The image of the night in Russian prose and poetry. Coursework: The lyrical image of Russia in prose N

Lesson on the elective course “Fundamentals of Russian Literature. From Word to Literature" on the topic:

"The image of the Ukrainian night in prose
N. V. Gogol»

Teacher of Russian language and literature
Belozerskikh E.I.

Alekseevka - 2010

Target: trace the features of the image of the Ukrainian night
in the prose of N.V. Gogol, the development of comparative analysis skills, the ability to understand the meaning of the stylistic coloring of words, the text belonging to a certain genus and genre of literature, to understand the theme and idea expressed by means of language, the development of a sense of beauty on the example of Gogol's works

Task: after analyzing fragments from Gogol's works, master the ability to aesthetically perceive a literary text and create correct and expressive statements

During the classes
1 Organizing moment
2 Setting the goal and objectives of the lesson
3 Teacher's word
Russia and Ukraine… Our countries have long been connected by a lot: geopolitics, music, painting, literature. The interpenetration of the cultures of the two countries is so deep that sometimes it is difficult to draw a clear line between them. As evidence, we can cite the work of N.V. Gogol, a true master of the word, who managed to convey both the charm, melodiousness of Ukrainian speech, and the expressiveness, accuracy of the Russian language. Our lesson is dedicated to his work. Theme of the lesson: "The image of the Ukrainian night in the prose of N. V. Gogol." I immediately have a question for you: what are your associations with the word Ukraine? Who, what is she to you?

/Gogol, Shevchenko, Kyiv, Dnipro, Lavra, political strife, theft of gas, non-payment of debts ... /

Everything is correct, but I have a slightly different associative array. For me, Ukraine is cheerful girls, brave lads, nightingale trills, warm southern nights, generous, friendly people, unusually lyrical, gentle, soulful songs. I want to invite you to listen to a fragment of the Ukrainian folk song "Nich Yaka Misyachna"

/listening to a fragment of a Ukrainian folk song/

It was exactly like this - musical, fabulous, full of wonders and mysteries, lyrical - that I saw and felt Ukraine once upon a time, in my childhood, when I got my hands on Gogol's old, shabby book "Evenings on a Farm near Dikanka" and the continuation of this cycle "Mirgorod ". By the way, what works from these collections do you remember?

/ "The Night Before Christmas", "May Night, or the Drowned Woman", "The Evening on the Eve of Ivan Kupala", "Sorochinsky Fair", "Terrible Revenge", "The Missing Letter", "Viy" and others/

All of them are devoted to the description of Ukrainian traditions, relationships between people. But upon careful reading, it is impossible not to notice another main character - nature. The author describes it at different times of the year, at different times of the day. But most often in what, what do you think?

/In the evening, at night/

The well-known Russian critic V. G. Belinsky, reading the descriptions of nature in the works of the Little Russian writer, exclaimed: “What luxury and simplicity in this description!” And the writer of a later period, V. Veresaev, in his article “How Gogol Worked,” reproaches the author for not being able to describe the beautiful: “When Gogol describes something beautiful, he is student-like afraid that this beautiful might not turn out to be beautiful enough, eliminates everything “low”, piles one superlative on another. Elegant and lifeless in their beauty of his descriptions of nature ... "
- Which of the authors of the articles is right? To solve this problem, we turn to one of Gogol's favorite images - the image of the night - on the example of fragments from different works, identify auxiliary images of the creation of the night, determine the similarities and differences in its image, indicate artistic means, evaluate texts in terms of correspondence linguistic form of the problem that the author solves.
- Before you are 5 texts, tables for them (we will not work in a notebook today). Let's start our work with an expressive reading of the fragments and determining from which works they are taken.

4
- Expressive reading of texts by students
5
- Filling in points No. 1-6 of the table / see Appendix No. 2 /
6
- Independent work in groups

/ auxiliary images, finding artistic means /

1 group - text No. 1
Group 2 - text No. 2
Group 3 - text No. 3
4 group - text No. 4
Group 5 - text No. 5
- What is the theme of the texts?

/description of the Ukrainian night/

What is the mood of the texts? / table/. Define an idea.
- What is your impression of the read fragments?
- The strongest impression was made by Gogol's descriptions of the Ukrainian night on many people. It was under the influence of his works that some paintings by the famous artist Arkhip Kuindzhi were created. Do you know what?

/ "Ukrainian Night", "Moonlight Night on the Dnieper"/, slide show

What evidence, interesting memories of them have been preserved?
- Is it possible to write down the key definitions of Gogol's night?

/divine, charming, radiant, deaf, dark, luxurious, clear, wonderful, musical/.

And now let us return to the statements of Belinsky and Veresaev. Whose opinion do you agree with? Why?
- Indeed, it is difficult to reproach Gogol for an excessive pile of words, for excessive prettiness, for the lifelessness of the nature described. She breathes, plays, sings, shines, flutters, babbles, gets angry, glows ...

Reflection
- One of the descriptions of the Ukrainian night begins with a rhetorical question addressed by the author to the readers: “Do you know the Ukrainian night?” So, this question is addressed to you. I hope that after today's work you have discovered something new for yourself, learned more about the Ukrainian night. Please continue the offer. / essay-miniature/

The emergence of the theme of "night" in Russian poetry is connected, according to the researcher V. N. Toporov, with the name of the 18th century writer M. N. Muravyov, who first wrote the poem "Night". Already in this poem, published in 1776 or 1785, we see a touching attitude towards the night. The poet dreams of its coming, because "the thought" of him is drawn to pleasant silence. He rejoices at the night, which brought him "solitude, silence and love."

The image of the night and the nightly thoughts and feelings that it evokes are reflected in many beautiful poems by Russian poets. Although the perception of the night is different for all poets. It can be seen that, for the most part, night was for poets the most fertile time of day for their reflections on the meaning of life, their place in it, awakening various memories, especially about loved ones.

The image of the night was also idolized by poets of the 19th century, including A.S. Pushkin, and S.P. Shevyrev, and F.I. Tyutchev and many others. The image of the night occupies a large place in the poetry of A. A. Fet, a singer of nature and love, a supporter, like F. I. Tyutchev, of idealistic philosophy. It was at night that he created many of his wonderful poems, dreamed, recalled his tragic love, reflected on the hardships of life, progress, beauty, art, "poverty of the word", etc. "His actions in poetry often take place at night, he seems to personify the night, as well as its companions - the stars and the moon. The image of the night in Fet is close in meaning to the image of the night in Polonsky, who was also often overcome by secret night thoughts," researchers of the poet's work note. Analyzing the poem "Night" by Polonsky, the critic V. Fridlyand stated that "it is not inferior to the best creations of Tyutchev and Fet. Polonsky is in it as an inspired singer of the night." Like Fet, Polonsky personifies the night. Polonsky, like Fet, personifies not only the night, but the stars and the moon: "the clear stars lowered their eyes, the stars listen to the night conversation" (verse "Agbar"). Whatever epithets Polonsky gives to the night: "white", "dark", "gloomy", "lonely", "radiant", "cold", "mute", etc.

For Sluchevsky, the night is also a welcome time, a time when love flourishes and passions are tested; it is also beneficial for awakening memories. In the poem "Night", according to the literary critic V. Fridlyand, "The emotional excitement of the poet is conveyed with the help of a series of dots and exclamation marks. He seems to be looking for the right word that would convey to the reader the fullness of the feelings that flooded over him from memories. Sluchevsky's night is like this is often present in the poem with its companions - the moon and stars.

So, we can say that the image of the night and the night thoughts and feelings prompted by it are reflected in many beautiful poems by Russian poets. Although all poets have their own perception of the night, it can be seen that basically the night was for poets the most fertile time of day for their reflections on life, this is a mysterious, intimate time when the human soul is available to everything beautiful and when it is especially unprotected and anxious, foreseeing future hardships. Hence the numerous epithets that help to see the night as only this poet saw it.

It is about F.I. Tyutchev had an idea of \u200b\u200bthe very nocturnal soul of Russian poetry. "... He never forgets, - writes S. Soloviev, - that all this bright, daytime appearance of wildlife, which he is so able to feel and depict, is so far only a" golden-woven cover ", a colored and gilded top, and not a base universe". Night is the central symbol of F.I. Tyutchev, concentrating in himself the disconnected levels of being, the world and man. Let's look at the poem:

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 -

Abolished mind and thought 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 ...

He recognizes the heritage of the family.

The basis of the universe, stirring chaos, are terrible for a person because he is “homeless”, “weak”, “goal” at night, his “mind is abolished”, his “thought is orphaned” ... The attributes of the external world are illusory and untrue. A person is defenseless in the face of chaos, in front of what is hidden in his soul. The little things of the material world will not save a person in the face of the elements. Night reveals to him the true face of the universe, contemplating the terrible moving chaos, he discovers the latter inside himself. Chaos, the basis of the universe - in the soul of man, in his mind.

Such logic of reasoning is emphasized by both sound and rhythmic accentuation. At the sound level, a sharp interruption in the general sound is created by voiced consonants in the line:

In his soul, as in the abyss, he is immersed, -

the line is maximally saturated with sonorous sounds. The word "abyss" carries the greatest semantic load. It connects the supposedly external chaotic night principle and the inner human subconscious, their kinship and even deep down unity and complete identification.

And in the alien, unsolved, night

He recognizes the heritage of the family.

The last two lines are accentuated simultaneously on the rhythmic and sound levels. They certainly increase the intensity of the compositional completion, echoing the line:

In his soul, as in the abyss, he is immersed ...

The comparison "as in the abyss" reinforces this sound.

It remains only to agree with the opinion of experts: "The extreme concentration of sonorous sounds against the background of deaf sounds reduced to a minimum sharply accentuate the last two lines of the poem. At the rhythmic level, this pair of lines breaks out of the stanza written in iambic pentameter. They form semantic tension around themselves: chaos is related to man , he is the progenitor, the fundamental principle of the world and a person who longs to unite with a kindred beginning into a harmonious whole, but is also afraid to merge with the boundless.

The dark foundation of the universe, its true face, the night only opens a person the opportunity to see, hear, feel the highest reality. Night in the poetic world of Tyutchev is an exit to the highest substantial reality, and at the same time - a completely real night and this highest substantial reality itself.

Consider another poem by F.I. Tyutchev:

Hazy noon breathes lazily,

The river rolls lazily

And in the fiery and pure firmament

Clouds drift lazily.

And all nature, like fog,

A hot slumber envelops,

And now the great Pan himself

First of all, the striking external "laziness" of the poetic world of the poem attracts attention. The word of the state category "lazy" is intensely underlined: it is used three times in the first stanza of the poem. At the same time, even its threefold repetition unfolds in the imagination an extremely dynamic, not at all "lazy" picture. Through external "laziness" a colossal internal tension, rhythmic-intonation dynamics is manifested.

The artistic world of the poem is full of movements and internally contradictory. So, in the first stanza, “lazy” occurs three times, correlates with grammatical foundations: “noon breathes”, “a river rolls”, and “clouds melt”. And in the second, this part of speech is used only once - this is the adverb "calmly." It correlates with the predicative center "Pan slumbers". There is a very strong contradiction here: behind Pan is stirring chaos, inducing panicky horror. In the slumber of panic horror, dynamics of cosmic scale are evident.

On the one hand, "Misty Midday" is a concrete nature, these are clouds, a river, fog, which are absolutely sensual in a concrete way. On the other hand, nature is the "cave of the nymphs" and the slumbering Pan. "Misty noon" turns into "great Pan", "misty noon" is the "great Pan" itself. This turnover is combined with the irreducibility of the whole to neither one nor the other. The dialectical unity of the existence of the "misty half-day" and the "great Pan" in irreducibility to one specific meaning is a symbolic reality. "Misty noon" itself is "a contradictory clot of meanings, very powerfully energetically charged, where chaos plays and turns into each other, the dark and true foundation of the universe, and the peace that covers this terrible teeming chaos, and makes the latter plausible. Like the dormant Pan is basically an impossible connection, but, nevertheless, realized in a poetic text, a bunch of contradictions, accumulating a lot of meanings around itself.

In the last two lines we read:

And now the great Pan himself

In the cave the nymphs doze peacefully.

It is here that the semantic center of the poem is concentrated: the contradictory unity of the incredible dynamics of chaos and peace, one in the other - dynamics at rest, and peace in the movement of the universe.

The emphasis on the "misty half-day" and the "great Pan" is also confirmed at the rhythmic level. Throughout the poem, these lines break out of the general rhythmic structure: "Lazily breathes misty noon" and "And now the great Pan himself / In the cave of the nymphs, he calmly slumbers." These lines are the only full-strike ones.

"Misty noon" is extremely accentuated at the sound level: the concentration of voiced and sonorous sounds, there are more of them in the first stanza than in the second. In the second stanza, the only line where the deaf prevail over the voiced is: "And now the great Pan himself." The sound emphasis of the "great Pan" is intensified, as it follows the line: "Hot slumber embraces", which is maximally saturated with voiced consonants.

"Misty Noon" and "Great Pan", turning around each other, as a tense field of meaning generation, reveal their involvement and inner connection with the central Tyutchev symbol - the symbolic reality of the night. Chaos as the true face of the universe is revealed to man in the fullness of its power only at night. The teeming and raging discord between night and day, chaos and space, the world and man is extremely acutely felt by the poet, he feels on a cosmic scale the fear of a man who has lost his original harmony, his original unity with the world, which now seems to him hostile and threatening. And the poet can only write about this, creating a sense-generating reality of the connections of the disconnected parts of the world: they find themselves in communication with each other in the artistic reality of a poetic work. "With his work, the poet solves the problem of tragic disharmony - he can restore the lost harmony, or at least clarify disharmony in the light of harmonic thought and ideal," emphasizes V.N. Kasatkina.

So, the night in Tyutchev's poems goes back to the ancient Greek tradition. She is the daughter of Chaos, who gave birth to Day and Ether. In relation to the day, it is primary matter, the source of all that exists, the reality of the initial unity of opposite principles: light and darkness, heaven and earth, "visible" and "invisible", material and non-material. The night appears in Tyutchev's lyrics in an individually - unique stylistic refraction.

1. The development of the image of the night in Russian poetry

The emergence of the theme of "night" in Russian poetry is connected, according to the researcher V. N. Toporov, with the name of the 18th century writer M. N. Muravyov, who first wrote the poem "Night". Already in this poem, published in 1776 or 1785, we see a touching attitude towards the night. The poet dreams of its coming, because "his thought is drawn to pleasant silence." He rejoices at the night, which brought him "solitude, silence and love."

The image of the night was also idolized by poets of the 19th century, including A.S. Pushkin, and S.P. Shevyrev, and F.I. Tyutchev and many others. The image of the night occupies a large place in the poetry of A. A. Fet, a singer of nature and love, a supporter, like F. I. Tyutchev, of idealistic philosophy. It was at night that he created many of his wonderful poems, dreamed, recalled his tragic love, reflected on the hardships of life, progress, beauty, art, "poverty of the word", etc. “His actions in poetry often take place at night, he seems to personify the night, as well as its companions - the stars and the moon. The image of the night in Fet is close in meaning to the image of the night in Polonsky, who was also often overcome by secret night thoughts, ”the researchers of the poet’s work note. Analyzing the poem “Night” by Polonsky, the critic V. Fridlyand stated that “it is not inferior to the best creations of Tyutchev and Fet. Polonsky in him as an inspired singer of the night. Like Fet, Polonsky personifies the night. Polonsky, like Fet, personifies not only the night, but the stars and the moon: “the clear stars lowered their eyes, the stars listen to the night conversation” (verse “Agbar”). Whatever epithets Polonsky gives to the night: “white”, “dark”, “gloomy”, “lonely”, “radiant”, “cold”, “mute”, etc.

For Sluchevsky, the night is also a welcome time, a time when love flourishes and passions are tested; it is also beneficial for awakening memories. In the poem “Night”, according to the literary critic V. Fridlyand, “The emotional excitement of the poet is conveyed with the help of a series of dots and exclamation marks. He seems to be looking for a suitable word that would convey to the reader the fullness of the feelings that flooded over him from the memories. In Sluchevsky, the night is also often present in the poem with its companions - the moon and stars.

It is about F.I. Tyutchev had an idea of \u200b\u200bthe very nocturnal soul of Russian poetry. “... He never forgets,” writes S. Solovyov, “that all this bright, daytime appearance of wildlife, which he is so able to feel and depict, is still only a “golden cover”, a colored and gilded top, and not a base universe". Night is the central symbol of F.I. Tyutchev, concentrating in himself the disconnected levels of being, the world and man. Let's look at the poem:

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 -

Abolished mind and thought 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 ...

He recognizes the ancestral heritage. Tyutchev F.I. Poems - 95s.

The basis of the universe, stirring chaos, are terrible for a person because he is “homeless”, “weak”, “goal” at night, his “mind is abolished”, “the thought is orphaned” ... The attributes of the external world are illusory and untrue. A person is defenseless in the face of chaos, in front of what is hidden in his soul. The little things of the material world will not save a person in the face of the elements. Night reveals to him the true face of the universe, contemplating the terrible moving chaos, he discovers the latter inside himself. Chaos, the basis of the universe - in the soul of man, in his mind.

Such logic of reasoning is emphasized by both sound and rhythmic accentuation. At the sound level, a sharp interruption in the general sound is created by voiced consonants in the line:

In his soul, as in the abyss, he is immersed, -

And in the alien, unsolved, night

He recognizes the heritage of the family.

The last two lines are accentuated simultaneously on the rhythmic and sound levels. They certainly increase the intensity of the compositional completion, echoing the line:

In his soul, as in the abyss, he is immersed ...

The comparison “as in the abyss” reinforces this sound.

It remains only to agree with the opinion of experts: “The extreme concentration of voiced sounds against the background of deaf sounds reduced to a minimum sharply accentuate the last two lines of the poem. On a rhythmic level, this pair of lines breaks out of a stanza written in iambic pentameter. They form a semantic tension around themselves: chaos is related to man, he is the progenitor, the fundamental principle of the world and a man who longs to unite with a kindred principle into a harmonious whole, but is also afraid to merge with the boundless.

Consider another poem by F.I. Tyutchev:

Hazy noon breathes lazily,

The river rolls lazily

And in the fiery and pure firmament

Clouds drift lazily.

And all nature, like fog,

A hot slumber envelops,

And now the great Pan himself

In the cave of the nymphs, slumbering calmly. Tyutchev F.I. Poems 120s.

First of all, the striking external "laziness" of the poetic world of the poem attracts attention. The word of the state category "lazy" is intensely underlined: it is used three times in the first stanza of the poem. At the same time, even its threefold repetition unfolds in the imagination an extremely dynamic, not at all "lazy" picture. Through the external "laziness" a colossal internal tension, rhythmic-intonation dynamics is manifested.

On the one hand, "Misty Noon" is a concrete nature, these are clouds, a river, fog, which are absolutely sensual in a concrete way. On the other hand, nature is the "cave of the nymphs" and the slumbering Pan. “Misty noon” turns into “great Pan”, “misty noon” is the “great Pan” itself. This turnover is combined with the irreducibility of the whole to neither one nor the other. The dialectical unity of the existence of "misty half-day" and "great Pan" in irreducibility to one specific meaning is a symbolic reality. "Misty noon" in itself is "a contradictory clot of meanings, very powerfully energetically charged, where chaos plays and turns into each other, the dark and true foundation of the universe, and peace that covers this terrible teeming chaos, and makes the latter plausible. As well as the dormant Pan, basically an impossible connection, but, nevertheless, realized in a poetic text, a bunch of contradictions, accumulating a lot of meanings around itself.

In the last two lines we read:

And now the great Pan himself

In the cave the nymphs doze peacefully.

The singling out of the “hazy half-day” and the “great Pan” is also confirmed at the rhythmic level. Throughout the poem, these lines break out of the general rhythmic structure: “The hazy noon breathes lazily” and “And now the great Pan himself / In the cave of the nymphs, he calmly slumbers.” These lines are the only full-strike ones.

“Misty Noon” is extremely accentuated at the sound level: the concentration of voiced and sonorous sounds, there are more of them in the first stanza than in the second. In the second stanza, the only line where the deaf prevail over the voiced is: "And now the great Pan himself." The sound emphasis of the “great Pan” is intensified, as it follows the line: “Hot slumber envelops”, which is maximally saturated with voiced consonants. Aikhenvald Y. Silhouettes of Russian writers - 60s-63s.

“A hazy and dormant noon Pan is an energetically powerful bunch of contradictions, charging and tightening the meanings around it. This is the semantic center of the poem. This clot contains colossal energy, potentially capable of unfolding into a symbolic reality with all its inherent fullness of being,” notes M. M. Girshman.

“Misty noon” and “Great Pan”, turning around each other, as a tense field of meaning generation, reveal their involvement and internal connection with the central Tyutchev symbol - the symbolic reality of the night. Chaos as the true face of the universe is revealed to man in the fullness of its power only at night. The teeming and raging discord between night and day, chaos and space, the world and man is extremely acutely felt by the poet, he feels on a cosmic scale the fear of a man who has lost his original harmony, his original unity with the world, which now seems to him hostile and threatening. And the poet can only write about this, creating a sense-generating reality of the connections of the disconnected parts of the world: they find themselves in communication with each other in the artistic reality of a poetic work. “With his work, the poet solves the problem of tragic disharmony - he can restore the lost harmony, or at least clarify disharmony in the light of harmonic thought and ideal,” emphasizes V.N.Kasatkina. Russian literature XIX century - 91-94s.

So, the night in Tyutchev's poems goes back to the ancient Greek tradition. She is the daughter of Chaos, who gave birth to Day and Ether. In relation to the day, it is primary matter, the source of all that exists, the reality of the initial unity of opposite principles: light and darkness, sky and earth, “visible” and “invisible”, material and non-material. The night appears in Tyutchev's lyrics in an individually - unique stylistic refraction.

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Abstract plan.

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The fate of a writer in Russia.

Love for the lively, well-aimed Russian word.

Features of the artistic genius of Gogol.

Bibliography.

My essay is an opinion about Gogol. How great is Gogol? Many have tried to answer this question. Critics, for example, E. Ermolov in his book "The Genius of Gogol", Yu. Mann "The Courage of Invention" compared Gogol with Pushkin and Lermontov. Maybe Gogol continued the traditions of Pushkin and Lermontov in depicting nobles and landowners? Yes, but they brought out representatives of the advanced nobility, and Gogol had ordinary nobles, even small ones. Why did Gogol choose them? Of course, everyone wanted to write about the Decembrists. Still would! But the Plyushkins were completely forgotten. Nobody wanted to talk about them!

S. Mashinsky wrote: “Yes, Gogol was in awe of Pushkin. But this did not prevent him from changing the images of Pushkin and showing his heroes from the ordinary side. This is the whole genius of Gogol.

In the abstract, I will try to express my opinion on the critical articles by E. Ermolov, Yu. Mann, V. N. Turbin, E. S. Romanicheva, M. B. Khrapchenko, A. S. Pushkin, A. I. Herzen, I. F. Annensky and others on the work of Gogol, about the diversity of Gogol's ideas, images that have enriched literary criticism.

The purpose of the abstract is to reveal the historically specific line, the originality of Gogol's word and philosophy, their connection with folklore, as well as the richness of images of fairy-tale heroes that seem to come to life and Gogol's historical modernity, based on the all-consuming love for the motherland and the work of many Russian writers and poets.

It will be easier to reveal and analyze the main goals of the essay if you understand that Gogol's work is socially conditioned. This is very well reflected in the books: “N. V. Gogol in Russian criticism and memoirs of his contemporaries” and “Classics of Modern Literature”. Staying, so to speak, "at the bottom of the tops", he lived "at the top of the bottoms".

Gogol, a writer, Pushkin was his closest friend. It is characteristic that Gogol, Pushkin and Odoevsky half-jokingly even planned to publish an almanac called "Troychatka", and Pushkin, for example, called "The Bronze Horseman": "Petersburg story", Belinsky with his characteristic insight even before "The Inspector General" and "Dead Souls" described Gogol as the head of Russian literature, Pushkin's successor.

For Nekrasov, there were no more expensive names than the names of Belinsky and Gogol:

Those are great names

Worn them, glorified

Intercessors of the people…

When Russia was shocked by the news of Gogol's death, Turgenev expressed a sense of public grief: “Gogol is dead! Yes, he died, this man… who, with his name, marked an era in the history of our literature…!

Marx, who read the works of Russian writers in the original, highly valued Gogol's work.

T. G. Shevchenko said penetratingly: “Before Gogol one should revere, as before a man gifted with the deepest mind and the most tender love for people.”

“... For a long time there has not been a writer in the world who would be as important for his people as Gogol for Russia,” N. G. Chernyshevsky wrote about Gogol.

April 1, 1999 marks the 190th anniversary of the birth of N.V. Gogol. His works still remain interesting and relevant for contemporaries.

Discussing Gogol, I ask myself several questions, the answers to which are so necessary for our time. What are the features of Gogol's artistic genius? How did he know family life so well? The life of Gogol's heroes is a rather homeless, contradictory life.

How did Gogol develop a special sense of the structure of contemporary social life? Why is Gogol so often merciless to his heroes, although he describes them with pretentious, luxurious colors with great love?

What is the historical role of the writer, who, with the fire of his satire, strikes everything negative and rotten in Russian society in the era of serfdom?

Why, while reading Gogol, do we involuntarily realize the Motherland as an immense country, and ourselves as eternal wanderers at the crossroads of its roads? ...

The favorite genre of N.V. Gogol was the story. For the first time Gogol created from fairy tales and legends a living image of a simple Ukrainian man with his fantasies, cunning, dreams and pure freedom-loving soul. In his works, the writer widely used all the color and vocabulary of the Ukrainian language, without which it would be impossible to discover the features of the human soul.

At the dawn of the nineteenth century, interest in Ukraine, its way of life, culture and history grew. Arriving in St. Petersburg, Gogol reported to his mother with joyful amazement: "Here everyone is so interested in everything Little Russian ...".

The image of Ukraine is revealed by the writer in wonderful, poetically rich landscapes and, above all, in the images of characters, in the transfer of the very nature of the people, their courage, lyricism, selfless fun, love of freedom. In the representatives of the people, Gogol sees the best human traits and qualities - love for the Motherland, self-esteem, a lively and clear mind, genuine humanity and nobility. Gogol wanted to show the people not as bonded and submissive, but as proud, free in their inner beauty and strength.

Yermilov writes in his book “The Genius of Gogol”: “In all the literature of the“ modern time ”before Gogol, there were no such powerful, heroic folk characters as appeared in Taras Bulba. Clarity of the subject and generosity, wholeness, depth and fullness of all feelings; lion's courage, ruthlessness towards the enemies of the Motherland and the people, towards traitors and traitors; passionate love for the Motherland; a high sense of national honor and pride, the ability to endure all the torments in the name of the motherland; love of freedom, the heroic scope of all feelings - these are the human qualities inherent in the people, poeticized in "Taras Bulba". The character of the struggling people is the main thing that attracts the author. Such is Bulba himself, such is Ostap, whose characters fully correspond to the character of that era. Taras and Ostap, who died in severe pain, lived their lives happily.”2

Andriy is not like that. From the very first minute of introducing Andrii into the story, the author prepares us for the possibility of his betrayal. Andriy has no depth and solidity of the national character, and his death is inglorious, but also insignificant by the ease with which he fell into the trap set for him; this emphasizes the "gullibility" of his whole life. The image of Andriy is out of harmony with the image of the Sich.

Taras Bulba belongs, like Danilo Burulbash, to that part of the petty nobility that fought along with the people in the national liberation war. Taras is democratic in everything, and that is why he most fully expresses the very soul of the Sich.

The image of Taras is imbued with the harsh, lofty and tender poetry of fatherhood. Taras is a father not only for his sons, but also for all the Cossacks who entrusted him with command over them.

And the very execution of Andriy for Taras is the fulfillment of his father's duty. Taras Bulba is one of the most complete and tragic images in world literature. His heroic death confirms the heroic life, the greatness of the struggle for the freedom of the people.

At the same time, Gogol does not harbor hostile feelings towards the Polish people. In the guise of an enemy, he reveals the features of the gentry: boastfulness, self-confidence, love of money, but deeply respects the Polish people, who prefer starvation to capitulation.

When Bulba and his sons arrived in the Sich, the first person they met was a Cossack who was sleeping in the middle of the road. Taras admires his countryman: “Oh, how importantly he turned around! Fu, you, what a magnificent figure! ”He said, stopping his horse. In fact, it was a rather ridiculous picture: the Cossack, like a lion, stretched out on the road. His forelock, thrown proudly, captured half an arshin of the earth. Bloomers of expensive scarlet cloth were stained with tar to show complete contempt for them.

“Much in the Sich, in the behavior of the Cossacks, which may seem like simple daring, valiant mischief, is full of a much deeper meaning. That Cossack is bad, who could get carried away by expensive things, become infected with greed from the gentry. It would no longer be possible to call him a “free Cossack”. And the most important thing in the world is will, love for the motherland, contempt for the nobility! That is why it was necessary by all means to show disregard for expensive things - the people did not fight for them, but for freedom!

The Cossacks were for Gogol the bearer of both Ukrainian and Russian beginnings, united by a common historical destinies. In the Cossacks and in the image of Taras, Gogol saw a typical manifestation of the Russian character. "It was an exact extraordinary manifestation of Russian strength: he was knocked out of the people's chest by a flint of misfortunes." Speaking about the fact that in the Cossacks "the Russian character received ..., a mighty, wide scope," he adds: "Taras was one of the indigenous, old colonels: he was all created for abusive anxiety and was distinguished by the rude directness of his temper." This is Taras's "rough directness of character", the democratism of Taras, sharply opposed to the effeminacy of the Polish gentry. The image of a folk hero is contrasted with those who "already adopted Polish customs, introduced luxury, magnificent servants, falcons, hunters, dinners, courtyards." At the same time, Gogol notes: “Taras was not to his liking. He loved the simple life of the Cossacks...”5. Taras is deeply democratic. He hates foreign oppressors, as well as his own, compatriots.

In his work on "Taras Bulba" Gogol studied the famous "History of the Russians", "The History of the Zaporizhzhya Cossacks" by Myshetsky, "Description of Ukraine" by Beauplan, read handwritten lists of Ukrainian chronicles - Samovitsa, Velichko, Grobyanka. Among the sources that helped the writer in the work on the story, one more important one should be noted: Ukrainian folk songs and thoughts. Gogol drew plot motifs, entire episodes from Ukrainian folk songs. “The nationality and epic nature of the idea of “Taras Bulba” finds a vivid and complete expression in the very form of this heroic story-poem, in its style, which goes back primarily to Ukrainian historical songs”6. Song digressions give a particularly solemn, majestic character to the narration. Such, for example, is a lyrical-epic digression that precedes the description of the battle of the Cossacks with the Poles: “Like eagles, they looked around with their eyes at the whole field and their fate, blackening in the distance: ... far away their forelocked heads with twisted and blood-cured forelocks, and launched to mustache below; the eagles will swoop in and tear out and pull out the Cossack eyes. But great goodness in such a widely and freely scattered mortal lodging for the night! Not a single generous body will perish and will not disappear, like a small powder from a gun barrel, Cossack glory. There will be, there will be a bandura player, with a beard gray to the chest, and maybe still full of mature courage, but a white-headed old man, a prophetic spirit, and he will say his thick powerful word about them.

Those powerful people about whom the poet spoke become relatives and friends to us. With love, we bow our heads before the memory of the glorious fighters for the fatherland, who fell in battle with the words: "Let all enemies perish, and the Russian land rejoice forever!"8...

One of the heroes, Kukubenko, said before his death: “Thank God that I happened to die in front of your eyes, comrades! Let even better people live after us than we...”9.

The whole life of Taras is undividedly, entirely connected with the Sich. Addressing the Cossacks, he says: “A father loves his child, a mother loves her child, a child loves his father and mother; but this is not the case, brothers: even the beast loves its child! But only one person can become related by kinship by soul, and not by blood. There were comrades in other lands, but there were no such comrades like in the Russian land ... No, brothers, love as the Russian soul can love - love not what would be with the mind or anything else, but with everything that God gave whatever is in you-a! ”... Taras said, and waved his hand, and shook his gray head, and blinked his mustache, and said: “No, no one can love like that!”10.

Even the night of Andriy's betrayal is given in "Taras Bulba" in colors that give a ghostly color to the events of everything that happens; we are somewhere on the border of dream and reality, something not real is happening, which cannot be believed, some ghosts, and not Andriy and the Tatar woman, are moving in a strange fog of the night, illuminated by the glow of a fire, in the haze of this disturbing sleepless dream. But no matter how strong Andriy's feeling of love for Panna, no matter how lyrically beautiful it is, it must fade before the great cause of the liberation struggle. Andriy says to the Polish Panna: “What about my father, comrades and fatherland? The fatherland is what our soul seeks, which is sweeter for it than anything. My fatherland is you!”11. And the more unstoppable Andriy's impulses, the more swift his rejection of his homeland, the sharper the justice of the retribution that befell him appears.

At the end of the story, dying at the stake, Taras utters his speech, imbued with love for the Russian land, anger and contempt for enemies, which Gogol concludes with amazing words: “But are there such fires, torments and such a force in the world that would overpower the Russian force! "12.

"Taras Bulba" is an epic. It is generally recognized that the epic arises where the idea of harmony, the idea of the unity of fathers and children, nature and man, spirit and flesh, ignites.

“Taras Bulba,” wrote Belinsky, “is an excerpt, an episode from the great epic of the life of an entire nation. If in our time, perhaps, the Homeric epic, then here is its highest example, ideal and prototype! ..."thirteen.

Gogol's story has entered our lives, and we often say it in words, as in the words of a proverb: "The trace of Tarasov has been found!" - it sounds like this: never eradicate the fighters for the homeland, the strength of the Russian, the Russian people!

“Evenings on a farm near Dikanka” is a book about Ukraine, where N.V. Gogol was born in 1809, and where he spent his childhood and youth. In the stories of this book, Gogol's enthusiastic love for his native land, for its nature and people, for its history and folk legends, was expressed. The theme of wonderful, rich and generous Ukrainian nature, among which the characters live, plays a very special role in the book. The author widely uses here the artistic means of language: epithets, comparisons, personifications, metaphors. It is no coincidence that such famous descriptions of nature in Evenings, such as the description of a summer day in Little Russia that opens the story “Sorochinsky Fair”, the picture of the Ukrainian night in “May Night” and the description of the Dnieper in the story “Terrible Revenge”, are sustained in an enthusiastically pathetic tone and represent like small poems in prose. A delightful and sparkling summer day in the Poltava region, saturated with countless sounds and shimmering with a whole rainbow of colors; the quiet Ukrainian night filled with aromas, with an endlessly spreading canopy of the sky, on which the moon shines; the free and wide Dnieper, freely and smoothly carrying its waters to the distant sea through forests and mountains, is not only the setting for the action of Gogol's stories, but also a symbol of that unfading freshness, youth and beauty, for which, according to the writer, a person was born, to which he must strive if he wants to be worthy of this title.

The poetic theme of the "Sorochinsky Fair" is the triumph of love, first, young love. Here everything is full of happy love, here the sky is in love with the earth, and the earth with the sky, and everything is gentle, everything speaks of the boundless, immeasurable expanse of life and happiness.

“How delightful, how luxurious is a summer day in Little Russia! How painfully hot are those hours when noon shines in silence and heat, and the blue immeasurable ocean, bent over the earth in a voluptuous dome, seems to have fallen asleep, all drowned in bliss, embracing and squeezing the beautiful in its airy embrace! Not a cloud on it! There is no speech in the field. Everything seems to have died; only above, in the depths of heaven, a lark trembles, and silver songs fly along the airy steps to the earth in love, and occasionally the cry of a seagull or the ringing voice of a quail is heard in the steppe. Lazily and thoughtlessly, as if walking without a goal, the cloudy oaks stand, and the dazzling strokes of the sun's rays light up entire picturesque masses of leaves, throwing a shadow dark as night over the others, over which gold spurts only with a strong wind. Emeralds, topazes, yahontas of ethereal insects are pouring over colorful gardens, overshadowed by stately sunflowers. Gray haystacks and golden sheaves of bread are encamped in the field and roam through its immensity. Wide branches of cherries, plums, apple trees, pears bent over from the weight of the fruits; the sky, its pure mirror - a river in green, proudly raised frames ... how full of voluptuousness and bliss is the Little Russian summer!

That sublimely romantic manner of narration, which is expressed in the Sorochinskaya Fair, is also characteristic of May Night. Pictures of the wonderful Ukrainian nature here are an integral part of the story. “Do you know the Ukrainian night? Oh, you don't know the Ukrainian night! Take a look at her. The moon looks from the middle of the sky. The immense vault of heaven resounded, parted even more immensely. It burns and breathes. The earth is all in a silver light: and the wonderful air is both cool and soulful, and full of bliss, and moves an ocean of fragrances. Divine Night! Charming night! ..."fifteen

Reader, would you say it better! What a mysterious tale emanates from these words! So he would "spread his arms and fly", like Katerina from Ostrovsky's Thunderstorm. Only in such a night, everything is possible: both truth and fiction. And you will believe everything with an open, happily beating heart….

"May Night" is consonant in its lyrical tonality with "Sorochinsky Fair". The characteristic signs of the language, the rhythmic structure of the phrase, the lyrical mode of writing - all the elements of its style "May Night" is very close to the Ukrainian folk song tradition.

And now in winter: “The last day before Christmas has passed. A clear winter night has come. Stars looked. The month majestically rose to heaven to shine for good people and the whole world, so that everyone would have fun caroling and glorifying Christ. It was freezing colder than in the morning; but on the other hand it was so quiet that the creak of frost under a boot could be heard half a verst away. Not a single crowd of lads had yet shown under the windows of the huts; the moon alone peeped furtively into them, as if urging the dressed-up girls to run out into the squeaky snow as soon as possible. Then smoke fell through the chimney of one hut and went in a cloud across the sky, and together with the smoke a witch mounted on a broom rose up.

How simple and beautiful! Life is simple, breathing with the expectation of a magical short holiday, simple are the old Russian words that enchant and captivate the ear. Somewhere out there, far away, the bell of Russia will soon ring out - the troika, and above it in the clear starry sky, evil spirits will walk on their coven. Everything is mixed up on earth - both a fairy tale and a true story.

In what images does the author represent the night in Ukraine? In the images of the sky, forests, ponds surrounded by gardens, and a village on a mountain, whose white huts glow under the moon. In addition, the author uses bright colors, sounds and smells in the description. For example: paints - silvery light (of the month); forests full of darkness (black); the walls of the gardens are dark green; bird cherry and sweet cherry, turning white, shine during the month (white). Sounds: the rustle of leaves, the sound of the breeze, majestic thunder, silence, the voice of a quail.

Gogol also uses epithets superbly: the night is divine, charming; vault of heaven - immense; cold is key; sheaves of bread are golden, as well as personifications: the moon is looking; landscape - sleeps; sheaves roam, and comparisons: the village is dozing; like enchanted.

How diverse and natural nature is in Gogol's works! All the majestic beauty, breadth, mighty tranquility of the motherland, purity and depth of its soul are expressed in the epic image of the Dnieper, clear as the soul of the people, formidable in anger, as the people themselves are formidable in anger.

“The Dnieper is wonderful in calm weather, when it freely and smoothly rushes through its forests and mountains of its waters. It won't rustle, it won't rumble.... A rare bird will fly to the middle of the Dnieper. Lush! It has no equal river in the world. The Dnieper is wonderful even on a warm summer night, when everything falls asleep, both man, and beast, and bird; and God alone majestically surveys the sky and the earth, and majestically shakes the robe. Stars are falling from the robe. The stars burn and shine over the world, and all at once reverberate in the Dnieper…. When the blue clouds move like mountains across the sky, the black forest, staggering to the root, the oaks crack, the lightning, breaking between the clouds, will illuminate the whole world at once - then the Dnieper is terrible!

In the description of the Dnieper, in addition to the listed means of expression, Gogol uses hyperbolas: without measure in width; without end in length, exclamations: magnificent!; green-haired!; there is no river equal to it in the world!.. He also conveys his attitude to the image of the Dnieper in verbs-predicates: “does not fade”, “pours”, “looks around”.

The Dnieper is shown on a clear sunny day, on a dark night, and during a storm. The writer, in addition to images of the majestic river, draws picturesque banks: forests and mountains, a description of the sky occupies a considerable place.

The Dnieper is described in unusually beautiful bright colors: a blue mirror road, a silver stream, blue clouds.

The Dnieper River is also drawn with the help of epithets: wonderful, terrible (Dnepr), it is also lush, blue; comparisons: as if all poured out of glass and as if a blue mirror road, as if a strip of a Damascus saber; personification: the Dnieper walks, basking and clinging closer to the shore; hyperbole: “a rare bird will fly to the middle of the Dnieper”, “blue clouds will go mountains across the sky”, etc.

Gogol's Dnieper is an epic image of the power and beauty of the homeland, an image of boundless breadth, immeasurable depth, incomparable greatness. The Dnieper is epicly expanded to infinity by love for the Motherland. In the epic image of the Dnieper, the songlikeness of Gogol's poetic speech is expressed with particular force. Smooth lyrical phrases go in waves, in the very music of which, one can hear and see the free flow of a mighty river; the lyrical overflow of Gogol's poetic speech conveys the rhythm of the movement of the Dnieper. “Blue, blue, he walks in a smooth spill,” this musical repetition is beautiful, evoking the image of a smooth movement. The image of the Dnieper is rich and versatile. First, he rises before us in the radiance of a sunny day, and now he turns into a resting Dnieper hero. But there is also a terrible Dnieper. How formidable he is, shaking the forests, overthrowing lightning, rattling the water hills! That's how inexhaustibly rich the Dnieper is! There is everything in him - longing, and happiness, and the image of a mother, seeing off her son to the army.

In the second volume of Dead Souls, Gogol wrote that the depiction of "the imperfection of our life" is the main theme of his work. Characteristic in this regard is his story "Old World Landowners". The writer reflected in it the disintegration of the old, patriarchal-landlord way of life. With irony, sometimes soft and sly, sometimes with a touch of sarcasm, he draws the life of his "old men of the past century", the meaninglessness of their existence.

Pogodin wrote: “You will read the story “Old World Landowners”. The old man and the old woman lived and were, ate and drank and died an ordinary death, that's all its content, but such despondency will take over your heart when you open the book; you will love this venerable Afanasy Ivanovich and Pulcheria Ivanovna so much, get used to them so much that they will take the place of your closest relatives and friends in your memory, and you will always address them with love. Beautiful idyll and elegy.

Where does this charm come from? Where does such poetry come from? What is the most remarkable thing in the house of our heroes? Singing doors, doors - singing. They don't creak. It seems that everything that is considered low, all the prosaic details of life: doors, dishes, the relationship of old people to each other, is poeticized. Gogol achieves this harmony using the method of personification.

"This is that dish," said Afanasy Ivanovich, when they served us little biscuits with sour cream. wanting to keep her. “This is the food that po… po… rest…” and suddenly burst into tears. His hand fell on the plate, the plate overturned, flew and broke, the sauce flooded him all over; he sat insensibly, holding a spoon, and tears, like a stream, like an incessantly gushing fountain, poured, poured, pouring onto the mat that covered him.

Yes, as if everything is very serious, profound and touching, that the old man cannot pronounce the very word “deceased”, that for five years he cannot get used to the fact that Pulcheria Ivanovna is not in the world. But "eating" is only an occasion that evokes the memory of a dear person. For Afanasy Ivanovich, this is the center of life. He cannot even remember his wife in non-meal, because it was in this that their joint joys were, all their feelings and thoughts were connected with food. Without a dead old woman, he cannot carry out what he lives for. The food of the heroes is inextricably intertwined with their attachment to each other and therefore became the poetry of their lives.

Pushkin praised this story as "a playful, touching idyll that makes you laugh through tears of sadness and tenderness."

Gogol, together with the reader, is well, comfortable and calm in the simple way of life of the Sologubs. A century passes, something truly Russian disappears from human relations, but what has come? What is the age to come? With the death of the old people, the harmony of the inner world with the outer world collapses.

Gogol's "Old-world landowners" are similar in essence to Goncharov's main character, Oblomov. All the same Russian sleepy life, all the same ugly routine in the life of a Russian family.

M. B. Khrapchenko writes: “In its bright mood, next to the “May Night” and “Sorochinsky Fair” stands “The Night Before Christmas”. The main background against which the action of the story unfolds is a folk festival with its colorful rituals, its fervent fun. “It’s hard to tell how good it is to knock around on such a night, between a bunch of laughing and singing girls and between lads, ready for all the jokes and inventions that a merrily laughing night can only inspire. It's warm under a tight casing; the frost burns the cheeks even more vividly; but in pranks, the evil one himself pushes from behind.

And although the comic incidents and adventures of the characters in "Night" occupy a considerable place, Gogol here more closely merges humor with the depiction of human characters.

Vakula has a distinct personality. Timid and shy with his fiancée, Vakula becomes quick and bold when he decides to overcome the obstacles that stand in his way. The devil himself retreats before the strong man, whom Vakula deftly inflates. Vakula shows cunning "diplomacy" in St. Petersburg when meeting with the Cossacks, and then at a reception at the tsarina. Vakula is generously gifted by nature; a master of all trades, he also has the talent of an artist. We see Vakula through the eyes of the gentlemen, through the eyes of the palace: an absurd, albeit handsome guy with wild words, a funny bear, and on the other hand, through the eyes of the people: a simple, savvy, intelligent man who “in his Zaporozhye dress could be considered handsome, despite swarthy face." Vakula comes from an environment that is difficult to subjugate completely, which cannot be deprived of originality and nationality. Let us recall the conversation of the Cossacks in the palace with Catherine. Ekaterina asks if her guests are well kept, to which they answer: “Thank you, Mom! They provide good food (although the sheep here are not at all what we have in Zaporozhye), why not live somehow? ... " Potemkin grimaced, seeing that the Cossacks were saying something completely different from what he had taught them ... ".

Oh, how sly the speeches of the Cossacks are, how free they are, and the underlying meaning of their words makes readers admire the mind of the common people, who bowed, but hid a smile in their mustaches, before those in power.

The Cossacks did not fail to praise their Zaporozhye, with the freedom of which the tsarist government decided to put an end to! And how sly their phrase is, which you can’t find fault with, although it has a mockingly impudent character: “Why not live somehow? ..."

The slyness is also reflected in the fact that - as the blacksmith Vakula remarks to himself - the Cossacks who spoke to him in excellent Russian communicate with the queen, “as if on purpose, in the most rude, usually called peasant dialect. "Cunning people!" - he thought to himself: "it's not for nothing that he does this"21. Of course, the Cossacks do this for a reason. On the one hand, they showed to this queen and Potemkin their determination not to submit to oppression. And on the other hand, they retained the "maneuverable" opportunity to pretend that they do not understand certain panorama questions.

Singing and dancing youth is opposed by Gogol to the world of everyday, everyday untruth, the embodiment of which is the stupid and ignorant head and the hypocritical Solokha. The element of the holiday forms in the stories, as it were, the “world inside out”, contrasting in his mind with the business fuss, prose and bureaucracy that painfully struck Gogol when he first met Nicholas I Petersburg.

In the explanatory dictionary of V. I. Dahl we read: “Fantastic - unrealizable, dreamy; or intricate, quirky, special and different in its invention. In other words, two meanings are implied: 1. something not real, impossible and unimaginable; 2. something rare, exaggerated, unusual. We define the fantastic in literature by its opposition to the real and existing. Animals or birds, endowed by the will of the author's pen with a human psyche and owning human speech; the forces of nature, personified in anthropomorphic (i.e., having a human appearance) images; living creatures in an unnatural hybrid or fabulously religious form, all this is widely used in art. In B. Shaw's play "Back to Methuselah" one of the characters says: "A miracle is something that is impossible and yet possible"25.

The fantastic is often used in literature when it is necessary to overcome censorship obstacles or, with the help of irony, hyperbole and laughter, depict reality using the ironic fairy tale genre.

Gogol generously used materials from rich and fabulous Ukrainian folklore for his Evenings, but he seemed to continue the work of numerous obscure folk storytellers and narrators in them.

A special depiction of fantasy in a humorous sense is given by Gogol in The Missing Letter. In this story, the author vividly recreates the living features of everyday life and reality in a fantastic display. The transition from the image of everyday life to fantasy contains an ordinary, prosaic motivation, and the very image of the “extraordinary” is also saturated with everyday details.

“The hero of the story, a brave man, of a Cossack scale, getting into hell in search of a missing letter, sees a bunch of monstrous, ugly creatures. “Witches such a death, as happens sometimes at Christmas, falls in the snow; discharged, smeared, like pannochki at the fair. And everyone, no matter how many of them were there, danced some kind of devilish hopak like drunkards. God forbid, what kind of dust they raised! ... Despite all the fear, laughter attacked grandfather when he saw how devils with dog muzzles, on German legs, twirling their tails, hovered around the witches, like guys around the red girls; and the musicians pounded their cheeks with their fists, as if they were tambourines, and whistled with their noses, as if they were playing horns. And here humor is closely connected with the "existence" of science fiction.

In "Evenings", resorting to fantasy, Gogol introduces devils and witches into his stories, into the world of human habitation. But his fantasy is not mystified, it is a funny and tragic fantasy of folk tales and legends.

“For Gogol, folk fiction appears with its everyday side, attracts him with its naive immediacy. He has the most ordinary devil: cowardly, capable of petty dirty tricks, he takes care of Solokha and is jealous of her. Witches from the missing charter play cards and cheat. The fantastic in Gogol becomes, first of all, a means of satirical mockery.

E. Ermilov writes: “Typical for the pathos of Gogol's style is a peculiar expression of the power of the beautiful by equating it to the grandiose, fantastic and terrible. "Oh my God, what's next?" - he asks as if in horror, conveying by this that he is breathtaking with delight in front of the immense, "threatening" to become even more beautiful. He finds solemn, broad images, epithets, comparisons, turns of speech in order to convey his feelings of the significance of events that capture him. Gogol in the depiction of fantastic creatures makes extensive use of metaphors - "such a death for witches"; comparisons - witches are "discharged like pannochki"; epithets conveying the impressions and feelings of the author: “red girls”, “unknown force”, “terrifying movement”. The deeper and more fantastically Gogol describes reality as it should be, the deeper and more fully the consciousness of the ugliness of the reality surrounding him is felt.

... "Dead Souls" by Gogol is an amazing book, a bitter reproach of modern Russia,

but not hopeless.

A. I. Herzen.

A poem (Greek - I do, I create) is a large poetic work with a narrative or lyrical plot. A poem is also called works on a world-historical theme or with a romantic plot. The poem requires knowledge of the historical context, makes you think about the meaning of human life, about the meaning of history27.

In "Dead Souls" for the first time Gogol unfolded before the readers the image of Russia in all its space and volume. It was no longer a story about one county town, as in The Inspector General, but an image of the entire state, all of Russia.

“The genre designation of the work is also connected with this - “novel”, and even “pre-long”, “picaresque novel”. This is how Gogol originally imagined the genre of his work (about the novel - but not yet about the "poem" - it is said in a letter to Pushkin dated October 7, 1835). It is believed that Pushkin suggested the idea of Dead Souls to Gogol. P. I. Bartenev wrote: “In Moscow, Pushkin was with a friend at the ball. There was also a certain P. Pointing at him to Pushkin, a friend told about him how he bought up dead souls for himself, pawned them and received a big profit. Pushkin liked it very much. "You could make a novel out of it," he said casually. According to the memoirs of L. N. Pavlishchev (Pushkin's nephew), Pushkin, having told Gogol about a certain gentleman who bought up dead souls in the Pskov province, added that he intended to deal with this plot. Pushkin, according to Gogol, wanted to write "something like a poem". Pushkin calls his stories "The House in Kolomna" and "Count Nulin" "comic poems." “These are mainly poems of our time, because they are loved more than others in our time,” Belinsky wrote in 1846.

Subsequently, Pushkin showed his sister sketches of a novel based on the plot of Dead Souls. But Gogol warned him that he had also made progress in writing such a work, which Pushkin was extremely dissatisfied with. But Gogol's own reading of the first chapters of his "Dead Souls" to Pushkin made him recognize the greatness of this literary work.

K. S. Aksakov in the brochure “A few words about Gogol’s poem: The Adventures of Chichikov, or Dead Souls” (signed under the text Moscow, June 16, 1842) put forward an important thesis about the resurrection of the ancient “epic contemplation” in the poem. “... Only in Homer and Shakespeare can we meet such a completeness of creations as in Gogol; only Homer, Shakespeare and Gogol possess the great, one and the same secret of art. But Shakespeare is a playwright, Homer and Gogol remain as epic writers, creators of poems. "... Gogol's epic contemplation is ancient, true, the same as that of Homer..." content and unity, its secret life. All this determined various attitudes towards the Dead Souls genre. “Yes, this is a poem, and this title proves to you that the author understood what he was producing; I understood the greatness and importance of my work,” wrote Aksakov. Homer's poems expressed the full significance of ancient Greek life - "Dead Souls" will reveal the secret of Russian life"28.

Gogol loved Russia very much and believed in it. Behind the "dead souls" the writer saw living souls. But the path of Russia's development was not clear to Gogol. Russia does not give him an answer to the constantly repeated question: “Where are you rushing to?” Gogol was convinced that great historical achievements were ahead of Russia. The embodiment of a mighty upswing of vital energy, striving for the future is the image of Russia, like a bird - a troika rushing into the immense distance. “Isn’t it you, Rus, that brisk and unbeatable trio, are you rushing about? The road smokes under you, the bridges rumble, everything lags behind and is left behind. The contemplator, struck by God's miracle, will stop: is this not lightning thrown from the sky? What does this terrifying movement mean? and what is this unknown power contained in these ... horses? Eh, horses, horses, what kind of horses? Do whirlwinds sit in your manes? ... A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on earth flies past, and touching it, other peoples and states step aside and give it the way.

Let's think about the composition of the passage. Two large parts can be distinguished here: a description of the troika, and then Russia - the troika.

The lyrical digression is built on contrasts and juxtapositions: swiftly flying roads, miles, wagons, forest - and a troika flying like a whirlwind; a simple Yaroslavl peasant - and a great master; "beard and mittens" - and the extraordinary art of the coachman. And the composition of the entire lyrical digression is based on comparison: the winged troika - and Russia, flying forward into the future.

Reflecting on the image of the author, we note that the intonations of his impetuous, heated speech are changing all the time. In the first part - bright reflection, then the delight of flying on a troika, a loving, slightly ironic description of the coachman, again the joy and upsurge of swift movement.

At the beginning of the second part - a deep, serious thought (“Aren't you, Rus ...”), then impressions of amazing power and speed of movement, an enthusiastic description of amazing horses, an alarming question addressed to Russia, and, finally, imbued with optimism a look into the future, the author's faith in the talent of the people and the great, then still fettered strength of Russia.

Concluding the first volume of Dead Souls in this way, Gogol contrasted Russia with a genuine, living, people's dead image of those who considered themselves the salt of the Russian land. The image of Russia contrasts with the pictures of the life of the privileged strata of society. The boundless expanse of Russia, its mighty expanse opposes the motionless and spiritually wretched world of "boxes, plushies and dogs". The image of Russia also sharply opposes the image of Chichikov, who, despite his vigorous activity, is completely alien to broad social ideas, the popular principles of life.

So: “Rus, where are you rushing, give me an answer! Doesn't answer!" The writer did not know, did not see real ways to overcome the contradiction between the state of depression of the country and the rise of the national genius, the flourishing of Russia.

And yet ahead of Russia - the road. Just how many of them, dear? Where will they lead? Who will follow them? What people? With what soul and purpose? ... “The road will be mastered by the one walking ...” Remember how in Russian fairy tales: “If you go to the left, you will lose your horse, to the right - ...?” No, Gogol's road leads only straight ahead. The troika is ruled by a Russian simple man, not a nobleman, not an official, but a "quick Yaroslavl peasant." With Gogol's lyrical statements characterizing the driver's actions (verbs): “sits, stood up, swung, started a song ...; the road trembled, it smokes...”, Pushkin’s words from “The Winter Road” vividly echo:

“Something is heard native

In the long songs of the coachman,

That revelry is remote,

That is heartache."

Ah, what a beauty! How the heart beats and aches in sweet melancholy and unexploredness! What is winter, what is summer, but “what Russian does not like to drive fast?” What Russian heart does not startle like a bird flying in front of a majestically angry and terribly beautiful troika? And “versts fly”, and whirlwinds “sit in the manes of horses and the road flows” ... Ah, Russia, mother Stenka the robber, slow down, think, scoop up cold snow with your mitten, disperse the frosty steam, peer into the great, immense distance! It's quiet there, it's disturbing ...

Here it is the fate of a writer and a man, as unknown as the turn of a road verst! Remember, at Blok: both the “eternal battle” is ahead, and “we can only dream of peace ...”

How many unjust accusations were made by reviewers against Gogol in his time! Yes, it was the “daily bread” that they had to earn during the time of the system in which they existed. The main thing that all critics unanimously repeated was that Gogol's works are biased, they distort life. Isn't it true how familiar and modern such a position is. Yes, people in Russia like to criticize what is right and necessary.

The fate of any talented person in Russia is hard. His soul is soft, unprotected, it can be compared with a light candle flame in a frosty wind. The eternal Shakespearean question torments her: "To be or not to be?" Rejection of the movement, the desire for "Oblomovism", an intuitive desire to preserve their calm, well-fed world, is in the nature of any nation. A writer in Russia with his pen disperses the “stagnant waters” of Russian everyday life, exposing at the bottom the pitfalls of shortcomings, vices and abuses. Russia is afraid of a new word! "Poets walk with their heels on the blade of a knife and cut their bare souls into blood!" - Vysotsky sang.

The fate of a writer in Russia is inevitably the fate of a historian. He cannot create without being based on the great historical destiny of his homeland. That is why the story of "Dead Souls" is so relevant in the modern development of Russia. Look, aren't there such Chichikovs, Manilovs, Korobocheks, Tarasovs and Andrievs around today? The ways of Russia are unknown... The dead have changed places with the living.

The fate of talent in Russia is tragic. The fate of Gogol is tragic. But immortal great books, "manuscripts do not burn," and many great sons will still be born and mourned by the Russian land.

“Good impulses are destined for us,

But nothing can be done."

Nekrasov.

Will you break out into the expanse of Russian roads, Russia? ...

And yet, not everyone manages to become a bright personality in Russia. The Russian soul has always demanded beauty. It was precisely the beauty of the Russian word, with its folk and lyrically-fabulous images that attracted the reader to Gogol.

It was difficult to find a form for lyrical reflections in "Dead Souls", where there is no hero, whose feelings and thoughts, a lyrical upsurge would be natural. Lyrical waves throw us away from Chichikov; the poet himself openly enters the expanses of Russian art with his lyrical digressions, satirical images and the sharpness of the Russian national word.

“Well, why are you shy? - said the secretary, - one died, another will be born, and everything is in business. Chichikov immediately understood the rhyming answer: “Our hero was struck by the most inspiring thought that had ever entered a human head. “Oh, I'm Akim - simplicity! ... "Here is Chichikov, what a scoundrel! Gogol adds caustically: "Whatever you say, if this thought had not occurred to Chichikov, this poem would not have come into being." How aptly Gogol expressed with the help of the Russian word the main highlight of the novel!

It is not for nothing that Gogol called his work a "poem". The lyrical pathos of the writer reaches the greatest emotional tension on those pages that are dedicated to his homeland, Russia. "Rus! Russia! I see you from my wonderful, beautiful far away, I see you. It is poor, scattered and uncomfortable in you… But what kind of incomprehensible, secret force attracts you?”29.

Filled with poetic delight, Gogol writes about the boundless expanses of Russia, about her songs, about the “living and lively Russian mind”, about the “smart” Russian word: “The short-lived word of a Frenchman will flash and scatter like a light dandy; the German will intricately invent his own, not accessible to everyone, cleverly thin word; but there is no word that would be so bold, brisk, so bursting out from under the heart, so seething and quivering like a well-spoken Russian word!”30.

Gogol's works brought a bright and fresh stream to Russian literature with their pathos, peculiarity of language, and peculiarities of plots. Gogol first introduced the Russian reader to the captivating poetry of the Ukrainian people, already in his first stories, democratic tendencies were felt, they opened up a new world for the reader - the world of people's life. All people on earth are so similar to each other - and no matter what languages they speak, because art is international - that's what we understand when reading Gogol's great books.

Gogol excellently used many artistic means of language in his language: epithets, comparisons, personifications, metaphors, as well as poetic syntax: interrogative and exclamatory sentences, rhetorical questions, default technique (ellipsis). Due to this, Gogol achieves pathos - the emotional tone of the work.

“Gogol often used words - passwords, meaning, as it were, a secret communication between the narrator and the reader. These words mean an "imperceptible" departure from the accepted manner of respectfully - serious narration, the slightest hint at the true attitude of the narrator to the depicted. The subtlety of the use of these words lies in the fact that they do not tear the verbal fabric at all, they are not alien in it - and at the same time they mean translucent places in this fabric. For example, the word even: “even a portly woman” is a queen, “their faces were full and round, while others even had warts ...” (about officials in “Dead Souls”). Or: “Others were also more or less dedicated people: some read Karamzin, some read Moskovskie Vedomosti, some didn’t even read anything at all...” (Ibid)”31.

"Often we meet with the most important feature of Gogol's style - with the presence of two rows in his narration: external, coinciding with" generally accepted ", official ideas, and internal, coinciding with popular views." Let us recall the description of the blacksmith Vakula: our blacksmith “in his Zaporozhye dress could be considered handsome, despite his swarthy face.” A commoner, but still in the popular imagination - a handsome man! Or: "Lady with blue eyes" - with these words, the image of the queen from "The Night Before Christmas" is reduced to complete prose: could a real queen be called a lady?

In Gogol's language, the interweaving of the fantastic with the real, the real historical basis of the fantastic, enable the artist to fill traditional images with new artistic content.

We read Gogol's books, laugh at his characters, and with surprise we often recognize ourselves and those around us in them. Many of Gogol's heroes still seem to live among us, they have become common nouns in our everyday speech. “Sly as Solokha; greedy like a box; strong as Vakula,” we say. And the famous comparisons that we hear so often in everyday conversation: “she whipped herself”, “Rus is a troika”, “Ivan Ivanovich quarreled with Ivan Nikiforovich”. And the famous - "The auditor is coming to us!". Since childhood, simple Ukrainian words have become familiar to us: “mom, chereviki, misyats, lads, scroll, bloomers, maiden” and others.

Gogol's style is akin to the character of the writer himself, sometimes even and calm in lyrical digressions, sometimes hot-tempered and unbalanced, now and then full of question and exclamation marks, crossed out by commas, colons, and suddenly ending with a long drawn-out ellipsis, And no foreign, unfamiliar insertions and footnotes! All native, absorbed with mother's milk, melodious - Russian!

By their proximity to the people, to their history, by their accessibility and simplicity, the works of Gogol are dear to us. No hard, computerized science fiction will replace the wonderful fairy tales of the writer.

“Gogol belonged to the people according to his tastes, according to the way of his mind,” said Herzen.

So, in my essay, I tried to reveal the features of Gogol's artistic genius, analyze the properties of his satirical and folklore thinking, and show the whole modernity of Gogol's ideas in the history of Russia.

Inspired by the ideas of the high vocation of man, Gogol acted as an implacable opponent of the base and vulgar, selfishness and commercialism in their various appearances. He boldly raised his voice, the voice of protest against slave life, mercilessly debunked the social rigidity of thinking.

Each new era judges the writer in its own way, perceiving in his work the artistic principles close to it. Gogol did not seek to overtake his time, he, as it were, displayed it in a “distorting mirror”, forcing his contemporaries to recognize themselves in him, causing anger and anger in some, and laughter and admiration in others.

Gogol's enormous influence was and is being experienced by many poets and writers. Russian revolutionaries - democrats: Belinsky and Herzen, Dobrolyubov and Chernyshevsky; Nekrasov and Saltykov - Shchedrin, as well as many modern writers from M. A. Bulgakov to V. Voinovich "learned" from Gogol.

Gogol, wrote Chernyshevsky, “told us who we are, what we lack, what we should strive for, what to abhor and what to love. And his whole life was a passionate struggle with ignorance and rudeness in himself, as in others, all was animated by one ardent, unchanging goal - the thought of serving the good of his homeland.

Bibliography

N. V. Gogol "Dead Souls", Moscow ed. "Physical culture and sport", 1980.

N. V. Gogol "Tales", Moscow ed. "Children's Literature", 1972.

V. V. Ermilov "The Genius of Gogol", Moscow ed. "Soviet Russia", 1959.

S. Mashinsky "Gogol", Moscow, state. ed. Cultural - educational literature 1951.

V. N. Turbin "Heroes of Gogol", Moscow, "Dedication" 1983.

Yu. Mann "In search of a living soul", Moscow, ed. "Book" 1984.

M. B. Khrapchenko “Nikolai Gogol. literary path. The greatness of the writer, Moscow ed. "Contemporary" 1984.

“A short guide for a student in grades 5 - 11. Literature, ed. House "Drofa" Moscow 1997.

"Encyclopedic Dictionary of a Young Literary Critic", Moscow ed. "Pedagogy", 1988.

"Classics of Russian Literature", Moscow ed. "Children's Literature", 1953.

V. G. Belinsky "Selected Articles", Moscow ed. "Children's Literature", 1975.

Journal "Literature at School" No. 4, 1989, article "The Impulse to the High" by E. S. Romanicheva, pp. 91 - 94.

Notes

1 S. Mashinsky "Gogol" Moscow 1951, p. 19.

2B. Ermilov "The Genius of Gogol" Moscow "Soviet Russia" 1959 p. 112.

3H. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 88.

4 V. Ermilov "The Genius of Gogol" Moscow "Soviet Russia" 1959. page 107.

5N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1959, p. 90.

6B. N. Turbin "Heroes of Gogol" Moscow "Enlightenment" 1983, p. 31.

7H. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 121.

8 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 154.

9 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 198.

10 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 230

11 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 201.

12 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, p. 256.

13V. N. Belinsky "Selected Articles" Moscow ed. "Children's Literature" 1975, p. 28.

14 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "Sorochinsky Fair", p. 315.

15 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "May Night, or the Drowned Woman", p. 401.

16 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "The Night Before Christmas", p. 413.

17 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "Taras Bulba", p. 78.

18E. S. Romanicheva "The Impulse to the High", the magazine "Literature at School" No. 4, 1989, p. 93.

19 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "Old World Landowners", p. 456.

20 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "The Night Before Christmas", p. 401.

21 N. V. Gogol "Tales" Moscow ed. "Children's Literature" 1975, "The Night Before Christmas", p. 431.

22M. B. Khrapchenko “Nikolai Gogol. Literary Way "Moscow" Sovremennik "1984, p. 104.

23 M. B. Khrapchenko “Nikolai Gogol. Literary Way "Moscow" Sovremennik "1984, p. 165.

24V. Ermilov "The Genius of Gogol" Moscow ed. "Soviet Russia" 1959, p. 79.

25 "Encyclopedic dictionary of a young literary critic" Moscow "Pedagogy" 1988, p.370.

26 "Classics of Russian Literature" M. "Children's Literature" 1953. page 193.

27 "Encyclopedic dictionary of a young literary critic" Moscow "Pedagogy" 1988, p. 223.

28Yu. Mann "In search of a living soul" M. "Book" 1984, p. 158.

29N. V. Gogol "Dead Souls" M. "Physical Culture and Sport" 1980, p. 213.

30 N. V. Gogol "Dead Souls" M. "Physical Culture and Sport" 1980, p. 127.

31 V. Ermilov "The Genius of Gogol" Moscow "Soviet Russia" 1959. page 82.

32 V. Ermilov "The Genius of Gogol" Moscow "Soviet Russia" 1959. page 85.

33H. G. Chernyshevsky Complete Works, v4, p. 633.

"Night Poet" F.I. Tyutchev

In the critical article "On the poems of F. Tyutchev" A.A. Fet excellently expressed his reader's impression of the lyrics of F.I. Tyutchev: “Two years ago, on a quiet autumn night, I stood in the dark passage of the Colosseum and looked through one of the window openings at the starry sky. Large stars stared intently and radiantly into my eyes, and as I peered into the thin blue, other stars appeared before me and looked at me as mysteriously and as eloquently as the first ones. Behind them, in the depths, still the finest sparkles flickered, and little by little emerged in their turn. Limited by the dark masses of the walls, my eyes saw only a small part of the sky, but I felt that it was immense and that there was no end to its beauty. With similar feelings, I open the poems of F. Tyutchev ”(Pigarev K. Life and work of Tyutchev. - M., 1962; p. 266).
It is not surprising that it is the night sky that Fet compares with Tyutchev's poetry. The image of the night runs through all the work of the poet. And in poems about nature, and in love lyrics, and in poems on socio-political topics - the theme of the night is everywhere present. Numerous disputes are raised by the question of where the “night poetry” of F.I. Tyutchev. It is rather difficult to answer this question, since, according to K. Pigarev, “Tyutchev's personal and social life passed away from the high road of the Russian literary life of his time. Tyutchev's connections with literary circles were episodic. His judgments about literature and poetry that have come down to us are fragmentary. According to them, it is difficult to recreate any distinct system of the poet's aesthetic views” (Pigarev K. Ibid., p. 179). Many researchers note the influence of S.E. Raich on the general direction in which Tyutchev's poetry developed, and in particular his lyrics of nature. V. Kozhinov expresses the idea of influencing the lyrics of Tyutchev V.A. Zhukovsky, A.S. Pushkin and philosophers (the Russian equivalent of the word "philosopher"). He writes: “The human and creative development of Tyutchev is inseparable from the development of the wise as a whole. From 1817 to 1822, he constantly met with the young men of this circle ”(Kozhinov V. Tyutchev. - M., 1988; p. 93). Relying on the fact that acquaintance with German philosophy and culture had a great influence on the philosophers, V. Kozhinov concludes that there was some “German” influence on the work of F.I. Tyutchev. “But it would be wrong and, moreover, absurd to believe,” he notes further, “that the very spiritual and creative path of Tyutchev and his associates determined and directed the “influence”, “impact” of German culture. Quite the contrary: it was precisely the own, internal development of Russian thought and poetry at the present time that imperiously impelled, even forced the wise men to look eagerly at the achievements of Germany. For it was precisely at this historical moment that Russian culture, as if taking the baton from the German one, acquired a directly universal scope, and, moreover, in certain respects unprecedented in the world” (Kozhinov V. Ibid., p. 102).
In the literature about Tyutchev, there is a widespread belief that the German philosopher Schelling had a decisive influence on the formation of the poet's philosophical worldview. But, as L. Ozerov notes, “it is reckless and futile to look for literal correspondences between the views of a German philosopher and a Russian poet. Tyutchev never dealt with abstract constructions and, according to the nature of his soul, he directly translated his ideas into the flesh of poetry. And this was one of the features and secrets of his skill. “He has,” Aksakov said, “not only thinking poetry, but poetic thought; not a reasoning, thinking feeling, but a feeling and living thought ”(L. Ozerov. Poetry of Tyutchev. - M., 1975; p. 58).
They associate the "night poetry" of F.I. Tyutchev and with German romanticism, and with the so-called "cosmic consciousness", and with the worldview of the poet. So, K. Pigarev writes: “Passionate love for life and constant inner anxiety, ultimately due to the tragic perception of reality, form the basis of the attitude of Tyutchev the poet” (Pigarev K. Ibid; p. 187). Almost all researchers of Tyutchev's work note the peculiarity, even isolation, of Tyutchev's lyrics. The peculiarity of Tyutchev's lyrics was very accurately determined by I.S. Turgenev: “if we are not mistaken, each of his poems began with a thought, but 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, so to speak, the properties of its origin, the thought of Mr. Tyutchev never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, penetrates it, and itself penetrates it inseparably and inseparably ”(Pigarev K. Ibid, pp. 200 - 201).
V. Kozhinov notes: “Tyutchev was ... from the very beginning of his conscious life, he was all focused, striving for his own spiritual quest. A new stage in the development of Russian poetry was brewing in him” (Kozhinov V. Ibid., p. 60).
“Tyutchev's world is multidimensional, boundless, full of frightening mystery and victorious greatness at the same time ... - writes L. Ozerov. - Of course, for ease of consideration and understanding of Tyutchev, others would like Tyutchev to be one thing, take one side: religion or irreligion (in our sense, anti-religiousness, godlessness), monarchy or republic. But he was neither one nor the other, he was rather both, because all the storms and passions of the age passed through him. He was their organ, spokesman, poet. He left all the contradictions revealed by him in himself and in the surrounding world in their unvarnished, alive, he did not want to "remove" them. And in this sense, he will always remain a mystery. Each new era will emphasize in it and extract for itself what it needs ... His principle was complete frankness, not afraid of the most blatant contradictions. This is the victory of his genius over time” (Ozerov L. Ibid., pp. 100 – 101).
It is in this multidimensionality, infinity and frankness of Tyutchev's world, full of secrets and mysteries, that the origins of "night poetry" lie.

Analysis of "night poetry" F.I. Tyutchev

"Night" lyrics by F.I. Tyutchev can be conditionally divided into two groups: 1) poems in which "cosmic consciousness" is reflected; 2) poems that reflect the inner world of a person.
“Cosmic consciousness” is a purely philosophical concept. Meanwhile, as L. Ozerov notes, “Tyutchev does not have specially and deliberately philosophical poems, in the sense that it is now understood: a problem, a generalization, an area of logic and conclusions. Philosophy is not an area, but the pathos of Tyutchev's lyrics ... Outside of the subjective-biographical principle, there is no philosophy in Tyutchev's lyrics. The experience of life finds an outlet in a poetic image. The image expands this experience to universal scales” (Ozerov L. Ibid., p. 56). Nevertheless, “in Tyutchev’s poems, in a peculiar poetic form, the deep philosophical thought of his era, the idea of the state of nature and the Universe, the connection of human, earthly life with life in space” was reflected (Chagin G.V. Fedor Ivanovich Tyutchev. - M., 1990; p. 124).
The "cosmic" cycle of poems is based on the opposition of day and night, darkness and light as two principles. L. Ozerov writes: “Perhaps the most typical feature of Tyutchev the artist, Tyutchev the psychologist was his consistent implementation of the principles of dialectics in his poetry. The passions expressed in his poetry are given in their lively inconsistency. The feeling of the poet met with his philosophical convictions, one helped the other ”(Ozerov L. Ibid; p. 62).
The antithesis of day and night is the content of many of Tyutchev's "night" poems. This opposition is most fully expressed in the poem "Day and Night". The poet reveals the image of the day, likening it to a “veil” thrown over the abyss:

To the world of mysterious spirits,
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.

He speaks about the life-giving effect of the day on a person, about the beneficial effect on his soul:

Day, earthly revival,
Souls of the aching healing,
Friend of men and gods!

The onset of night - sudden, abrupt, without a gradual transition - creates a vivid contrast to the day cover:

But the day fades - the night has come;
Came - and from the fatal world
The fabric of the fertile cover,
Tearing off, throwing away...

It is the night that tears off the “favorable cover fabric”, discards the day that heals the soul and opens the abyss that frightens a person:

And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!

Thus, the day is the revival of everything earthly, the night is the exposure of the abyss, the approach to this abyss and hence the fear of the night.
The image of the abyss is also found in other poems dedicated to the night.

The vault of heaven, burning with star glory,
Mysteriously looks from the depths, -
And we are sailing, a flaming abyss
Surrounded on all sides.

In this poem - “As the ocean embraces the globe of the earth ...” - the abyss appears before us no longer frightening, but a mysterious and beautiful, “flaming” abyss. In a few words, Tyutchev expressed all the splendor of the night sky strewn with stars. What frightens a person in this amazingly beautiful night abyss? Its mysterious bottomless depth, behind which lies something that is not comprehended by the mind, and therefore causes horror. These feelings - delight and horror - Tyutchev expressed by transforming the image of the starry sky into a formidable image of a bottomless fiery abyss.
The image of chaos is inextricably linked with the image of the abyss. “This is not just a favorite word - “chaos,” writes L. Ozerov, “this is for Tyutchev - a clot of his figurative energy, a constant thought and a haunting feeling. Tyutchev's chaos, as well as the Greeks in their myths, appears as a disorderly basis of the existing world. The poet’s image of chaos is the image of the primordial element of being, which is exposed at night” (Ozerov L. Ibid., p. 65).
Chaos - Night - Primordial, that from which all living things came. Naked, awakened chaos destroys order, harmony, breaks silence and silence. In the howls of the night wind, the poet hears the sounds of awakening chaos, understandable only to the heart. Anxiety, restlessness, mental anguish are reflected in the crazy, frantic voice of the wind. And in the voice of the poet, addressing the wind, there is the same frantic feeling, the same spiritual anxiety and torment:

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!..
(“What are you howling about, night wind? ..”)

In this poem, the contradiction inherent in Tyutchev's poetry is clearly manifested. The feeling is revealed in its struggle: on the one hand, the frightening infinity of chaos, on the other, a frantic desire to merge with the primordial ancient chaos. And again there is an antithesis: day - night. In daylight, the sounds of the "terrible songs" of chaos do not penetrate the soul, and therefore the "day soul" is afraid and does not accept the boundless emptiness that causes "incomprehensible torment." In the "night soul" a chaotic principle is revealed, hence the thirst to merge with the boundless. Here is another antithesis: "day soul" - "night soul", "day world" - "night world". Chaos is both creepy and close to the poet. He calls him "darling", and at the same time begs not to wake the "sleeping storms", under which chaos stirs.
The night is closer to the poet, because it is at night, when “the outlines and colors of the outside world lose their certainty, that Tyutchev seeks to look into the bottomless recesses of cosmic life with its “fears and darkness” seductive for him (Pigarev K. Ibid; p. 199). "Daytime world" for Tyutchev is just a cover, under which lies the chaos underlying the universe. He moves, tries to break out, but in the light of day it is impossible to catch, to feel his movement. Only at night all the covers are torn off and chaos appears before us in its original terrible beauty. The innermost essence of ancient chaos is revealed only in the "hours of world silence" - a motif characteristic of Tyutchev, which is not found in one of the "night" poems.

There is a certain hour, in the night, of universal silence,
And in that hour of phenomena and miracles
Living chariot of the universe
Rolling openly into the sanctuary of heaven.
("Vision")

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

In the mystery of the night there is a “prophetic voice”, at night the soul is disturbed by “prophetic dreams”. Tyutchev “sings about the element of sleep, the “magic boat” of night “visions” and “dreams”, which takes a person into infinity and the “immeasurability of dark waves” of chaos” (Pigarev K. Ibid; p. 199). The image of a dream, sometimes prophetic, sometimes pacifying, sometimes disturbing, but always in tune with chaos, runs through all of Tyutchev's "night" lyrics. L. Ozerov notes: “From the everyday and psychological plane, the Dream is brought to another plane - philosophical” (Ozerov L. Ibid; p. 72).
In the poem “Dream on the Sea”, sleep is opposed to chaos, “a quiet area of visions and dreams” - to “roaring waves”, “the roar of the deep sea”.

I lay in a chaos of sounds, deafened,
But my dream hovered over the chaos of sounds.
Painfully bright, magically mute,
It blew lightly over the thundering darkness.

Here the antithesis of life and death is clearly expressed. Sleep is life, but the life of the soul, not of the body. It's in a dream

The earth turned green, the ether glowed,
Lavirinth gardens, halls, pillars,
And hosts seethed silent crowd.

The real world for Tyutchev is motionless in its radiance. Human life is a dream, says the poet, and only the sounds of chaos, which break into this dream every now and then, can awaken the soul.

But all dreams through and through, like a wizard's howl,
I heard the roar of the deep sea,
And into the quiet realm of visions and dreams
The foam of roaring shafts burst in.

The image of the antipodes - day and night, the motif of nocturnal mystery, the image of chaos "liberated by sleep" were reflected in the poem "How sweetly the dark green garden slumbers ...", built on a sharp contrast. The peace of dormant nature is opposed to the disturbing, but "wonderful" "nightly rumble".

Where does this incomprehensible rumble come from? ..
Or mortal thoughts liberated by sleep,
The world is incorporeal, audible, but invisible,
Now swarming in the chaos of the night?..

The answer to this question is heard in the poem "The gray-gray shadows have shifted ...". The poet says that in the “hour of inexpressible longing”, when “the color faded, the sound fell asleep”,
Everything is in me, and I am in everything! ..
"Cosmic consciousness" in the last two poems merges with the inner world of man. A new theme arises: night and man. Images of chaos, abyss, sleep are painted in other tones, acquire a slightly different meaning. So, in the poem “Shadows of gray have shifted ...” chaos is presented in a different plane - internal. From the outer world peace penetrates into the soul. The poet turns to the night with a request, in which the disturbing notes characteristic of Tyutchev sound:

Silent dusk, sleepy dusk,
Lean into the depths of my soul
Quiet, languid, fragrant,
Shut everything up and be quiet.
Feelings - a haze of self-forgetfulness
Fill over the edge!..
Let me taste destruction
Mix with the dormant world!

In the poem “The Holy Night Has Ascended into the Sky”, according to L. Ozerov, “a person is visibly connected to the picture of day and night not only with his experiences, but also with his fate. The man is a homeless orphan. This loneliness and deprivation he feels even more acutely at night. At night he stands "and weak and naked, face to face before the dark abyss."

He will leave 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 ...

Here the abyss is exposed not only outside of man, in the universe, but also in himself. He is immersed in this abyss of the soul, in which there is "no support, no limit." Tyutchev's cosmogonic, as always, is conjugated with the world of the human soul.

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.

It could also be "fatal". But Tyutchev is precise in his definitions. The ancient chaos is "darling" - the beginning of the beginnings, the origin, the source. Both the universe and society. At night, in a still unsolved world, a person recognizes his beginning. Night returns a person to the abyss of the past, the original, to the ancestral heritage ”(Ozerov L. Ibid; pp. 66 - 67).
K. Pigarev writes: “The poem “The Holy Night Has Ascended into the Sky...” expresses the tragic state of a person who is “face to face in front of a dark abyss” and feels the same “abyss” not only outside himself, but also in himself ... So the antithesis of day and night ... grew into a new theme - the theme of the philosophical self-awareness of man ... ”(Pigarev K. Ibid; p. 268).
The poem "Insomnia" is permeated with the same mood of tragic doom, abandonment, loneliness. In the hours of "global silence"

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, on the edge 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!

Here, the night personifies the old, obsolete, and therefore abandoned and doomed to loneliness generation. The day is a new, young generation. Night is the past, day is the present and the future.
Tyutchev returns to the theme of alienation, loneliness in the poem "Like a bird in the early dawn ...":

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!

The poem is literally permeated with acute mental pain, which erupts in the exclamation:

O night, night, where are your veils,
Your quiet dusk and dew! ..

The image of the day-cover, which was present in many "night" poems, is replaced here by the image of the night-cover. The night cover brings comfort to a tormented soul, for a person who feels like a "fragment of the old generations", "surviving his age." The poet understands that the change of day and night is inevitable, that the old, "yesterday" is already in a hurry to replace the new one, awakened from the "blessed sleep". That is why he courageously admits the impossibility of keeping up with his age:

How sad half asleep shadow
With exhaustion in the bones
Towards the sun and movement
Follow the new tribe! ..

Inner anxiety, loneliness pour out in Tyutchev into a rejection of the day, which brings confusion and a feeling of split into his soul. Night is another matter. It is filled with dreams, fantasies, dreams, ghosts. It helps to look into the "native" chaos, to reveal the secret of being. The poet says:

But I'm not afraid of the darkness of the night,
Do not feel sorry for the waning day, -
Only you, my magical ghost,
Just don't leave me!
Cover me with your wings,
Calm the turmoil of the heart
And the shadow will be blessed
For an enchanted soul.
("The day is getting dark...")

The “enchanted soul” of Tyutchev, longing for peace and consolation, nevertheless, stubbornly struggles with the riddle: is it possible to cross, is it possible for a person to merge “with the boundless”? In the poem "Glimpse", the poet bitterly says that all human efforts are in vain. With his soul he strives for the "immortal", he is sad for heaven, but he is unable to interrupt the "magic dream", which is called life:

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.

The night brings even greater discord into the troubled soul. A person, bewildered by the unrequitedness of life, not fully understanding himself, already doubts his own reality: is he a “dream of nature”, her fantasy, a dream? This self-perception of Man on earth, incomprehensible to himself, inexplicable in a word, and all the more similar to a dream, Tyutchev will again and again try to express with his poetic images. So, in the poem "As the ocean embraces the globe of the earth ..." a person appears in the face of two abysses. Immeasurability surrounds a person here literally from all sides: above - the sky, below - the ocean (the main elements in Tyutchev's poetry); the stars, reflected in the ocean, burn both from above and from below - the abyss is “flaming” ... The immeasurable abyss that surrounds him does not leave him a reliable support. There is no stability and peace for him, he is always “at the edge of the abyss”. And Tyutchev's Man is always on the move ... he is an eternal wanderer.

Already in the pier the magic boat came to life;
The tide is rising and taking us fast
Into the immensity of dark waves.

And a man floats in his boat along the boundless night ocean, lonely, confused, with pain and anxiety in his soul. Waves are raging around him, “on the infinite, in the free expanse, brilliance and movement, roar and thunder”,

Waves are rushing, thundering and sparkling,
Sensitive stars look from above.
In this excitement, in this radiance,
All, as in a dream, I'm lost standing -
Oh, how willingly in their charm
I would drown my whole soul ...
(“How good you are, O night sea ...”)

Tyutchev's man is lonely both in the radiance of the day and in the darkness of the night. Abysses open up between man and nature, man and man ... But, doubting everything, Tyutchev's Man himself doubles, loses his integrity. Chaos penetrates into his soul, thoughts, and there is no rest for this troubled soul ... And yet everything said here does not mean the destruction, the disappearance of man in Tyutchev's philosophical lyrics. On the contrary: it affirms itself in the face of all these "abysses" and unanswered questions by the very fact of its existence, by its indestructible thirst for knowledge; it is realized in emotional outbursts and "breakthroughs" to the world of mother nature, in a series of questions and appeals to the world, in understanding one's divided tragic worldview.
An abyss of misunderstanding, uncertainty and unpredictability surround a person. And that's why

Soul would like to be a star
But not when from the midnight sky
These luminaries, like living eyes,
They look at the sleepy world of the earth, -
But during the day, when, hidden like smoke,
scorching sunbeams,
They, like deities, burn brighter
In the ether pure and invisible.
("The soul would like to be a star")

Only the “star soul”, silently looking at the world from a height, can approach the secret that a person passionately wants to comprehend. But, alas,

... We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire.
("Glimmer")

What should a person do in the face of this abyss, in a world where life is like a dream, and the night does not bring peace? And Tyutchev answers this question in his program poem "Silentium!" ("Silence!"):

Be silent, hide and hide
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Love them and shut up...
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! ..

Tyutchev's "night" poetry is built on the inconsistency of the existing world. And not just on inconsistency, but on the confrontation of antinomic concepts: day and night, light and darkness, life and death, faith and despair, etc. And in the center of these contradictions, in the center of ancient chaos and the burning abyss, stands a man with his restless soul, with his eternal questions and doubts. And not just a man, but a poet - the "night poet" Tyutchev.

The language of "night poetry"

“... The language of Mr. Tyutchev often strikes the reader with happy courage and almost Pushkin’s beauty of his turns” (Chagin G.V. Ibid., p. 154), wrote I.S. Turgenev. Tyutchev is a poet of a small form. Turgenev notes the close cohesion of the condensed form and concentrated content of his poems: “The exceptionally, almost instantly, lyrical mood of Mr. Tyutchev’s poetry makes him express himself concisely and briefly, as if surrounding himself with a shamefully tight and elegant line; the poet needs to express one thought, one feeling, merged together, and for the most part he expresses them in a single way, precisely because he needs to express himself ... ”(Chagin G.V. Ibid; p. 154).
HELL. Grigorieva writes: “What linguistic means does the poet fill in this small form, what creates this “complex lexical coloring”, what language material is involved for this, how is it grouped in the text, what is its relation to the linguistic poetic tradition and the basis of what new poetics can we to discover in his works - these are the questions that many researchers of Tyutchev's poetry asked themselves ”(Grigorieva A.D. A word in Tyutchev’s poetry. - M., 1980; p. 8). She notes that "the assessment of Tyutchev's speech given by Fet is extremely interesting." “All living things consist of opposites,” wrote A.A. Fet in the article “On the poems of F.I. Tyutchev” – the moment of their harmonic union is elusive, and lyricism, this color and pinnacle of life, in its essence, will forever remain a mystery. Lyrical activity also requires extremely opposite qualities, such as insane courage and the greatest caution (the finest sense of proportion). Who is not able to throw himself from the seventh floor upside down, with an unshakable belief that he will soar through the air, he is not a lyricist. But next to such audacity, a sense of proportion must burn inextinguishably in the soul of a poet. No matter how enormous the lyrical courage - I will say more - the daring courage of Mr. Tyutchev - no less strong is the sense of proportion in him. To whatever extent we are immediately struck by a bold, unexpected epithet or a lively metaphor of our poet, do not believe the first impression and know in advance that these are bright colors of fresh flowers; they are brilliant, but they never quarrel with each other. Take a closer look at the metaphor that struck you, and in your eyes it will begin to melt and merge with the surrounding picture, giving it a new charm ... Indeed, the first condition for artistry is clarity; but the clarity of clarity is different. Not because Mr. Tyutchev is a powerful poet because he plays with abstractions, as another plays with images, but because he captures the side of beauty in his subject just as another captures it in more visual objects ”(Grigorieva A.D. Ibid; p. . eight).
Researchers see in Tyutchev's lyrics 1) features of the tradition of high lyrics of the 18th - early 19th centuries. (odic tradition) - the use of a number of rhetorical devices, archaic vocabulary, paraphrases, etc.; 2) the emergence of a new relationship to the word, which entails a deepening of its semantics, expansion and enrichment of associative lines coming from the word and from the text. “The poetry of Tyutchev,” writes D.D. Good, - the didacticism, declamatory and oratorical pathos of the classical ode, so characteristic of classical poetics, is highly characteristic, but, in accordance with the general orientation of his work, the teachings, exclamations, appeals and appeals of his poems are most often subjective-lyrical in nature, addressed the poet to himself, to his own soul or to the phenomena of the outside world duplicating it ... Thanks to this, the “floridity” of classical lyrics fights, and often combines in Tyutchev’s poetry with its exceptional musicality, melodism - the melodiousness of the stanza (V. Bryusov) ”(Grigorieva A.D. Ibid, p. 17).
The form of the poet's reflection of reality, both external and internal, intimate, is individually unique. The originality of the aesthetic impact of this form lies in the special attitude of the poet to the word, in the special way of organizing lexical material in verse. "Night poetry" by Tyutchev can rightfully be called individually unique. Each poem of this cycle carries the deep thought of the poet, expressed through artistic means, which are distinguished by originality, expressiveness, fullness and amazing brightness.
All the artistic means available to Tyutchev were invariably subordinated to the task of the most complete disclosure of the lyrical content. One such means was euphonic expressiveness. “In terms of their sound richness,” writes K. Pigarev, “the verses of the mature Tyutchev can bear comparison with the verses of Lermontov. And if the sound side of the poem was never an end in itself for Tyutchev, then the language of sounds was clear to him. (Pigarev K. Ibid.; p. 292).
The combination of certain consonances in Tyutchev’s poems “reminds” (his own expression) either of the howling of the night wind (“What are you howling about, night wind? ..”), or of the thickening drowsy twilight (“Shadows of gray have shifted ...”), it conveys to our ears "the monotonous beat of the clock" ("Insomnia"). The poet achieves this with the help of alliterations and assonances.
For example, in the poem “What are you howling about, night wind? ..” the howling of the wind is conveyed by the repetition of the same sound combinations in which the sound “r” is invariably present: “tr”, “rt”, “dr”, “rd” , “vzr”, “str”, “spr” (wind, mortal, ancient, heart, blowing up, strange, terrible, boundless). This combination creates a feeling of storm, violent gusts, roar and noise. The sounds “sh”, “h”, “z”, “s”, “g” alternating with them and sound combinations with them (howling, lamenting, digging, blowing up, nocturnal, frantic, mortal, sleeping, mournful, greedily, thirsty and etc.) reproduce the whistle and rustle of the wind, thereby enhancing the impression. The combination of all these sounds creates an alarmingly tense background: in the howls of the night wind, the sounds of “terrible songs” of ancient chaos are clearly audible.
“Magnificent examples of assonances,” writes K. Pigarev, “we find in the poem “Insomnia”. His first stanza is built on the assonances "o" and "a":

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

Here, in stressed syllables, the sound "o" prevails over "a". in the second stanza, the sounds "and" and "a" are assonating:

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

In the next three stanzas, in which the philosophical theme of the poem is revealed, the intensity of the assonances weakens somewhat, only to reappear in the final stanza:

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

The expressiveness of the assonances "a" and "o", echoing the first stanza, is enhanced by alliterations of smooth "r" and "l". As a result, the poet's poems convey to our ears "a monotonous battle" (Pigarev K. Ibid., p. 296).
Tyutchev's "night poetry" is characterized by the use of high vocabulary, the words of the Church Slavonic language. The input of these "high" words is determined by the topic or does not contradict it. For example: a voice (“Insomnia”, “How the ocean embraces the globe of the earth ...”); wind (“What are you howling about, night wind? ..); chapter (“Like a bird, early dawn ...”, “Glimmer”); hair (“Like a bird, early dawn ...”); to see (behold) ("Dream on the sea"); thirst (“What are you howling about, night wind? ..”); terrestrial ("Day and Night"); dear (“Holy night has ascended into the sky ...”) and many others.
The choice of vocabulary, in addition to the topic, is also determined by the “highness” of reality traditionally established in previous poetic practice. So, “in the poem “Insomnia,” writes A.D. Grigoriev, - where the theme of Fate-Doom-Time is presented very solemnly, this solemnity is created not only by the words moaning (of time), the voice (prophetically-farewell), it seems, young tribe, to perform a sad rite, but also by the whole orientation in the depiction of Time-Doom to the previous tradition. Combinations such as universal silence, prophetic farewell, at the end of the earth (cf. Derzhavin: “We are sliding on the edge of the abyss, Into which we headlong fall”), such poeticisms as a new young tribe flourished, oblivion skidded (cf. Pushkina: And overgrown with the grass of oblivion. "Ruslan and Lyudmila") - all this refers to the previous traditional solution of this topic "(Grigorieva A.D. Ibid; p. 204).
In the "night poetry" of Tyutchev, poetic vocabulary is widely represented. Along with such poeticisms as eyes (“The soul would like to be a star ...”); gaze ("Glimmer"); shuttle ("Dream on the sea", "How the ocean embraces the globe of the earth..."); young (“Insomnia”), there are poetic synonyms for the direct names of phenomena: universal silence - silence, sleep (“Vision”, “Insomnia”); the living chariot of the universe - the earth with its inhabitants ("Vision"); the flaming abyss - the sky (“As the ocean embraces the globe of the earth ...”). "Night Poetry" is full of comparisons that in traditional romantic poetry created the impression of grandeur, grandiosity, solemnity: the night thickens, like chaos on the waters - biblicalism, unconsciousness, like Atlas, crushes the land ("Vision"), etc. The impression of grandiosity is created by words denoting "high" realities: chariot, sanctuary, heaven, dry land, Atlas, chaos, prophetic dreams ("Vision"); fatal world, fatal legacy (“Day and night”, “Holy night ascended into the sky ...”), etc. The very list of these words already sets up for the solemn.
Epithets-adjectives in "night poetry" are carriers of the author's emotions. Their abundance in the text is aimed at communicating the meaning that follows from the logic of the development of the entire text.
Through epithets and metaphors, Tyutchev creates a contradictory, bright image of the night that carries emotionality in its meaning. So, Tyutchev’s night is an hour of phenomena and miracles (“Vision”), an hour of inexpressible longing (“Shadows have shifted ...”), a kingdom of shadows (“A cheerful day was still noisy ...”), it is gloomy (“Loose sand to the knees ... ”), blue (“How sweetly the dark green garden slumbers ...”), quiet (“Quiet night, late summer ...”), holy (“Holy night ascended the sky ...”), azure (“Rome at night”, “You , my sea wave ... "). The night thickens like chaos on the waters (“Vision”), looks like a stout-eyed beast (“Quicksand to the knees ...”), tearing off the fabric of the fertile cover, throwing it away (“Day and Night”), twisting the golden cover (“Holy Night has risen into the sky... The image of the night is complemented and set off by night images. The image of the sky is the vault of heaven, the blazing abyss (“As the ocean embraces the globe of the earth ...”), the bottomless (“How sweetly the dark green garden sleeps ...”), gloomy (“The night sky is so gloomy ...”). The emotional perception of this image is reinforced by verbal metaphors: the sky flowed through the veins (“Glimmer”), the vault of heaven, ... mysteriously looks from the depths (“As the ocean embraces the globe of the earth ...”), suddenly a stripe of the sky flashes (“The night sky is so gloomy ...”) . The night is inextricably linked with the image of the month (moon): a pale luminary that guarded my drowsiness (“A cheerful day was still noisy ...”), a month - like a skinny cloud, he almost fainted in the sky, a holy god who shines over a lulled grove (“ You saw him in a circle of great light…”), a luminous month that glimmers a little (“In a crowd of people, in the immodest noise of the day…”), a golden month that shines sweetly (“How sweetly the dark green garden slumbers…”), under the magical moon (“Across the plain of azure waters ...”); with the image of the stars: the starry host burns (“How sweetly the dark green garden sleeps ...”), these luminaries, like living eyes, look at the sleepy world of the earth; like deities, they burn (“The soul would like to be a star ...”), the stars glow ... with a gloomy light (“Quiet night, late summer ...”), sensitive stars look from above (“How good you are, O night sea ...”); with images of night darkness, twilight, shadows, darkness: gray-gray shadows have shifted, unsteady dusk, quiet dusk, sleepy dusk ... quiet, languid, fragrant ... pour into the depths of my soul, fill over the edge with a mist of self-forgetfulness (“Shadows of gray-blue have shifted ...”), everything was quiet in the sensitive darkness (“The night sky is so gloomy…”); with the image of the night sea: here it is radiant, there it is gray-dark ... as if alive, it walks and breathes, and it shines, the great chill, the chill of the sea (“How good you are, O night sea ...”), fire-breathing and stormy ... sea serpent ( “On the plain of azure waters ...). Through all the "night poetry" passes the image of sleep. These are prophetic dreams (“Vision”), this is a painfully bright, magically mute dream that blew lightly over the thundering darkness (“Dream on the Sea”), and a sluggish, bleak dream (“The night sky is so gloomy ...”).
Each poem of the night cycle expresses a certain feeling, colored by the author's emotions. Thus, the poem "Shadows of gray-gray shifted" expresses the feeling of physical merging with the night nature and the passionate desire of the lyrical hero to find spiritual oblivion. The poet represents the night in its most typical external features - the absence of light - color and sound, the fading of all manifestations of life and movement. Darkness erases all facets, all differences of objects, turning the world in the perception of the lyrical hero, for the most part, into a shaky dusk. This indistinguishability of details determines the feeling of the solidity of the outside world, and the absence of sounds determines the feeling of complete peace.
But man is both the external, physical world and the spiritual world. The feeling of one's physical merging with the world (Everything in me and I in everything) does not yet mean a similar merger and dissolution in peace for the spiritual world, full of "unspeakable longing". This peace of mind is what the lyrical hero longs for.
In this poem, Tyutchev needed not only to note the fact of the onset of darkness, but also to convey the individual perception of this phenomenon, the perception due to the mental state ... The poet affirms the night through the denial of what, from the point of view of the perceiver, was associated with day, light, denies life in all its manifestations, the most common and typical from the point of view of the perceiving person. Here - this is the denial of light - color, which results in the complete merging of objects into one continuous darkness, the denial of movement, due to the inability to see it - only unsteady dusk - fading or weakening of the sound - the sound fell asleep or a distant rumble. This fading of sounds and colors sharpens those sounds and smells which are lost during the day in the abundance of sharper and more conspicuous analogous phenomena.
The statement of darkness (night) through the erasure of all color and sound manifestations of the world is supported by the poet by the name of these phenomena: he speaks of color, sound, life, movement in order to deny their presence (The color faded, the sound fell asleep - Life, Movement resolved into dusk unsteady, in the distant rumble ... invisible flight). The selection of general designations of phenomena (color, sound, life, movement, rumble) confirms the impossibility of distinguishing their specific, particular manifestations... The fading of color is emphasized by the color scheme represented by verbs and adjectives: the dove-gray shadows have shifted, the color has faded, the twilight is unsteady. Erasure of sound with words - the sound has fallen asleep so much that it is possible to hear the flight of a moth and the presence of a distant rumble.
Appeal to the twilight, as a substance opposed to a person, leads to giving him signs that are logically characteristic of a person or his associative representations. Therefore, the complex of words grammatically directly related to the twilight expands at the expense of the words of the complex “man” and “water”: the twilight is sleepy, languid, dormant; pour, flood, overflow - all these words are metaphorical ... Silence and peace - these are the main properties of the night, so necessary for a person. These signs find their metaphorical and directly nominative designation in the following words: dusk is quiet, sleepy, quiet, calm down, dozing, languid (synonymous with sleepy). The semantics of sleep - rest - dissolution is contained in the words haze of self-forgetfulness (a descriptive-metaphorical combination denoting sleep, oblivion) and destruction (the same as dissolution in the environment, the dream of the spiritual world).
The image of the night in the poems of the night cycle is opposed to the image of the day. The poet likens the day to a veil thrown over the abyss (“Day and night”, “Holy night ascended into the sky ...”). The day-veil is endowed with epithets: golden-woven, brilliant (“Day and night”), gratifying, amiable, golden (“Holy night ascended into the sky ...”). Tyutchev focuses on the internal inconsistency of both the day - reviving, healing a person, but hiding the secret of the world from him - and the night - terrible, but revealing these secrets to a person.
In the visual means of Tyutchev there were elements of dialectical knowledge of the world that he realized, but unusual for the poet's contemporaries. With the help of these means, he showed dependence, interpenetration of the physical and mental, material and spiritual.

Symbolism of "night poetry"

HELL. Grigoryeva writes: “The polysemy of Tyutchev’s lyrics, symbolism and allegory, often behind the first plane of lyrical expression, served Vyach. Ivanov as the basis for characterizing Tyutchev's poetry as the source of the symbolic direction of the 20th century. Distinguishing between realistic and idealistic elements in symbolism, he ranks Tyutchev among the greatest representatives of realistic symbolism in our literature ”(Grigorieva A.D. Ibid; p. 6).
The night cycle of Tyutchev's poems can be called "the poetry of symbols born from difficult semantics. This poetry is possible only on the material of a continuous and polysemantic (symbolic) word, which excites fluctuating signs and constructs images that cannot be interpreted in the only correct way, - writes L. Ginzburg. - Tyutchev belongs to such a group of poets who work with a polysemantic and invented word ”(Grigorieva A.D. Ibid; p. 11).
The main symbols of "night poetry" are the words-images of day and night. Day is a symbol of life, it is the life and life of the soul. The day is bright, alive, and therefore the day is gratifying, amiable (“Holy night has ascended into the sky ...”). Day - earthly revival, Souls of the aching healing ("Day and Night"). Night is the antithesis of light-day, the archetypal embodiment of darkness. In the interpretation of the image of the night by Tyutchev there are features of antiquity. Antiquity perceived the night as an ambivalent symbol. On the one hand, the night is “terrible”, it gives rise to death, discord, deceit, old age. So, in Tyutchev's poem "Day and Night" the night reveals the abyss with its "fears and darkness." The poet does not try to hide his fear of the mysteries of the night. In the poem "The Holy Night Has Ascended into the Sky..." Tyutchev speaks of the night as "alien, unsolved", and therefore terrible.
On the other hand, from the night comes the day, that is, light, justice, fertility and immortality. That is, the night means both death and abundance; it has the expectation of the day, the promise of daylight. The ambivalence of the night is clearly expressed in Tyutchev's poetry. Quiet night, holy night, azure night and, on the other hand, a terrible night, a gloomy night.
As an archetype of darkness, the night is associated with fear of the unknown, evil, despair, death. So, in the poem “The day is getting dark, the night is close ...” the words day is getting dark and evening is getting dark, framing the first stanza, are symbolic: day is life, evening is old age. In this case, the phrase night is close reveals the symbolic meaning of the word night: evening - old age ends with death - at night. HELL. Grigorieva notes that “the likening in poetry of the duration of human life to a day, and its individual periods to morning (morning dawn), noon and evening (sunset, evening dawn) is well known. Night in this correlative series is a phenomenon opposed to day - life - this is death, non-existence ”(Grigorieva A.D. Ibid; p. 214).
Thus, the images of day and night created by Tyutchev become in parallel and a symbol of the poet's mental states. They are colored by his experiences and feelings. These are images that symbolize the existence of a person, the originality of his perception of life. So, in the poems "Insomnia" and "Like a bird, early dawn ..." the images of day and night are symbols of both human life and the old and the new, the obsolete and the emerging. Here Tyutchev turns to traditional symbolism: life is day, death is night. "Fragments of old generations", "drowsy shadows" wander in the night, in "quiet twilight", "in the gloomy distance". And this night is replaced by a "young, fiery day." Night is an old, obsolete world, the past, which "has been forgotten for a long time." The day is a new world filled with “sun and movement”.
The word day also appears in Tyutchev as a symbol of the life of the spirit, the mental activity of man. In this case, another symbol is opposed to the day - a dream, which means death and the subconscious life of the spirit, the dark hidden life of the human soul. For example, in the poems “The Holy Night Has Ascended into the Sky...”, “Dream on the Sea”, “Glimmer”, the day is presented as a light, conscious world of the soul, and a dream is a secret, vague world. A dream is what is in the poems “Day and Night”, “A merry day still roared ...”, “How the ocean embraces the globe of the earth ...”, “What are you howling about, night wind? ..”, “How sweetly the dark garden slumbers -green…” gets the name of the abyss, the realm of shadows, chaos. HELL. Grigoryeva notes that "expanding the scope of stable poetic symbols (day - the life and life of the soul, sleep - death and the subconscious life of the spirit), Tyutchev defines their understanding by the whole context, although this context does not always allow the reader to choose the appropriate lexical equivalent for a new application. symbol. And this entails some intuitive, vague comprehension of reality. However, when it comes to thinking about the life of the spirit, about the phenomena of the subconscious, Tyutchev reflects this difficulty in direct and accurate nomination by searching for non-traditional designations for vague, difficult-to-define sensations ”(Grigorieva A.D. Ibid; p. 217).
The image of a star in Tyutchev's "night poetry" is also a symbolic image. The star is one of the oldest universal symbols, an astral sign, a symbol of eternity, a symbol of high aspirations, an emblem of happiness. The symbol of the sky is directly adjacent to the symbol of the star - something inaccessible, incomprehensible. The sky and stars are opposed to the image of the earth, which is also a symbol. In the mythological tradition, heaven and earth appeared after the division of the initial chaos into top and bottom, that is, into heaven and earth. The earth for Tyutchev is a symbol of the physical life of a person, while the sky is a symbol of immortality, “divine fire”, spiritual rebirth, flight, to which a person passionately strives, but “it is not given to insignificant dust to breathe divine fire” (“Glimmer”). Tyutchev's man is constantly between the abysses - between earth and sky. Here is another symbol: earth and sky in the human soul, their eternal confrontation. The sky in the human soul tends to fly, but the earth does not allow the soul to fly. The sea in Tyutchev's night cycle is also symbolic. It is a symbol of life, a symbol of the life force of the soul. By placing a person between two abysses - the sky and the ocean, the sea, i.e. water, - Tyutchev shows the tragic doom of a person to whom his earthly beginning does not allow him to push away the “suffocatingly earthly” (“Although I made a nest in the valley ...”). And a person swims, surrounded by a “flaming abyss” (“As the ocean embraces the globe of the earth ...”), confused, lonely, and his soul in a desperate impulse “would like to be a star” (“The soul would like to be a star ...”).
Of great importance in "night poetry" is the symbolism of color and sound. The day is always painted in bright colors and the sounds of the day are pure, “fertile” sounds, merging into one “system, Hundred-sounding, noisy and indistinct” (“A cheerful day was still noisy ...”). Night colors are dark, having many shades. Tyutchev's night is not just blackness, impenetrable darkness, darkness. Night is gray-gray shadows, dusk is quiet, sleepy, languid, fragrant (“The gray-gray shadows have shifted ...”). The night is painted as if in halftones, which gives a feeling of tragedy, anxiety, fear. Not black color - a symbol of absolute emptiness and absolute darkness, namely gray, gray, gloomy undertones. Night sounds are also muffled, blurred, these are semi-sounds, only slightly reaching the human ear. The color and sound of the night symbolize the state of the soul close to death. That is why Tyutchev does not use black - a symbol of complete non-existence, but muffled semitones, semi-sounds, reflecting the state of mind of a person.

The meaning of Tyutchev's "night poetry"

Tyutchev's poetry did not immediately receive universal recognition. G.V. Chagin writes: “It is interesting that during his lifetime the poet was not known in wide readership. But on the other hand, among his enthusiastic admirers were Zhukovsky, Pushkin, Nekrasov, Turgenev, L. Tolstoy, Fet, A. Maikov, Dostoevsky and other poets and writers of his circle. And these admirers themselves understood well what was the reason for the lack of popularity of their favorite poet. “We do not predict popularity for Mr. Tyutchev,” wrote, for example, I.S. Turgenev in Sovremennik in 1854—that noisy dubious popularity which, probably, Mr. Tyutchev does not achieve at all. His talent, by its very nature, is not addressed to the crowd and does not expect feedback and approval from it ”(Chagin G.V. Ibid; p. 137). Chagin notes that "the philosophical orientation, the content of Tyutchev's poetry, in many respects, were ahead, in the apt expression of Aksakov," mental development "and" the habit of thinking "of the reader, a contemporary of the poet. Hence the partial misunderstanding of this poetry, and, to some extent, even its denial, and the opinion of Tyutchev as a poet for the few.
But what can we say about the readers, exclaims G.V. Chagin, when even the people closest to Fyodor Ivanovich often lost all spiritual thread of his understanding. “He seems to me one of those primordial spirits, so subtle, smart and fiery, which have nothing to do with matter, but which, however, have no soul either,” the poet’s eldest daughter, Anna Fedorovna, once writes down her impressions of him. “He is completely outside of any laws and regulations. It strikes the imagination, but there is something creepy and restless in it ... ”(Chagin G.V. Ibid; p. 124).
Tyutchev's "night poetry" was especially difficult to understand and therefore remained unrecognized for a long time. In 1935 P.A. Florensky wrote about Tyutchev’s cosmic worldview, about the image of beginningless chaos he created: “Tyutchev’s chaos lies deeper than the human – and in general, and individual – distinction between good and evil. But that is precisely why it cannot be understood as evil. It generates individual being, and it destroys it. For the individual, destruction is suffering and evil. In the general structure of the world, that is, outside of human life, this is neither good nor evil ... Without the destruction of life, there would be no life, just as there would be no life without birth ... And when chaos does not take into account human concepts, this is not because he breaks them "out of spite" that he fights them and opposes them with their negation, but because he, so to speak, does not notice them. Tyutchev does not say and does not think that chaos seeks to replace human norms and concepts of goodness with the reverse of them; he simply tramples on them, subordinating a person to another, higher, although often painful for us, law. We are able to perceive this higher law as the beauty of the world, as a “golden veil”, and the joy of life, the fullness of life, the justification of life - in communion with this beauty, constant perception and consciousness of it ... ”(Kozhinov V. Ibid; p. 473) .
V. Kozhinov writes: “... sincere admiration for Tyutchev’s poetry should awaken in each of us the conviction that my personal being has the most direct, immediate relationship to the universal, cosmic being, that I have no right to forget about it and is called upon to measure my life just such a measure ... ”(Kozhinov V. Ibid.; p. 475). For Tyutchev, there is no division into the individual and the cosmic. His personal being is wholly dissolved in the universal. That is why the rich spiritual world of the poet was reflected in the "night poetry". His purely individual experiences in all their unique richness, complexity, refinement were always correlated with the general state of the modern world, with human history as a whole and with the Universal, cosmic being (Kozhinov V. Ibid; p. 487).
“Tyutchev,” writes L. Ozerov, “respects equally close and “cobwebs of thin hair” on the “idle furrow” of the Russian field, and the ocean of the universe, which embraces the “globe of the earth”, and “the vault of heaven, burning with star glory”. The infinity and boundlessness of the world in Tyutchev's poetry are not emblematic, but real, they are absorbed into the poet's spiritual life, as the events of his personal life. This property of Tyutchev was noticed and picked up by poetry after him, although not one of the poets, up to our days, in this sense, has managed to rise to his, Tyutchev's, artistic heights. The space theme was for Tyutchev not only a theme, but also the pathos of his work, his thought. Today, his poetry continues to serve as a model for us, living in the era of great space flights, discovered by the flight of Yuri Gagarin ... ”(Ozerov L. Ibid; pp. 99 - 100).
L. Ozerov notes the deep connection between Tyutchev's poetry and Russian psychological prose. Tyutchev's poetry echoed in Turgenev's poems, in his poems in prose, as well as in his short and long prose. Tyutchev played an important role in the work of Dostoevsky. The impact of Tyutchev on the prose of L. Tolstoy was organic, long-lasting, significant. Speaking once about Tyutchev, L. Tolstoy remarked bitterly: “Everything, our entire intelligentsia has forgotten or is trying to forget: he, you see, is outdated ... He is too serious, he does not joke with the muse ... And everything is strict with him: both content and form "(Pigarev K. Ibid; p. 355). From this oblivion, Tyutchev was extracted in the mid-nineties of the 19th century by the idealist philosopher and poet Vl. Solovyov, who in his poetic work adopted some of the artistic traditions of Tyutchev and in this sense was one of the forerunners of the symbolists.
Following Solovyov, the symbolists turned to Tyutchev. The perception of Tyutchev's heritage by symbolists was largely external in nature and was limited to variations of individual and far from the main motives of his lyrics and borrowing from him techniques and forms of verbal representation. Inwardly, only one representative of symbolism was closer to Tyutchev than others - Alexander Blok (Pigarev K. Ibid; pp. 355 - 356).
Gradually, Tyutchev's poetry ceased to be the property of a few "initiates."
“Shaken to the foundations by the drama of being and non-being,” writes L. Ozerov, “full of tragic intensity, Tyutchev’s poetry ultimately inspires us with lofty, one might even say heroic thoughts. This poetry makes it possible to breathe the air of mountain peaks - transparent, clean, washing and rejuvenating the soul ”(Ozerov L. Ibid; p. 107).

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