe.

In the second half and at the end of the 19th century, the secular minds of Europe and Russia were dominated by new radical ideas: the theory of the origin of species on earth due to the process of evolution, which was later formulated by the English naturalist Charles Darwin. This moment is extremely philosophical, because we are talking about about the struggle of the principles of the world - matter and spirit, which of them is the original? For Tyutchev, the answer is obvious, he speaks with all conviction through his poetry about the soul of nature as the beginning of everything, including as a source of human life. The author in the program poem "Not what you think, nature ..." compares skeptics with cripples who are unable to distinguish not only the voice of the subtle world, but also the simplest and most natural things for everyone, such as the mother's voice ..

If at first T. was a romantic direction, then in 60 he came to realism. But at the same time, he always remains a romantic. T. turns to Pushkin, his verse is realistic: "Mascot".

T. writes a verse "Where the mountains are, running away ..". Romantic traditions of Zhukovsky and Pushkin are shown here. Suddenly there is a break in the stanza. Everything he writes about the Danube is his novel. The past. As a realist, he writes - "everything has passed, everyone took years ... you succumbed to fate"

His realism is connected with the fact that he has there are social motives. He is trying to understand the life of Russia. His verse “These poor villages”, “Tears of people”.

T. opposes the West to Russia. According to its historical purpose, the West is to increase material wealth. Russia should not follow the path of the West. She has another mission, to keep the value of high human spirituality. The main thing for a Russian person is spiritual wealth.

The motive of memories in the lyrics of T. This motif is important for him based on the concept that man is a microcosm, man lives in the atmosphere of his spiritual experience. The value of a person is determined by the depth of his soul and the memory of history. He was married 2 times and both times happily. The image of his beloved Eleanor never left him (motif of remembrance). He associated his best memories with her.

Historical memory theme – he believed that a people that had lost its memory could no longer be considered a people. He has a whole cycle of poems dedicated to. Tsarskoe Selo. He describes both the beauty of couples and philosophical reasoning. . ..

“I passed through the Livonian fields” - T. recalls everything that the people of this Baltic land have forgotten. This country has never been independent. Russia was the liberator of this people. And if the Balts remembered this, they would treat the Russians differently.

During the struggle with the Turks, many have the idea of ​​a single Slavic union. "Brothers Slavs".

The philosophy of love in Tyutchev's lyrics is another commentary on his tragic worldview. Love for Tyutchev is always a passion, since it is passion that brings us closer to chaos. Tyutchev calls passion itself "violent blindness" and thus, as it were, identifies it with night. The theme of love is intertwined with the theme of death: "Oh, how deadly we love."

"Last love"- uses a comparison with the colors of nature - the last dawn. Last love is the brightest, most unusual. But this is also a consolation before the horse disappears forever from this world.

A special place in Tyutchev's poetry is occupied by philosophical reflections on man in the world. The poet brought into Russian poetry a fresh theme of the fusion of personality with the circulation in nature, with the confrontation in it of darkness and light. Man in Tyutchev's view is a particle of nature, he is "inscribed in it", dissolved in it and absorbs it into himself. If, for example, in Lermontov’s poem “I go out alone on the road ...”, the personality is shown as infinitely lonely and existing on its own, while nature, space, stars live on their own (“a star speaks to a star”), then Tyutchev, these worlds turn out to be spliced ​​and inseparable. The wondrous world with its diversity “lies, developed” before man, “the whole earth is opened to him”, “he sees everything and praises God”, because he is inseparably merged with this natural world (“Wanderer”). Many of Tyutchev's poems are constructed in such a way that the landscape sketch imperceptibly turns into thoughts about a person, and the image of a person is given in connection with the reconstruction of a landscape or natural phenomena.

This is the poem Yesterday, in dreams enchanted ...» (1836). It would seem that the poet intends here to trace the gradual change of evening at night, and the last - early dawn. The late beam of the month casts an earthly dream, frowning shadows smoothly turn into night darkness, and the darkness is gradually dissipated by quiet streams of morning radiance. In order to more clearly reveal this process of transition from darkness to darkness and the subsequent dawn, the poet successfully uses tautology (“the shadow frowned darker”), complex adjectives (“darkly illuminated”), rare compound adverbs (“smoky-light”, “hazy-lilial ”), conveying transitional states and mixtures of darkness and light; an abundance of verb forms (“ran”, “grasping”, “writhing”, “climbed up”), revealing the dynamics of the appearance of rays and light reflexes; frequent repetitions of the words “here” (they begin five verses) and “suddenly” (this anaphora opens two lines) and, finally, introduces the indefinite pronoun “something”, which becomes the expression of a mysterious animate subject of action. However, this whole process and all these artistic means are given in connection with the depiction of a sleeping woman. It is on her that the last ray of the month falls, around her “silence subsided”, her sleepy curl is vaguely seen in the darkness; it was her blanket that a mysterious “something” grabbed and then began to wriggle on her bed. Finally, a sunbeam touches the face and chest with a “life-giving radiance” and reveals the wonderful silk of the eyelashes. Thus, a person finds himself in the center of all the named natural phenomena, which are of interest to the poet insofar as they reveal the beauty, youth and refreshed forces of an awakening woman. Here, the pictorial and plastic image, achieved by the artist of the word, was combined with a reflection on the place of man in the animate God's world.

But the man himself, as Tyutchev portrays him, combines striking contradictions: he is a slave and a master, strong and weak, rebellious and patient, powerful and fragile, humble and full of anxiety. In order to convey these polar principles (antinomies), the poet uses Pascal's well-known formula “thinking reed” as applied to the personality, shows how “a mighty whirlwind sweeps people” or “Fate, like a whirlwind, sweeps people” (“From edge to edge, from hail to hail...”), conveys the tragic existence of man in front of the night abyss:

And a man, like a homeless orphan,

It stands now and is weak and naked,

Face to face before the dark abyss.

(“Holy night ascended into the sky ...”, 1848-1850)

A person is tragic in his isolation from his own kind, the power of passions over him, the short duration of his existence. The poet contrasts the transience of human life with the eternity and infinity of the world (“And the coffin has already been lowered into the grave ...”). The grave is opened, the remains of a person are lowered into it, a speech about the fall into sin sounds:

And the sky is so imperishable and pure,

So infinitely above the earth.

The philosophical thought about the drama of the existence of the individual is also contained in the poem "Silentium» (1830). The first and third stanzas of this three-part composition compare the spiritual life of a person, his feelings and dreams, his “mysteriously magical” thoughts with the outside world, with its outside noise, deceptive daytime rays and the starry night, genuine in its truth. The enduring wisdom of these extreme stanzas corresponds to their instructive, instructive and imperious intonation: while maintaining your isolation from others, admire the beauty of the universe, listen to the singing of daytime rays and the radiance of night stars. This will establish the necessary and desired connection with the outside world. The second, middle stanza is confessional in nature.

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

This is a complaint of a person about his isolation from others, about his loneliness in the human community, where “the thought uttered is a lie”, where the word cannot unite people, a complaint about the isolation of the spiritual world, due to which the person is doomed to his dumbness. The bitterness of the lyrical hero takes the form of questions that follow one after another, and then the form of a mournful aphorism. But in the same stanza, there is also a powerful thought about the intensity and richness of a person’s spiritual life, a wealth equal to the whole world, which must not be lost. It is important not to crush your innermost thoughts, not to “disturb”, as you can stir up the natural springs gushing out of the ground. The poet's thoughts are warmed by his excitement, which is especially felt in the insistent repetition of the imperative "keep quiet" (every stanza ends with it) and in the fifth verse, where the iambic four-foot suddenly breaks and turns into a three-foot amphibrach. The poet develops the "inexpressible" motif inherent in Zhukovsky and brings it to a prelogical conclusion, to a demanding instruction. In order to give special weight and scale to this composition, the poet gives it an unusual Latin name borrowed from medieval didactics, reinforcing it with the exclamation: “ Silentium!

“A thought that feels and is alive” (I. S. Aksakov) also pulsates in another philosophical poem of the poet - “ Fountain» (1836). This poem of the mid-30s was sent from Munich to a friend of the poet - I. S. Gagarin and seemed to be addressed to him. It starts with the word "look". Such an invitation to look, consider and admire here is not accidental: the beginning of the poem is devoted to the description of the fountain seen by the poet in one of the cities of Europe. This description is unusual for Tyutchev: it is based not on an instant impression, but on a long-term peering into the phenomenon, on its contemplation. The poet follows the change of lighting, coloring, the peculiarities of the movement of the water jet. Tyutchev's observations are very apt, and this is reflected in the word: the fountain resembles a living cloud. This is followed by a new assimilation of "wet smoke". The sun penetrates this cloud, and therefore it becomes "fiery" and suddenly begins to look like a bright ray. But at the same time, the poet invites not only to look, to contemplate, but also to reflect.

Rising to the sky with a beam, he

Touched the cherished height -

And again with fire-colored dust

To fall to the ground is condemned.

It contains a deep thought, philosophical motif, conveyed by the last of the above lines: "to fall ... condemned." So, we are talking not only about the beauty of the fountain, but also about some laws that govern it. At the same time, another, hidden, but possible meaning of the lines is revealed - a reflection on a person striving somewhere, ascending - either to a career, or to wealth, or to power, and tragically forgetting that behind his feverish activity, efforts, fuss there is something waiting for him fatally. Therefore, he must always remember not only the vain, but also the great, so as not to miss life itself. However, there may be aspiration upwards of another kind - to the creative achievements of a talent soaring "a beam to the sky", and it is sad when he reaches the "cherished height", but at that moment his path is tragically cut short. So it was with Pushkin, Lermontov, Belinsky, Venevitinov...

The thought of death is, as it were, picked up by the first significant word of the second stanza: “About the mortal thought of a water cannon ...” But the word “fountain” is replaced by its synonym “water cannon”. This is a sign that we are talking about the same thing and at the same time about something different. The life of the fountain is compared with the beating of human thought.

And although at the beginning of the second stanza there are no typical comparison words like “like”, “like”, “like”, but parallelism unobtrusively arises. The water jet correlates with the greatness of the mind, tireless knowledge, rebellious human thought. Like a fountain, this thought also greedily reaches for the sky. The sublime theme brings to life the “high” words, of which there are so many in this stanza: “strives”, “water cannon”, “crumples”, “hand”, “refracting”, “overthrows”. And next to it are several book expressions: “inexhaustible”, “incomprehensible”, “invisibly fatal”. There is an internal roll call of the verb "mute" and the root - "met" - in the word "water cannon", which convey this aspiration of thought upwards. However, another motive also arises: for thought there is an "invisibly fatal hand." There is a limit to human knowledge of the world, its fatal limitations, its obvious constraint and weakness. This skeptical thought is sharp and bold, it echoes Kant's judgment about the limits of the human mind, deprived of the ability to penetrate into the essence of phenomena, to know "things in themselves." It turns out that not only the word (" silentium ”), but thought also suffers from its “inexpressibility”. Perhaps there is another consideration here: philosophical thought should not be too divorced from life, from the beginning of the earth, otherwise it will become an empty game of the mind. So, in any case, these lines of Tyutchev are read today.

The line “what an incomprehensible law” reveals another hidden plan of the poem. The poet also reflects on the general laws of life. Such a theme was characteristic of Tyutchev's predecessor, Pushkin. I recall “Again I visited ...”, “Elegy”, his early “Cart of Life”, thoughts about the fate of the land and people in the poem “To the Sea”. It is clear that we are talking not so much about the physical structure of the water cannon, but about the vital laws that govern everything on earth, about progress, its boundaries and contradictions. It is no coincidence that the literary critic N. Ya. Berkovsky wrote that the theme of "Faust" was raised in this poem, which means that it is about the knowledge of the world, about a beautiful moment stopped, about the limits of civilization, bourgeois culture. So Tyutchev came to the themes of global sound.

Thinking about the world around man, Tyutchev often refers to the topic of time, interpreting this concept in an extremely diverse way. The poet is convinced that "the flow of time runs inexorably". He only connects people for a moment, then to separate them forever (“We are tired on the way ...”). Tyutchev thinks a lot about the past and the present, about the memory that connects these categories of time. But the images of day and night and reflections on these phenomena are especially stable in the poet's lyrics.

In the poem " Day and night”(1839) the day is interpreted as a “brilliant cover”, bright and golden-woven, hiding the nameless abyss of the world. He brings a certain revival to those born on earth, even the healing of an aching soul, but this is only a shell enveloping a gaping abyss. On the contrary, the night is notable for the fact that it casts off the “fabric of the fertile cover”, and then the hidden abyss “with its fears and darkness” opens up until the time. The sharp opposition of these forms of time is reflected in the two-part composition of the poem, its two stanzas connected by an adversarial “but”. In philosophical meditation (contemplation) " dreams» (« As the ocean surrounds the globe...”) (1830) speaks with all certainty about the night as a clear and frank manifestation of the dark elements, which, like waves, hit their shore. People's knowledge of the world is expanding: they see the cosmos, "the vault of heaven, burning with the glory of the stars", they feel the mighty chaos and keenly feel the flaming abyss, being surrounded by it from all sides. Using the ancient and classic image of the "chariot of the universe", Tyutchev in a laconic, eight-line poem " Vision"(1829), drawing the night time, standing between man and world chaos, characterizes it as a manifestation of both unconsciousness and universal silence, but at the same time as a time of revelations and creative insights. For such an interpretation, the author needed ancient images of the powerful Atlas (Atlanta), the Muse, responding to the poet's enthusiasm, and the Hellenic gods. As a result, the miniature resurrects the spirit of antiquity and, in philosophical language, speaks of the readiness of poetry (the Muse) to meet and capture the amazing phenomena of space and chaos.

Philosophical lyrics by F. Tyutchev (Grade 10)

PHILOSOPHICAL LYRICS F.TYUTCHEV

Grade 10

The teacher, mastering Tyutchev's poetry with his students, faces many difficulties, which often lead to a simplified interpretation of the meaning of the poet's philosophical poems. The author of the article managed to avoid this, while maintaining the clarity and accessibility of the presentation of the material on Tyutchev's natural-philosophical lyrics.

We propose to devote two lessons to the study of Tyutchev's lyrics in the tenth grade.

Lesson topic: "Philosophical comprehension of the lyrics of nature in Tyutchev's poetry".

Target: determine the place of Tyutchev in the history of Russian poetry, show the originality of his lyrics; to develop the skills of interpreting a lyrical work in tenth graders.

Equipment: photograph by Tyutchev (1850s). Audio recording of the poem "Autumn Evening" performed by M. Tsarev. Romance "What are you bending over the waters" (G. Kushelev-Bezborodko - Tyutchev F.) performed by V. Agafonov.

During the classes

I. Opening remarks.

1. Repetition of what was learned in previous lessons.

Teacher. Remember what Bazarov is thinking about before his death.

Pupils say that the hero has become more humane, treats his parents more gently; his words addressed to the woman he loves sound poetic, but these feelings merge with thoughts about the Motherland, an appeal to mysterious Russia: “Russia needs me ... No, apparently, I don’t need it?”.

Russia remained a mystery for Bazarov, not fully solved.

A kind of response to Turgenev's hero could be the lines of the poet, whose work we are referring to today. They are repeated by both our friends and our enemies, who are trying to unravel the mysterious Slavic soul.

There are always students in the class who can recite Tyutchev's poems by heart:

Russia cannot be understood with the mind,

Do not measure with a common yardstick:

She has a special become -

One can only believe in Russia.

2. A short message about the life and creative fate of the poet.

Teacher. Let's pay attention to the dates of the poet's life - 1803-1873. What can they tell us, especially if we remember another great Russian poet - A.S. Pushkin?

The date of birth is “transparent” and understandable: Tyutchev is not just a contemporary, but almost the same age as Pushkin. They began their poetic activity almost simultaneously. Tyutchev's literary debut took place at the age of 14.

The second date suggests that Pushkin could have lived until the 1870s, and perhaps even the 1880s. Indeed, at the opening of the monument to the poet in Moscow, there were some of his friends, and two lyceum students were alive: Gorchakov and Komsovsky. Once again, you are shocked at the thought of the prematureness of Pushkin's tragic death.

Everything in Tyutchev's life was calmer (at least outwardly) than that of Pushkin. His biography is least of all similar to the biography of the poet. Manor childhood in the family estate of Ovstut-Bryansk district, study at Moscow University, twenty-two years (1822 - 1844) service abroad in the modest position of junior secretary of the Russian embassy in Munich, return to Russia, where Tyutchev served until the end of his life in the committee of foreign censorship. But his creative biography is amazing.

The name of Tyutchev, a poet, was revealed three times in the 19th century. For the first time, Tyutchev's poetry received a calling in 1836. Copies of Tyutchev's poems through Vyazemsky and Zhukovsky fell into the hands of Pushkin. An eyewitness recalled, “Pushkin was delighted when he first saw a collection of his handwritten poems. He rushed about with them for a whole week ”(1). The third and fourth issues of Sovremennik contain Poems Sent from Germany signed by F.T. But, recognized in a narrow circle of connoisseurs of poetry, the general public and even the critics of that time did not notice the poems.

After the death of Pushkin, and then Lermontov, "twilight" sets in in Russian poetry. The 1840s are “a non-poetic time marked by the flourishing of prose. And suddenly a new poetic explosion! The 1850s can again be called a “poetic era”: N. Nekrasov, A. Fet, Ap. Grigoriev, A.K. Tolstoy, Ya. Polonsky, Ap. Maikov ... and other glorious poetic names are the personification of this decade.

This poetic era begins with a bold, unusual, unheard-of journalistic

"move". In 1850, the same 24 poems by Tyutchev, which first saw the light in Pushkin's Sovremennik, appeared in the Sovremennik magazine, whose editor was already Nekrasov. The article “Russian minor poets”, where Nekrasov stipulated that the epithet “minor” was used by him as a contrast “according to the degree of fame” to such poets as Pushkin, Lermontov, Krylov and Zhukovsky, and not in the sense of evaluative, relates the poems “F.T ." "To the Few Brilliant Phenomena in the Field of Russian Poetry".

In 1854, I.S. Turgenev published the first collection of Tyutchev's poems (2).

But in the 1870s interest in the poet faded. The third discovery of Tyutchev will take place in a new poetic era - the era of the Silver Age. Russian Symbolists (Vl. Solovyov, V. Bryusov, K. Balmont, D. Merezhkovsky) in the 1890s saw in Tyutchev a forerunner of the poetry of the coming twentieth century (3).

Each new poetic epoch in one way or another is faced with the need to anew and in its own way comprehend the creation of this unique poet in the history of Russian literature.

II. Repetition and generalization of what was studied in previous classes.

Teacher. You began to get acquainted with Tyutchev's poems from the first grade. Let's remember the most famous.

A quiz is being held, the purpose of which is not so much to remember this or that poem, but to revive the figurative structure of Tyutchev's lyrics in memory, to tune in to a certain emotional wave, when the feeling flows freely, which is so necessary for the perception of poetry.

Teacher. Regarding which poem Nekrasov wrote: “Reading them, you feel spring, when you yourself don’t know why it’s easy and fun in your soul, as if several years have fallen off your shoulders”?

Pupils remember the poem "Spring Waters".

It is especially important here that the children not only name the poem “The Enchantress of Winter”, but also be able to feel, which is usually manifested in their answers, the mysterious charm of nature, the charm of New Year's Eve, from which a miracle is expected, a fabulous perception of the surrounding nature. This is one of the emotional "strings" of the lesson, which is further supported by various methods of analysis.

Teacher. In which poem does Tyutchev depict the victory of spring over winter, using a fairy-tale element?

Almost in chorus, the students recall the lines of the poem "Winter is angry for a reason."

Teacher. To what natural phenomenon did Tyutchev make a declaration of love?

The poem is called "I love a thunderstorm in early May ..."

Teacher. What poem is meant by the following statement: “We marvel and admire how an aristocrat who lived in the city and for quite a long time abroad could feel the soul of the earth like a true farmer-worker, because the pre-winter “resting” field can only be felt, and not see" (4).

The teacher has to recall one of the poet's masterpieces, unfortunately forgotten by the students: "There is in the original autumn."

Teacher. Tyutchev's poems about nature have firmly entered our lives. It seems that there is no Russian person who would not have known “Spring Thunderstorm”, “Spring Waters”, “The Enchantress in Winter ...” from school. Tyutchev (5).

Let's hope that today's lesson will allow us to deepen and expand our understanding of the poet.

III. Tyutchev is a singer of nature. Diverse manifestations of the life of nature in his lyrics.

Teacher. We have studied a lot of poems about nature. Let's try to determine what is the originality of Tyutchev's lyrics?

Tyutchev “strives to capture the soul of nature, its language, to understand and explain in all its manifestations. It seems to him the highest bliss available to man, to admire the diverse manifestations of the life of nature ”(6). What?

Let us pay attention at least to the titles or the first lines of the poems: “The First Meeting of Spring”, “Spring Waters”, “Summer Evening”, “Autumn Evening”, “Winter Enchantress”, “Morning in the Mountains”, “Misty Noon”, “Night voices”, “Luminous month”, “First thunderstorm”, “Roar of summer storms”, “Rainbow”, “Rain”, “lightning lightning”. And the seasons, and the times of the day, and natural phenomena - everything excites Tyutchev's poetic imagination, but most of all he is attracted by the "spontaneous disputes" of nature, especially storms and thunderstorms.

We have already recalled one of Tyutchev's most famous poems, which I. Aksakov called "May thunderstorm fun": "I love a thunderstorm in early May." “The harmony of spontaneous disputes” is what attracts the poet (6).

This is due to the fact that Tyutchev is a poet-thinker. The philosophical basis of his worldview is a special relationship to nature. Passionate love for life and constant inner anxiety, due to the tragic perception of reality; the painful anxiety caused by the thought of the short duration of human existence - this is what makes the poet peer into nature, in which, like Turgenev (remember the final landscape of the novel “Fathers and Sons”), he sees a reality that has the ability to be forever renewed.

At other moments, nature seems to the poet a force that sympathizes with man, at others - hostile, but most often - deeply indifferent. Hence the seemingly paradoxical conclusion:

Nature is a sphinx. And the more she returns

With his temptation, he destroys a person

What, perhaps, no from the century

There is no riddle, and there was none.

Hence the reverent attitude towards nature (“Not what you think, nature ...”). Hence the special relationship between man and nature: only nature as a whole has true being. Man is only a "dream of nature." The attitude to nature, which is alive in itself, animated in itself, leads to Tyutchev's favorite method of describing6 nature is shown at transitional moments of its life (8). This is very clearly seen when depicting, for example, the seasons.

Pupils remember the poem "Spring Waters":

Snow is still whitening in the fields,

And the waters are noisy in spring.

Teacher. What thoughts and feelings are born in the poet when referring to such moments of transition?

Teacher. What idea is important to convey in expressive reading? (The old is still alive, but the new appears). Let's look at the features of the composition. The poem is clearly divided into two parts.

What is the first part about?

The theme of the first part is the awakening of nature from the winter, already "thinning" sleep.

What is the originality of the image of awakening nature?

The poet depicted a sad, even dead nature, but at the same time he skillfully draws signs of awakening. Let's try to imagine the "air" that "is already breathing in spring", the barely noticeable swaying of a stem dead in the field, the almost imperceptible stirring of spruce branches. Later in painting, the Impressionists will seek the impression of what they see. If you try to imagine what is depicted, you can see that Tyutchev is striving precisely for this, having prepared the reader for a detailed personification that concludes the first part of the poem: “She heard spring, \\ And she involuntarily smiled at her ...”

The theme of the second part of the poem is easily defined: the awakening of the soul.

But what are the features of the image of this awakening?

Let's find the images that are central in the stanza: "Lumps of snow are shining and melting, \\ Azure is shining, blood is playing ...". The image of melting snows, it would seem, directly depicts the "natural" melting of snows. But we often use such metaphors, saying, for example: "The soul has thawed." Thus, showing the outgoing old and the emerging new. Tyutchev depicts them in a kind of unity. The poet admires the struggle between the old and the new, draws its beauty, because this fusion, as it were, limits the hostile forces. Showing the awakening of nature, he uses images from the natural world. The indissolubility of the images of the renewing nature and the rejuvenating soul is striking.

Name the verses where the poet uses parallels between natural phenomena and the state of the human soul.

Students call "Thought after thought, wave after wave"; "The stream has thickened and is getting dark"; “Tears of people, oh tears of people”, etc.

The story of the creation of the poem “Tears of people, oh tears of people”, told by I. Aksakov, is interesting: “Once, on an autumn rainy evening, returning home in a cab droshky, all wet, he (Tyutchev) said to his daughter who met him: “... I composed several poems ”, and while he was undressing, he dictated to her the following lovely poem:

Human tears, oh human tears...

Here we can almost see that truly poetic process by which the external sensation of drops of pure autumn rain pouring down on the poet, passing through his soul, is transformed into a sensation of tears and is clothed in sounds, which, as much as words, reproduce the impression with their very musicality. rainy autumn, and the image of weeping human grief ... And all this in six lines! (nine).

The power of the emotional impression made on us by Tyutchev's poems about nature is great, because he masterfully mastered the ability to create pictures of nature. According to Nekrasov, "landscape in verse" "represents the most difficult kind of poetic works", because. requires the artist to be able to "two or three features" to conjure up the described picture in the reader's imagination (10). Tyutchev "perfectly owns this art." How does he achieve this? Let's look into the creative laboratory of the poet.

Students are offered cards with the printed first part of the poem "Fountain". Epithets are omitted. Time is given to insert them. Students must justify their choice. This creative work is not only extremely interesting for students, but very useful. Activating their minds and emotions, it at the same time gives a visual and "felt" idea of ​​the integrity of the entire system of artistic and visual means, their interconnection, accuracy and at the same time the freshness of each image.

“Look like a cloud…” The epithets found by high school students coincide at best in rhyme and rhythm. Most often they offer “big”, “gray-haired”, etc. Upon verification, we will see why such an unexpected epithet will be used by the poet: "a living cloud." Indeed, Tyutchev draws a mass of moving water, the fountain “swirls”, hence the feeling that it is “alive”, “shining”. The epithet for the word "smoke" "wet" will also be unexpected. But when we hear it, we are again amazed at the concreteness of the image: after all, there is no other way to convey the feeling of moisture on the hands, on the face, on the hair that appears near the fountain. It is very important to work on the epithet of the “cherished height” in order to understand the irresistible desire of the fountain to the desired height, which it is not able to reach, and falls, “fire-colored dust” back to the ground.

Teacher. What gives us, the readers, such a thoughtful selection of epithets? A visible, picturesque picture.

Now let's read the whole poem. What is the meaning of the picturesque description of the fountain in this poem?

In this poem, with a picturesque picture of an inexhaustible stream, each time overthrown from a height by an “invisibly fatal hand”, Tyutchev reminds of the strength and at the same time the limitations of the human mind. The purely philosophical dialectic of the relationship between the striving of the human mind for absolute knowledge and the "fatal" impossibility of its implementation is clearly shown. For the poet, the essence of the world is collision, contradiction, conflict. He observes them everywhere: in nature, in the movement of history, in the human soul. But nature always turns out to be inexhaustible for him, because, giving a person a share of the truth about herself, she remains mysterious and enigmatic and enigmatic, a “sphinx”. To convey these feelings, thoughts, Tyutchev uses his beloved technique of “figurative parallelism”. Moreover, this parallel is not always found explicitly. Sometimes the boundary between the phenomena of nature and the state of the soul seems to be erased, disappears, one imperceptibly passes into the other.

Teacher. What mood is created when reading?

Try to choose a color scheme to convey this mood.

Students note that the poet describes nature in its autumn festive decoration. Her "touching mysterious charm" left its soft, pacifying imprint on the intonation of the poem. The main color scheme = light, slightly yellowish colors, and over this light field - strokes of bright black, crimson, yellow, etc. - colors that help to convey how disturbing notes in the poem burst into words about "ominous brilliance and variegation of trees", about a gusty cold wind, foreshadowing "damage, exhaustion" to nature.

Teacher. The poem does not simply show a certain state of nature. Find a comparison that is its basis.

Students see that the “mild smile” of a fading nature is compared to the “shamefulness of suffering” that manifests itself in a “reasonable” being. We note the indissoluble dialectical unity of the composition of man and nature, which the poet so skillfully conveys.

Teacher. A reverent and reverent attitude towards the elemental forces of nature lives in the people's consciousness, and the more mysterious these forces, the greater the family connection and the greater the desire to prolong such "mystery" (11). Tyutchev shows the mysteriousness of the forces of nature and the connection with them of human life with the help of a “folded comparison”.

Listening to the poem "What are you bending over the waters ...".

Teacher. What do you imagine as you read these verses? What state of willow and stream is conveyed in the poem?

Speaking about their ideas, tenth graders can draw a picture that conveys a real description of nature: a bright sunny day, a swift, sparkling stream of water running merrily over pebbles, meandering and cold. A weeping willow bent over the water, which with every branch (“greedy mouth”) reaches for the stream. She is unhappy. Bending down with “trembling sheets”, she tries to “break through” to the jet, each leaf languishes, trembles. But the jet has a different character. She is cheerful, carefree, capricious and ... ruthless.

Teacher. In a real picture of nature, one can easily guess the symbolic subtext, so one can easily imagine other images, for example, a wise old man grieving for the passing life, although most often the image of an unfortunate girl is drawn in the imagination (recall that in folk poetry the image of a weeping willow correlates with in a feminine way) and a frivolous young man who does not pay attention to the suffering of his girlfriend. In connection with the diverse interpretation of symbolic images, one can recall the words of Tyutchev about Ya.P. Polonsky’s poem “The Rock”, which, when it appeared, caused various rumors: “After reading this poem, everyone will put his own thought into it, depending on his mood = and this almost true…” (12). Such an analysis of the poem quite convincingly shows why the symbolists perceived Tyutchev as a forerunner of their poetry.

The analysis of the poem ends with listening to the romance performed by V. Agafonov and the question: why did Tyutchev’s poem “What are you bowing over the waters ...” reminded Nekrasov of M.Yu. Lermontov’s poem “Sail”?

Teacher. What is the peculiarity of the lyrics of nature in the work of Tyutchev?

Homework.Analyze one (optional) poem by Tyutchev, which uses the technique of figurative parallelism.

Notes

1.Cit. according to Art.: Pigarev K.F. F.I. Tyutchev and his poetic heritage \\ Tyutchev F.I Op. In 2 vol. M., 1984 .T.1.S.8.

2. See: Kozhinov V. O poetic era of the 1850s. \\ Russian literature. L., 1969. No. 3.

3. See: Koshelev V. The legend of Tyutchev \\ Literature at school. M.,! 998. No. 1. P.41.

4. Kuzin N. Prophetic muse lyrics \\ Literature. M., 1997. No. 33.C.6.

5. Pigarev K. F.I. Tyutchev and his time. M., 1978. S.244.

6. Bryusov V. F.I. Tyutchev. The meaning of creativity \\ Bryusov V. Op. In 2 vols. M., 1987. Vol. 2. S. 220.

7. Pigarev K . F.I. Tyutchev and his time. P.214.

8. Bryusov V.F.I. Tyutchev. P.230.

9.Cit. according to the book: Koshelev V.A. The legend of Tyutchev. P.36.

10. Pigarev K. F.I. Tyutchev and his time. P.239.

11. Kuzin N. Prophetic muse lyrics. C.6.

12. Pigarev K. F.I. Tyutchev and his time. P.238.

1. Space and Chaos Theme
2. Nature as part of the whole

Tyutchev is a master of philosophical lyrics

Philosophical lyrics as a genre are always reflections on the meaning of being, on human values, on the place of man and his purpose in life.
We not only find all these characteristics in the work of Fyodor Tyutchev, but, rereading the legacy of the poet, we understand that Tyutchev's philosophical lyrics are the creations of the greatest master: in depth, diversity, psychologism, metaphor. Masters, whose word is weighty and timely, regardless of the century.

Philosophical motives in Tyutchev's lyrics

Whatever philosophical motives may sound in Tyutchev's lyrics, they always force the reader willy-nilly to listen, and then to think about what the poet writes about. I. Turgenev unmistakably recognized this feature in his time, saying that any poem “began with a thought, but with a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression; as a result of this ... it always merges with the image taken from the world of the soul or nature, is imbued with it, and it itself penetrates it inseparably and inseparably.

Space and Chaos Theme

“Inseparably and inseparably” the poet’s world and man, the entire human race and the Universe are interconnected, because Tyutchev’s poems are based on an understanding of the integrity of the world, which is impossible without a struggle of opposites. The motif of space and chaos, the primordial basis of life in general, the manifestation of the duality of the universe, like no other, is significant in his lyrics.

Chaos and light, day and night - Tyutchev reflects on them in his poems, calling the day a "brilliant cover", a friend of "man and the gods", and healing the "soul of the aching", describing the night as exposing the abyss "with its fears and darkness" in human soul. At the same time, in the poem “What are you howling about, night wind?”, referring to the wind, he asks:

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!

Chaos for the poet is “darling”, beautiful and attractive, because it is he who is part of the universe, the basis from which light, day, the bright side of the Cosmos appears, turning into dark again - and so on ad infinitum, the transition from one to another is eternal.

But with the new summer - a new cereal
And a different sheet.
And everything that is will be again
And the roses will bloom again
And thorns too, -

we read in the poem "I sit thoughtful and alone ..."

The eternity of the world and the temporality of man

Chaos, abyss, space are eternal. Life, as Tyutchev understands it, is finite, the existence of man on earth is unsteady, and man himself does not always know how and wants to live according to the laws of nature. Speaking in the poem “There is melodiousness in the waves of the sea ...” about complete consonance, order in nature, the lyricist complains that we are aware of our discord with nature only in “illusory freedom”.

Where, how did the discord arise?
And why in the general choir
The soul sings not that, the sea,
And the thinking reed grumbles?

The human soul for Tyutchev is a reflection of the order of the universe, it contains the same light and chaos, the change of day and night, destruction and creation. “The soul would like to be a star… in the pure and invisible ether…”
In the poem “Our Century”, the poet argues that a person strives for light from the blackness of ignorance and misunderstanding, and finding it, “murmurs and rebels”, and so, restless, “he endures the unbearable today ...”

In other lines, he regrets the limit of human knowledge, the impossibility of penetrating into the mystery of the origins of being:

We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire

And resigns itself to the fact that nature, the universe moves on in its development impassively and unrestrainedly,

All your children in turn
Performing their feat useless,
She welcomes her
An all-consuming and peaceful abyss.

In a short poem "Thought after thought, wave after wave ..." Tyutchev piercingly conveys the "affinity of nature and spirit, or even their identity" that he perceives:
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and rebound,
The same ghost is disturbingly empty.

Nature as part of the whole

Another well-known Russian philosopher Semyon Frank noticed that Tyutchev's poetry permeates the cosmic direction, turning it into philosophy, manifesting itself in it, first of all, by the generality and eternity of themes. The poet, according to his observations, "directed his attention directly to the eternal, imperishable beginnings of being ... Everything in Tyutchev serves as the subject of artistic description not in their individual ... manifestations, but in their common, imperishable elemental nature."

Apparently, therefore, examples of philosophical lyrics in Tyutchev's poems attract our attention primarily in landscape art, whether the artist “writes” the rainbow in his lines, “the noise from a flock of cranes”, the “comprehensive” sea, the “recklessly-madly” impending thunderstorm, "radiant in the heat" river, "half-naked forest" spring day or autumn evening. Whatever it is, it is always a part of the nature of the universe, an integral part of the chain universe-nature-man. Observing in the poem “Look how in the open space of the river ...” the movement of ice floes in the open space of the river, he states that they are sailing “to the same meta” and sooner or later “everyone - indifferent, like the elements - will merge with the fatal abyss!” The picture of nature evokes reflections on the essence of the “human self”:

Isn't that your meaning?
Isn't that your destiny?

Even, it would seem, in the poem “In the Village”, which is quite simple in essence and perception, describing the usual and nondescript domestic episode of the dog’s pranks, which “disturbed the majestic peace” of a flock of geese and ducks, the author sees the non-randomness, conditionality of the event. How to disperse stagnation "in a lazy herd ... it became necessary, for the sake of progress, a sudden fatal onslaught",

So modern manifestations
The meaning is sometimes stupid ... -
... Another, you say, just barks,
And he performs the highest duty -
He, contemplating, develops
Duck and goose sense.

Philosophical sounding of love lyrics

Examples of philosophical lyrics in Tyutchev's poems can be found in any topic of his work: powerful and passionate feelings give rise to philosophical thoughts in the poet, no matter what he says. The motive for recognizing and accepting the impossibly narrow limits of human love, its limitations sounds endlessly in love lyrics. In the "violent blindness of passions, we most certainly destroy what is dear to our heart!" - the poet exclaims in the poem "Oh, how deadly we love ..". And in love, Tyutchev sees the continuation of the confrontation and unity inherent in the cosmos, he speaks about this in "Predestination":

Love, love - says the legend -
The union of the soul with the soul of the native -
Their union, combination,
And their fatal merger,
And ... a fatal duel ...

The duality of love is seen in the work of Tyutchev from the very beginning. An exalted feeling, a "ray of the sun", an abundance of happiness and tenderness, and at the same time an explosion of passions, suffering, a "fatal passion" that destroys the soul and life - all this is the world of the poet's love, which he so passionately narrates in the Denisiev cycle, in poems “I remember the golden time…”, “I met you - and all the past…”, “Spring” and many others.

The philosophical nature of Tyutchev's lyrics

The philosophical nature of Tyutchev's lyrics is such that it not only affects the reader, but also affects the work of poets and writers of completely different eras: the motives of his lyrics are found in the poems of A. Fet, symbolist poets, in the novels of L. Tolstoy and F. Dostoevsky, works A. Akhmatova, O. Mandelstam, I. Bunin and B. Pasternak, I. Brodsky, E. Isaev.

* * *

Don't argue, don't bother!
Madness seeks, stupidity judges;
Treat daytime wounds with sleep,
And tomorrow to be something, it will be.

Living, be able to survive everything:
Sorrow, and joy, and anxiety.
What to wish? What to worry about?
The day survived - and thank God!

1850?

Silentium! *

Be silent, hide and conceal
And your feelings and dreams -
Let in the depths of the soul
They get up and come 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 how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..

* Silence! (lat.).
<1829>, early 1830s

Twins

There are twins - for terrestrial
Two deities, then Death and Sleep,
Like a brother and sister wonderfully similar -
She is gloomier, he is meeker ...

But there are other two twins -
And in the world there is no more beautiful couple,
And there is no worse charm
Her betraying heart...

Their union is blood, not accidental,
And only on fateful days
With its unsolvable secret
They are beguiling us.

And who is in excess of sensations,
When the blood boils and freezes,
I did not know your temptations -
Suicide and Love!

<1852>

* * *

So, in life there are moments -
They are hard to convey
They are self-forgetfulness
Earthly grace.

Woody tops rustle
High above me
And the birds are only heavenly
They talk to me.

Everything is vulgar and false
Gone so far
All the cute-impossible
So close and easy.

And I love it, and it's sweet for me,
And peace in my chest
I am wrapped in drowsiness -
Oh time, wait!

1855 (?)

* * *

Not everything painful dreams of the soul:
Spring has come - and the sky will clear up.

* * *

We can't predict
How our word will respond, -
And sympathy is given to us,
How do we get grace...

* * *

There are two forces - two fatal forces,
All our lives we are at their fingertips,
From lullaby days to the grave, -
One is Death, the other is the Human Judgment.

And she and he are equally irresistible,
And both are irresponsible
No mercy, protests are intolerable
Their verdict closes everyone's mouth...

But Death is more honest - alien to personalities,
Not touched by anything, not embarrassed
Humble il grumbling brother -
She equalizes everyone with her scythe.

And woe to her - alas, double grief -
That proud strength, proudly young,
Entering with determination in her eyes,
With a smile on his lips - in an unequal battle.

When she, with a fatal consciousness
All their rights, with the courage of beauty,
Fearlessly, in some kind of charm
She goes towards slander herself,

The face does not cover the brow,
And does not allow the chela to stoop,
And from young curls, like dust, shines
Threats, abuse and passionate blasphemy, -

Yes, woe to her - and the more simple-hearted,
That makes her seem more guilty...
Such is the light: it is more inhuman there,
Where is human-sincere guilt.

March 1869

* * *

What a wild gorge!
The key runs towards me -
He is in a hurry for a housewarming ...
I climb up where the spruce stands.

<1836>

* * *

You do not know what is more flattering for human wisdom:
Or the Babylonian pillar of German unity,
Or French outrage
Republican cunning system.

1848

glimpse

Have you heard in the deep twilight
Air harp light ringing,
When midnight, inadvertently,
Dormant strings will be disturbed by a dream? ..

Those amazing sounds
That freezing suddenly ...
Like the last murmur of flour,
Responding to them, went out!

Breath every Zephyr
Sorrow explodes in her strings...
You say: angelic lyre
Sad, in the dust, in the sky!

Oh, how then from the earthly circle
We fly with our soul to the immortal!
The past is like the ghost of a friend
We want to press to our chest.

As we believe with living faith,
How joyful, how light!
Like an ethereal stream
The sky has flowed through my veins!

But, ah! it was not for us that he was judged;
We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire.

Barely by the effort of a minute
Let's interrupt the magical dream for an hour
And with a quivering and vague look,
Rising up, let's look at the sky, -

And with a heavy head,
Blinded by one beam
Again we fall not to rest,
But in tedious dreams.

<1825>

Insomnia

Hours of monotonous fight,
A tormenting night story!
The language is foreign to everyone
And intelligible to everyone, like conscience!

Who without longing listened from us,
In the middle of the world's silence
Silent groans of time
A prophetic farewell voice?

We imagine: the world is an orphan
Irresistible Rock overtook -
And we, in the struggle, the whole nature
Abandoned on ourselves.

And our life is before us
Like a ghost at the end of the earth
And with our age and friends
Fading in the gloomy distance...

And a new, young tribe
Meanwhile, the sun bloomed
And us, friends, and our time
It has long been forgotten!

Only occasionally, the rite is sad
Coming in the midnight hour
Metal voice funeral
Sometimes mourns us!

<1829>

The last cataclysm

When the last hour of nature strikes,
The composition of the parts will collapse earthly:
Everything visible will again be covered by water,
And God's face will be depicted in them!

<1829>

* * *

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

. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .

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

. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .

They don't see or hear
They live in this world, as in the dark,
For them, the suns, to 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 chest,
With them, the forests did not speak
And there was no night in the stars!

And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!

Not their fault: understand, if you can,
The body is the life of a deaf-mute!
Soul it, ah! won't alarm
And the voice of the mother herself! ..

<1836>

* * *

My soul is Elysium of shadows,
Shadows silent, bright and beautiful,
Nor the thoughts of this violent year,
Not involved in joys or sorrows.

My soul, Elysium of shadows,
What is common between life and you!
Between you, ghosts of past, better days,
And this insensitive crowd? ..

<1836>

* * *

When in the circle of murderous worries
Everything freezes us - and life is like a pile of stones,
Lies on us - suddenly, God knows where,
We breathe comfort into our souls,

The past will wrap around and hug us
And a terrible load will instantly lift.
So sometimes, sometimes in autumn,
When the fields are already empty, the groves are bare,

Pale sky, cloudy valleys,
Suddenly the wind will blow, warm and damp,
A fallen leaf will drive before it
And it will pour over our souls, as if in spring ...

Sea and cliff

And rebels, and bubbles,
Whistling, whistling, and roaring,
And wants to reach the stars
To unshakable heights...
Is it hell, is it infernal power
Under the roaring cauldron
The fire of Gehenna laid out -
And turned up the abyss
And put it upside down?
Waves of violent surf
Continuous shaft marine
With a roar, a whistle, a squeal, a howl
Beats in the coastal cliff, -
But, calm and arrogant,
I'm not overwhelmed by the foolishness of the waves,
motionless, unchanging,
The universe is modern,
You stand, our giant!
And, embittered by the battle,
As if on a fatal attack,
Again the waves climb with a howl
On your huge granite.
But, O unchanging stone
Breaking the stormy pressure
Shaft spattered crushed,
And swirling with muddy foam
Relentless impulse...
Stay, you mighty rock!
Just wait an hour or two
Tired of the thundering wave
Fight with your heel...
Tired of evil fun,
She will calm down again -
And without a howl, and without a fight
Under the giant heel
The wave will rise again...

1848

* * *

The holy night has risen into the sky,
And a pleasant day, a kind day,
Like a golden veil, she twisted,
A veil thrown over the abyss.

And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now and is weak and naked,
Face to face before the dark abyss.

He will leave for himself -
The mind is abolished, and the thought is orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...

And it feels like a long gone dream
He is now all bright, alive ...
And in the alien, unsolved night
He recognizes the heritage of the family.

* * *

Like hot ashes
The scroll smokes and burns
And the fire is hidden and deaf
Devours words and lines -

So sadly my life is smoldering
And every day the smoke goes away
So gradually I go out
In unbearable monotony! ..

Oh heaven, if only once
This flame developed at will -
And, without languishing, without tormenting the share,
I would shine - and went out!

<1829>, early 1830s

Loneliness

(From A. Lamartine)

How often, casting a glance from a rocky top,
I sit down thoughtful in the shade of thick trees,
And develop before me
Various evening pictures!

Through the dark green of the trees
The last ray of dawn is still perceptibly wandering,
The moon slowly rises from midnight
On a chariot of clouds

And from the lonely bell tower
The blagovest lingered and deaf;
The passer-by listens, and the bell is far away
With the last noise of the day merges his voice.

Beautiful world! But admiration
There is no place in a dry heart!
In a land alien to me I wander like an orphan shadow,
And the light of the sun is powerless to warm the dead.

From hill to hill my sad gaze glides
And it goes out slowly in a terrible emptiness;
But, oh, where will I meet something that would stop my eyes?
And there is no happiness, with all the beauty of nature! ..

And you, my fields, and groves, and valleys,
You are dead! And the spirit of life has flown away from you!
And what do I need in you now, soulless pictures! ..
There is not one in the world - and the whole world is empty.

Does the day rise, do the shadows of the night fall, -
Both darkness and light are disgusting to me...
My destiny knows no change -
And eternal sorrow in the depths of the soul!

But how long will the wanderer languish in confinement.
When I leave the ashes for a better world,
That world where there are no orphans, where faith is fulfilled,
Where are the suns true in the incorruptible skies?..

How brightly the hosts of stars are burning above me,
Living thoughts of the Divine!
What night has fallen upon the earth,
And how the earth, in view of heaven, is dead! ..

A thunderstorm rises, and a whirlwind, and a desert leaf twist!
And me, and me, like a dead leaf,
It's time to leave the valley of life -
Dash away, stormy ones, drive away the orphan!..

Between 1820 and the first half of March 1822;<1823>

In the village

What desperate cries
And din, and flutter of wings?
Who is this hubbub insanely wild
So inappropriately aroused?

Flock of hand geese and ducks
Suddenly wild and flying.
It flies - where, without knowing itself,
And how crazy she sounds.

What sudden anxiety
All these voices!
Not a dog, but a four-legged demon,
Bes turned into a dog

In a fit of rage, for fun,
Self-confident bastard
Confused by their majestic peace
And they opened, dispersed!

And as if he himself, following them,
To complete the grievances
With your nerves of steel
Soaring into the air, it will fly!

What is the meaning of this movement?
Why all this waste of energy?
Why fear such a flight
Geese and ducks inspired?

Yes, there is a purpose! In the lazy herd
A terrible stagnation was noticed,
And I needed it, for the sake of progress,
The sudden onslaught is fatal.

And here is a good providence
The tomboy was let loose from the chain,
To cover your destiny
Don't forget them completely.

So modern manifestations
The meaning is sometimes stupid, -
But the same modern genius
Always ready to find out.

Another, you say, just barks,
And he accomplishes the highest duty -
He, contemplating, develops
Duck and goose sense.

* * *
Est in arundineis modulatio musica ripis*

There is melodiousness in the waves of the sea,
Harmony in natural disputes,
And a slender Musiki rustle
It flows in unsteady reeds.

An imperturbable system in everything,
Consonance is complete in nature, -
Only in our ghostly freedom
We are aware of our discord.

Where, how did the discord arise?
And why in the general choir
The soul does not sing like the sea,
And the thinking reed grumbles?

* There is a musical harmony
in coastal reeds (lat.)
May 11, 1865

When decrepit forces
We are starting to change
And we must, as old-timers,
Give newcomers a place, -

Save us then, good genius,
From cowardly reproaches,
From slander, from anger
On a life-changing;

From a feeling of hidden anger
To a world that is renewing
Where new guests sit down
For the feast prepared for them;

From the bile of bitter consciousness,
That the stream no longer carries us
And that others have vocations,
Others are called ahead;

From everything that is more fervent,
The deeper it winged for a long time, -
And senile love is more disgraceful
Grumpy old age.

Early September 1866

1856

We stand blindly before Fate,
It's not for us to tear off the cover from her ...
I won't reveal mine to you
But the delirium of the prophetic spirits...

We are still far from the goal
The storm is roaring, the storm is growing,
And now - in an iron cradle,
New Year will be born in the thunders...

His features are terribly strict,
Blood on hands and forehead...
But not only wars of anxiety
He brought it to people on earth.

Not only will he be a warrior,
But the performer of God's punishments -
He will do, like a late avenger,
Long overdue blow...

For battles he was sent and reprisals,
He brought with him two swords:
One - bloody sword battles,
The other is the executioner's axe.

But for whom?
Is the whole people doomed?
Fatal words are unclear
And the sepulchral dream is confused...

So heavy on my chest
And the heart languishes
And darkness is just ahead;
Without strength and without movement
We're so downcast
What even consolation
Friends are not funny to us, -
Suddenly a ray of sunshine
Will stealthily come to us
And sprinkles fiery
I jet along the walls;
And with a supportive firmament,
From azure heights
Suddenly the air is fragrant
The window smells on us...
Lessons and tips
They don't bring us
And from the fate of slander
They won't save us.
But we feel their strength,
We hear them grace
And we grieve less
And it's easier for us to breathe ...
So sweet, thank you
Airy and light
my soul a hundredfold
Your love was

[FROM MICELANGELO]

Shut up, please don't you dare wake me up.
Oh, in this age of crime and shame
Not to live, not to feel - an enviable lot ...
It is gratifying to sleep, it is more gratifying to be a stone.

From the life that raged here
From the blood that flowed like a river here,
What has survived, what has come down to us?
Two or three mounds, visible lift ...
Yes, two or three oaks grew on them,
Stretched out and wide and bold.
They show off, make noise, - and they don’t care,
Whose ashes, whose memory their roots dig.
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Ourselves - only a dream of nature.
All your children in turn
Performing their feat useless,
She welcomes her
An all-consuming and peaceful abyss.

I am omnipotent and weak at the same time,
I am the ruler and at the same time the slave,
I do good or evil - I don’t argue about that,
I give a lot but receive little
And in my name I command myself,
And if I want to beat someone,
Then I beat myself.

1810s

Like a bird, early dawn
The world has woken up...
Ah, just one chapter of mine
The blessed dream did not touch!
Though the freshness of the morning blows
In my tousled hair,
On me, I feel, gravitates
Yesterday's heat, yesterday's dust!
Oh how piercing and wild
How hateful to me
This noise, movement, talk, screams
Young, fiery day! ..
Oh, how crimson its rays,
How they burn my eyes!
O night, night, where are your veils,
Your quiet dusk and dew! ..
The wreckage of the old generations,
You who have outlived your age!
Like your complaints, your penalties
Wrong righteous reproach! ..
How sad half asleep shadow
With exhaustion in the bones
Towards the sun and movement
Follow the new tribe! ..

Submissive to the command of the highest,
At the thought standing on the clock,
We were not very fervent,
Even with a gun in hand.
We owned it reluctantly,
Rarely threatened - and sooner
Not prisoner, but honorary
They kept a guard with her.

I sit thoughtful and alone
On a dying fireplace
I look through my tears...
I mournfully think about the past
And words in my despondency
I don't find it.
The past - was there when?
What is now - will it always be? ..
It will pass
It will pass, as it all went,
And sink into the dark muzzle
Year after year.
Year after year, century after century...
Why is the person angry?
This cereal of the earth! ..
He quickly, quickly withers - so,
But with a new summer, a new cereal
And a different sheet.
And everything that is will be again
And the roses will bloom again
And thorns too...
But you, my poor, pale color,
You don't have a rebirth
Don't bloom!
You were torn off by my hand
With what bliss and longing,
That God knows!
Stay on my chest
Until love froze in her
Last breath.