“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 F.I.'s lyrics. 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 gazed intently and radiantly into my eyes, and as I peered into the subtle blue, other stars appeared in front of me and looked at me as mysteriously and as eloquently as the first. Behind them, even the finest sparkles flickered in the depths and little by little floated up in 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 creativity 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 the poet’s entire work. And in poems about nature, and in love lyrics, and in poems on socio-political topics, the theme of night is present everywhere. Numerous disputes arise about the question of where F.I.’s “night poetry” originates. Tyutcheva. It is quite difficult to answer this question, since, according to K. Pigarev, “Tyutchev’s personal and public life passed away from the high road of Russian literary life of his time. Tyutchev's connections with literary circles were episodic. His judgments about literature and poetry that have reached us are fragmentary. Based on them, it is difficult to recreate any clear 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 poetry of nature. V. Kozhinov expresses the idea of ​​the influence of V.A. Tyutchev on the lyrics. Zhukovsky, A.S. Pushkin and Lyubomudrov (Russian equivalent of the word “philosopher”). He writes: “Tyutchev’s human and creative development is inseparable from the development of wise men in general. From 1817 to 1822, he constantly met with young men of this circle” (Kozhinov V. Tyutchev. - M., 1988; p. 93). Based on the fact that the knowledge of German philosophy and culture had a great influence on the wise men, V. Kozhinov concludes that there is some “German” influence on the work of F.I. Tyutcheva. “But it would be wrong and, moreover, absurd to believe,” he further notes, “that the very spiritual and creative path of Tyutchev and his associates was determined and directed by the “influence”, “impact” of German culture. Quite the contrary: it was precisely the own, internal development of Russian thought and poetry at this time that powerfully encouraged, even forced, the wise men to eagerly peer into 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 an immediate universal scope - 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 in vain to look for literal correspondences between the views of the German philosopher and the Russian poet. Tyutchev never engaged in abstract constructions and, according to the nature of his soul, directly translated his ideas into the flesh of poetry. And this was one of the features and secrets of his skill. “He,” said Aksakov, “has not only thinking poetry, but poetic thought; not a reasoning, thinking feeling, but a feeling and living thought” (Ozerov L. Tyutchev’s Poetry. - M., 1975; p. 58).
They associate the “night poetry” of F.I. Tyutchev and German romanticism, and with the so-called “cosmic consciousness”, and with the poet’s worldview. Thus, K. Pigarev writes: “Passionate love for life and constant internal anxiety, ultimately caused by the tragic perception of reality, form the basis of Tyutchev’s worldview as a 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 precisely defined 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 strong impression; as a result of this, if one can put it this way, the properties of its origin, Mr. Tyutchev’s thought never appears to the reader naked and abstract, but always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inseparably” (Pigarev K. Ibid., pp. 200 – 201).
V. Kozhinov notes: “Tyutchev was... from the very beginning of his conscious life, he was completely focused, directed towards 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, limitless, 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, to take one side: religion or irreligion (in our sense - anti-religiosity, godlessness), a monarchy or a republic. But he was neither one nor the other, he was rather both, because all the storms and passions of the century passed through him. He was their organ, spokesman, poet. He left all the contradictions that he discovered in himself and in the world around him in their unadorned form, alive; he did not want to “remove” them. And in this sense, he will always remain a mystery. Each new era will emphasize and extract for itself what it needs... His principle was complete frankness, not afraid of the most glaring contradictions. This is the victory of his genius over time” (Ozerov L. Ibid.; pp. 100 – 101).
It is in this multidimensionality, boundlessness and frankness of Tyutchev’s world, full of secrets and mysteries, that the origins of “night poetry” lie.

Analysis of “night poetry” by F.I. Tyutcheva

“Night” lyrics by F.I. Tyutchev can be 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 poems that are specifically and deliberately philosophical, in the sense as they understand it now: a problem, a generalization, the area of ​​logic and conclusions. Philosophy is not a field, 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 its way out in a poetic image. The image expands this experience to a universal scale” (Ozerov L. Ibid.; p. 56). And yet, “in Tyutchev’s poems, in a unique poetic form, the deep philosophical thought of his era was reflected, the thought about the state of nature and the Universe, about the connection between human, earthly life and life in space” (Chagin G.V. Fedor Ivanovich Tyutchev. - M., 1990; p.124).
The basis of the “cosmic” cycle of poems is 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 presented in their living contradictoriness. The poet’s feelings met 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,
Over this nameless abyss,
A gold-woven cover is thrown over
By the high will of the gods.

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

Day, earthly revival,
Healing for sick souls,
Friend of men and gods!

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

But the day fades - night has come;
She came - and from the world of fate
Fabric of blessed cover,
Having torn it off, it throws it away...

It is the night that tears away the “fabric of the veil of grace,” throws away the soul-healing day and opens a frightening abyss:

And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!

Thus, day is the revival of everything earthly, 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 the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.

In this poem - “As the ocean embraces the globe of the earth...” - the abyss appears before us no longer as a frightening, but as 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 hides something that is not comprehended by the mind, and therefore causes horror. Tyutchev expressed these feelings - delight and horror - by transforming the image of the starry sky into a menacing 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, “it is Tyutchev’s clot of figurative energy, a constant thought and a haunting feeling. Chaos in Tyutchev, like the Greeks in their myths, appears as the disordered basis of the existing world. The poet’s image of chaos is the image of the primordial element of existence, which is revealed 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, turning to the wind, there is the same frantic feeling, the same mental anxiety and torment:

Oh, don’t sing these scary songs
About ancient chaos, about my dear!
How greedily the world of the soul is at night
Hears the story of his beloved!
It tears from a mortal breast,
He longs to merge with the infinite!..
Oh, don’t wake up sleeping storms -
Chaos is stirring beneath them!..
(“What are you howling about, night wind?..”)

This poem clearly demonstrates the contradiction inherent in Tyutchev’s poetry. The feeling is revealed in his struggle: on the one hand, the frightening immensity of chaos, on the other, a frantic desire to merge with the primordial ancient chaos. And again the antithesis arises: day - night. In the light of day, the sounds of the “terrible songs” of chaos do not penetrate the soul, and therefore the “daytime soul” is afraid and does not accept the boundless emptiness that causes “incomprehensible torment.” The “night soul” reveals a chaotic beginning, hence the desire to merge with the infinite. Here is another antithesis: “day soul” - “night soul”, “day world” - “night world”. Chaos is both terrible and close to the poet. He calls him “darling,” and at the same time begs him not to wake up the “sleeping storms” under which chaos is stirring.
The night is closer to the poet, because it is at night, when “the outlines and colors of the outside world lose their definition, that Tyutchev strives to look into the bottomless recesses of cosmic life with its “fears and darkness” that are tempting for him (Pigarev K. Ibid.; p. 199). The “day world” for Tyutchev is just a cover under which the chaos underlying the universe is hidden. He moves, tries to break out, but in the light of day it is impossible to catch or feel his movement. Only at night are all the covers torn off and chaos appears before us in its pristine, terrible beauty. The hidden essence of ancient chaos is revealed only in the “hours of worldwide silence” - a motif characteristic of Tyutchev, which is found in more than one of the “night” poems.

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

Who among us listened without longing,
In the midst of worldwide silence,
Muffled groans of time,
A prophetic farewell voice?
("Insomnia")

The mystery of the night contains a “prophetic voice”; at night the soul is disturbed by “prophetic dreams”. Tyutchev “sings of the element of sleep, the “magic boat” of night “visions” and “dreams”, carrying a person into the infinity and “immeasurability of dark waves” of chaos” (Pigarev K. Ibid.; p. 199). The image of a dream, sometimes prophetic, sometimes pacifying, sometimes alarming, but always in tune with chaos, runs through all of Tyutchev’s “night” lyrics. L. Ozerov notes: “From the everyday and psychological plane, Dream has been taken to another plane - philosophical” (Ozerov L. Ibid.; p. 72).
In the poem “Dream at Sea,” sleep is contrasted with chaos, “the quiet region of visions and dreams” with “roaring waves,” “the roar of the depths of the sea.”

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

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

The earth turned green, the ether glowed,
Lavirinth gardens, palaces, pillars,
And the hosts seethed with silent crowds.

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 every now and then break into this dream, 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 region of visions and dreams
The foam of the roaring waves rushed in.

The image of the antipodes - day and night, the motif of nighttime mystery, the image of chaos “liberated by sleep” are reflected in the poem “How sweetly the dark green garden slumbers...”, built on sharp contrast. The peace of dormant nature is contrasted with the alarming, but “wonderful” “nightly hum.”

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

The answer to this question can be heard in the poem “The gray shadows have shifted...”. The poet says that in the “hour of unspeakable melancholy,” 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, the abyss, and sleep are painted in different colors and take on a slightly different meaning. Thus, in the poem “The gray shadows have shifted...” chaos is presented on a different plane – internal. From the outside world, peace penetrates the soul. The poet turns to the night with a request, in which the alarming notes characteristic of Tyutchev sound:

Quiet dusk, sleepy dusk,
Lean into the depths of my soul,
Quiet, languid, fragrant,
Fill it all up and quiet it down.
Feelings are the haze of self-forgetfulness
Fill it over the edge!..
Give me a taste of destruction
Mix with the slumbering world!

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

He will be abandoned to himself -
The mind is abolished, and thought is orphaned -
In my soul, as in an abyss, I am immersed,
And there is no outside support, no limit...

Here the abyss is exposed not only outside of man, in the universe, but also within him. He is immersed in this abyss of the soul, in which there is “neither support nor limit.” Tyutchev’s cosmogonic, as always, is associated with the world of the human soul.

And it seems like a long-ago dream
Now everything is bright and alive for him...
And in the alien, unsolved, night
He recognizes the family heritage.

There could be something “fatal” here. But Tyutchev is precise in his definitions. Ancient chaos “dear” - the beginning of beginnings, origin, source. Both the universe and society. At night, in a still unsolved world, a person learns 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 “Holy Night Has Ascended the Sky...” expresses the tragic state of a person who is “face to face before a dark abyss” and feels the same “abyss” not only outside himself, but also within himself... So the antithesis of day and night... grew into a new topic - the topic of philosophical self-awareness of man...” (Pigarev K. Ibid.; p. 268).
The poem “Insomnia” is permeated with the same mood of tragic doom, abandonment, and loneliness. During the hours of “worldwide silence”

It seems to us that the world is orphaned
Irresistible Rock has overtaken -
And we, in the struggle, by nature as a whole
Left to ourselves;
And our life stands before us,
Like a ghost on the edge of the earth
And with our century and friends
Fading in the gloomy distance...

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

Here the night represents the old, outdated, and therefore abandoned and doomed generation. The day is a new, younger generation. Night is the past, day is the present and the future.
Tyutchev returns to the theme of alienation and loneliness in the poem “Like a bird at the early dawn...”:

Oh, how piercing and wild,
How hateful to me
This noise, movement, talking, screams
Have a nice, fiery day!..
Oh, how crimson its rays are,
How they burn my eyes!..

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

O night, night, where are your covers,
Your quiet darkness and dew!..

The image of the day-veil, which was present in many “night” poems, is replaced here by the image of the night-veil. The night cover brings peace to the tormented soul, to a person who feels like a “remnant of old generations”, “outlived his time”. The poet understands that the change of day and night is inevitable, that the old, “yesterday” is already being replaced by the new, awakened from the “blessed sleep.” That is why he courageously admits to the impossibility of keeping up with his age:

How sad a half-asleep shadow is,
With exhaustion in the bones,
Towards the sun and movement
To wander after a new tribe!..

Tyutchev’s inner anxiety and loneliness result in a rejection of the day, which brings confusion and a feeling of duality 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 existence. The poet says:

But I'm not afraid of the darkness of the night,
I don’t feel sorry for the diminishing day, -
Only you, my magical ghost,
Just don't leave me!..
Dress me with your wing,
Calm the worries of your heart,
And the shadow will be blessed
For the enchanted soul.
(“The day is getting dark…”)

Tyutchev’s “enchanted soul,” thirsting for peace and consolation, nevertheless persistently struggles with the riddle: is it possible to transcend, is it possible for a person to merge “with the infinite”? In the poem “Glimmer,” 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 “magical dream”, which is called life:

With barely a minute's effort
Let's interrupt the magical dream for an hour
And with a trembling and vague gaze,
Having risen, we will look around the sky, -
And with a burdened head,
Blinded by one ray,
Again we fall not to peace,
But in tedious dreams.

The night brings even greater discord into the troubled soul. A person, confused by the irresponsibility of life, not fully understanding himself, already doubts his own reality: is he a “dream of nature,” her fantasy, a dream? This self-awareness of Man on earth, incomprehensible to himself, not explainable in words and even more like a dream, Tyutchev will again and again try to express with his poetic images. Thus, in the poem “As the ocean embraces the globe...” 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 above and below - the abyss “blazes”... The immeasurable abyss surrounding him does not leave him reliable support. He has no stability and peace, 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 magical boat came to life;
The tide is rising and sweeping us away quickly
Into the immeasurability of dark waves.

And the man sails in his boat across the boundless night ocean, lonely, confused, with pain and anxiety in his soul. Waves are raging around him, “in the endless, free expanse, shine and movement, roar and thunder,”

The waves rush, thundering and sparkling,
Sensitive stars look from above.
In this excitement, in this radiance,
All as if in a dream, I stand lost -
Oh, how willingly I would be in their charm
I would drown my entire soul...
(“How good are you, O night sea...”)

Tyutchev's man is alone 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 and loses his integrity. Chaos penetrates into his soul, thoughts, and there is no peace for this troubled soul... And yet everything said here does not at all mean the destruction, the disappearance of man in Tyutchev’s philosophical lyrics. On the contrary: he is affirmed in the face of all these “abyss” and unanswered questions by the very fact of his existence, by his ineradicable thirst for knowledge; he is realized in emotional outbursts and “breakthroughs” to the world of mother nature, in a series of his questions and appeals to the world, in understanding his divided tragic worldview.
An abyss of misunderstanding, uncertainty and unpredictability surround a person. And that's why

The soul would like to be a star,
But not when from the midnight sky
These lights are like living eyes,
They look at the sleepy earthly world, -
But during the day, when, hidden like smoke,
scorching sun rays,
They, like deities, burn brighter
In the ether, pure and invisible.
(“The soul would like to be a star”)

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

...We soon get tired in the sky, -
And no insignificant dust is given
Breathe divine fire.
("Glimpse")

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 gives the answer to this question in his programmatic poem “Silentium!” ("Silence!"):

Be silent, hide and hide
And your feelings and dreams -
Let it be in the depths of your soul
They get up and go in
Silently, like stars in the night, -
Admire them and be silent...
Just know how to live within yourself -
There is a whole world in your soul
Mysteriously magical thoughts;
They will be deafened by the outside noise,
The rays of day 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 person, but a poet - the “night poet” Tyutchev.

The language of “night poetry”

“...The language of Mr. Tyutchev often amazes the reader with the happy courage and almost Pushkin-like beauty of its turns” (Chagin G.V. Ibid.; p. 154), wrote I.S. Turgenev. Tyutchev is a poet of minor form. Turgenev notes the close cohesion of the compressed form and concentrated content of his poems: “The exceptional, almost instantaneous lyrical mood of Mr. Tyutchev’s poetry forces him to express himself concisely and briefly, as if to surround himself with a bashfully cramped and graceful line; the poet needs to express one thought, one feeling, fused together, and for the most part he expresses them in a single way, precisely because he needs to speak out...” (Chagin G.V. Ibid.; p. 154).
HELL. Grigorieva writes: “What linguistic means does the poet fill this small form with, what creates this “complex lexical coloring”, what linguistic material is used for this, how is it grouped in the text, what is its relationship to the linguistic poetic tradition and the basis of what new poetics we can found in his works - these are the questions that many researchers of Tyutchev’s poetry asked themselves” (Grigorieva A.D. The Word in Tyutchev’s Poetry. - M., 1980; p. 8). She notes that “Fet’s assessment of Tyutchev’s speech is extremely interesting.” “Every living thing consists of opposites,” wrote A.A. Fet in the article “On the poems of F.I. Tyutchev,” the moment of their harmonious 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). Anyone who is not able to throw himself headfirst from the seventh floor, with an unshakable belief that he will soar through the air, is not a lyricist. But next to such audacity, a sense of proportion must burn unquenchably in the poet’s soul. No matter how enormous the lyrical courage is, I will say more, the daring courage of Mr. Tyutchev is no less strong in him and his sense of proportion. No matter how much our poet’s bold, unexpected epithet or lively metaphor immediately strikes us, do not believe the first impression and know in advance that these are the bright colors of living 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 of artistry is clarity; but clarity and clarity are different. It is not because Mr. Tyutchev is a mighty poet that he plays with abstractions, as another plays with images, but because in his subject he also captures the side of beauty, just as another captures it in more visual objects” (Grigorieva A.D. Ibid.; p. . 8).
Researchers see in Tyutchev’s lyrics 1) features of the tradition of high lyricism of the 18th – early 19th centuries. (odic tradition) - the use of a number of rhetorical techniques, archaic vocabulary, periphrases, etc.; 2) the emergence of a new attitude towards the word, entailing a deepening of its semantics, expansion and enrichment of associative lines coming from the word and from the text. “Tyutchev’s poetry,” writes D.D. Blagoy, - the didacticism, declamatory and oratorical pathos of the classical ode, so characteristic of classical poetics, is highly characteristic, but, in accordance with the general direction of his work, - the teachings, exclamations, appeals and appeals of his poems are most often of a subjective-lyrical 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 is often combined 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 poet’s special attitude to the word, in the special way of organizing lexical material in verse. Tyutchev’s “Night Poetry” can rightfully be called individually unique. Each poem in this cycle carries the poet’s deep thought, expressed through artistic means that are distinguished by their originality, expressiveness, fullness and amazing brightness.
All artistic means available to Tyutchev were invariably subordinated to the task of the most complete disclosure of the lyrical content. One of these means was euphonic expressiveness. “In terms of their sound richness,” writes K. Pigarev, “the poems of the mature Tyutchev can withstand comparison with the poems 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 the howling of the night wind (“What are you howling about, night wind?..”), or the thickening drowsy twilight (“The gray shadows have shifted...”), then the “monotonous chime of the clock” (“Insomnia”) brings to our ears. The poet achieves this through alliteration and assonance.
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, exploding, strange, terrible, boundless). This combination creates a feeling of storm, violent gusts, roar and noise. Alternating with them are the sounds “sh”, “ch”, “z”, “s”, “zh” and sound combinations with them (howling, lamenting, digging, exploding, night, frantic, mortal, asleep, plaintive, greedy, 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.
“We find excellent examples of assonance,” writes K. Pigarev, “in the poem “Insomnia.” Its first stanza is built on the assonances “o” and “a”:

Hours of monotonous battle,
A languid tale of the night!
The language is still foreign to everyone
And understandable to everyone, like conscience!

Here, in stressed syllables, the sound “o” prevails over “a”. in the second stanza the sounds “and” and “a” are associated:

Who among us listened without longing,
In the midst of worldwide silence,
Muffled 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, a sad rite
Coming to the midnight hour,
Metal funeral voice
Sometimes he mourns us!

The expressiveness of the assonances “a” and “o”, echoing the first stanza, is enhanced by the alliteration of smooth “r” and “l”. As a result, the poet’s poems bring to our ears “the monotonous chiming of the clock” (Pigarev K. Ibid.; p. 296).
Tyutchev’s “night poetry” is characterized by the use of high vocabulary, words of the Church Slavonic language. The entry of these “high” words is determined by the topic or does not contradict it. For example: voice (“Insomnia”, “Like the ocean envelops the globe...”); wind (“What are you howling about, night wind?..); chapter (“Like a bird, the early dawn…”, “Glimmer”); Vlasy (“Like a bird, the early dawn…”); ripen (behold) (“Dream at sea”); thirst (“What are you howling about, night wind?..”); earth-born (“Day and Night”); dear (“Holy night has risen on the horizon...”) 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. Thus, “in the poem “Insomnia,” writes A.D. Grigoriev, - where the theme of Fate-Fate-Time is presented very solemnly, this solemnity is created not only by the words lamentation (of time), the voice (prophetic-farewell), it seems, the young tribe, to perform a sad rite, but also the whole orientation when depicting Time-Fate to the previous tradition. Such combinations as universal silence, prophetic farewell, at the edge of the earth (cf. Derzhavin: “We are sliding into the abyss on the edge, into which we will fall headlong”), such poetism as a new young tribe has blossomed and been swept into oblivion (cf. Pushkin: And overgrown with the grass of oblivion. “Ruslan and Lyudmila”) - all this refers to the previous traditional solution to this topic” (Grigorieva A.D. Ibid.; p. 204).
In Tyutchev’s “night poetry” poetic vocabulary is widely represented. Along with such poeticisms as eyes (“The soul would like to be a star...”); gaze (“Glimmer”); shuttle (“Dream at sea”, “How the ocean embraces the globe...”); young (“Insomnia”), there are poetic synonyms for direct names of phenomena: universal silence - silence, sleep (“Vision”, “Insomnia”); the living chariot of the universe - the earth with its inhabitants (“Vision”); the burning abyss - the sky (“Like an ocean envelops the globe...”). “Night Poetry” is full of comparisons that in traditional romantic poetry created the impression of greatness, grandiosity, solemnity: the night thickens like chaos on the waters - biblicalism, unconsciousness, like Atlas, crushes the land (“Vision”), etc. The impression of grandeur is created by words denoting “high” realities: chariot, sanctuary, heaven, land, Atlas, chaos, prophetic dreams (“Vision”); a fatal world, a fatal legacy (“Day and Night”, “The Holy Night has risen on the horizon...”), etc. The very list of these words already sets one up for solemnity.
Epithets-adjectives in “night poetry” are carriers of the author’s emotion. Their abundance in the text is aimed at conveying the meaning arising from the logic of development of the entire text.
Through epithets and metaphors, Tyutchev creates a contradictory, bright, emotional image of the night. Thus, Tyutchev’s night is an hour of apparitions and miracles (“Vision”), an hour of inexpressible melancholy (“The gray shadows have shifted…”), a kingdom of shadows (“The cheerful day was still roaring…”), it is gloomy (“Sand is pouring down to the knees… "), blue ("How sweetly the dark green garden slumbers..."), quiet ("Quiet night, late summer..."), holy ("Holy night has risen into the sky..."), azure ("Rome at night", "You , my sea wave..."). The night thickens like chaos on the waters (“Vision”), looks like a stoic beast (“Quicksand sand up to the knees…”), tears off the cloth of the blessed cover, throws it away (“Day and Night”), twists the golden cover (“Holy night has risen on the sky..."). The image of the night is complemented and highlighted by night images. The image of the sky is the vault of heaven, the blazing abyss (“How the ocean embraces the globe of the earth...”), bottomless (“How sweetly the dark green garden slumbers...”), gloomy (“The night sky is so gloomy...”). The emotional perception of this image is strengthened by verbal metaphors: the sky flows through the veins (“Glimpse”), the vault of heaven… looks mysteriously from the depths (“Like the ocean embraces the globe…”), 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 slumber (“The merry day was still roaring…”), the month is like a skinny cloud, it almost fainted in the sky, a sacred god who shines over the sleepy grove (“ You saw it in the circle of great light...”), a luminous month that barely dawns (“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 host of stars is burning (“How sweetly the dark green garden slumbers...”), these luminaries, like living eyes, look at the sleepy earthly world; 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 are you, O night sea…”); with images of night darkness, twilight, shadows, darkness: the gray shadows have shifted, the unsteady twilight, the quiet dusk, the sleepy twilight...quiet, languid, fragrant...flow into the depths of my soul, overflowing with the darkness of self-forgetfulness (“The gray shadows have shifted...”), everything fell silent in a sensitive darkness (“The night sky is so gloomy...”); with the image of the night sea: here it is radiant, there it is bluish-dark... as if it were alive, it walks and breathes, and it shines, a great chill, a chill of the sea (“How good are you, O night sea...”), fire-breathing and stormy... the serpent of the sea ( “Along the plain of azure waters...). The image of a dream runs through all the “night poetry”. These are prophetic dreams (“Vision”), this is a painfully bright, magically silent dream that blew easily over the thundering darkness (“Dream on the Sea”), and a sluggish, joyless dream (“The night sky is so gloomy...”).
Each poem of the night cycle expresses a specific feeling, colored by the author's emotions. Thus, the poem “The gray shadows have shifted” expresses a feeling of physical merging with night nature and the passionate desire of the lyrical hero to find spiritual oblivion. The poet represents night in its most typical external signs - the absence of light, color and sound, the freezing of all manifestations of life and movement. Darkness erases all edges, all differences between objects, turning the world in the perception of the lyrical hero for the most part into an unsteady twilight. This indistinction of details determines the feeling of 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 is in me and I am in everything) does not yet mean a similar merging and dissolution into peace for the spiritual world, filled with “inexpressible melancholy.” This peace of mind is what the lyrical hero craves.
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, perception due to 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 general and typical from the point of view of the perceiving person. Here is the denial of light - color, the result of which is the complete merging of objects into one continuous darkness, the denial of movement, due to the inability to see it - only an unsteady twilight - fading or weakening of sound - the sound has fallen asleep or a distant hum. This fading of sounds and colors intensifies such sounds and smells that are lost during the day in the abundance of sharper and more noticeable similar phenomena.
The affirmation of darkness (night) through the erasure of all color and sound manifestations of the world is reinforced by the poet by naming these phenomena: he speaks of color, sound, life, movement in order to deny their presence (Color faded, sound fell asleep - Life, Movement resolved into darkness unsteady, into a distant rumble... invisible flight). The selection of general designations for phenomena (color, sound, life, movement, hum) confirms the impossibility of distinguishing their specific, particular manifestations... The erasure of color is emphasized by the color scheme represented by verbs and adjectives: the gray shadows have shifted, the color has faded, the dusk is unsteady. Erasing the 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 hum.
Appeal to darkness, as a substance opposed to man, leads to the communication to him of signs that are logically characteristic of man or his associative ideas. Therefore, the complex of words grammatically directly related to dusk is expanded by the words of the complex “man” and “water”: sleepy dusk, languid, dozing; pour, overflow, 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: quiet twilight, sleepy, quiet, quiet, dozing, languid (synonym sleepy). The semantics of sleep - peace - 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, sleep of the spiritual world).”
The image of the night in the poems of the night cycle is contrasted with the image of the day. The poet likens the day to a cover thrown over the abyss (“Day and Night”, “The Holy Night has risen on the horizon...”). The veil day is endowed with epithets: golden-woven, brilliant (“Day and Night”), joyful, amiable, golden (“The Holy Night has risen on the horizon...”). Tyutchev focuses on the internal contradiction of both the day - reviving, healing a person, but hiding the secrets of the world from him - and the night - terrible, but revealing these secrets to a person.
In Tyutchev’s visual means there were elements of dialectical knowledge of the world that he recognized, but were unusual for the poet’s contemporaries. With the help of these means, he showed dependence, the interpenetration of the physical and mental, material and spiritual.

Symbolism of “night poetry”

HELL. Grigorieva writes: “The multi-meaningfulness of Tyutchev’s lyrics, symbolism and allegory, often behind the foreground of lyrical expression, served as 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” (Grigoryeva A.D. Ibid.; p. 6).
Tyutchev’s night cycle of 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 oscillating signs and constructs images that are not amenable to the only correct interpretation, writes L. Ginzburg. “Tyutchev belongs to a group of poets who work with polysemantic and inventive words” (Grigorieva A.D. Ibid.; p. 11).
The main symbols of “night poetry” are word-images of day and night. The day is a symbol of life, it is life and the life of the soul. The day is bright, lively, and therefore the day is joyful, kind (“Holy night has risen on the horizon...”). Day - revival of earthly souls, healing of aching souls (“Day and Night”). Night is the antithesis of light-day, the archetypal embodiment of darkness. Tyutchev’s interpretation of the image of the night has features of antiquity. Antiquity perceived night as an ambivalent symbol. On the one hand, the night is “terrible”; it gives rise to death, discord, deception, and old age. Thus, 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 “Holy Night Has Ascended the Sky...” Tyutchev speaks of the night as “alien, unsolved,” and therefore terrible.
On the other hand, from the night comes day, that is, light, justice, fertility and immortality. That is, night means both death and abundance; it contains the anticipation of the day, the promise of daylight. The ambivalence of the night is clearly expressed in Tyutchev's poetry. Silent night, holy night, azure night and, on the other hand, a terrible night, a gloomy night.
As an archetype of darkness, night is associated with fear of the unknown, evil, despair, and death. Thus, in the poem “The day is getting dark, the night is coming...” the words day is getting dark and the day is getting dark, framing the first stanza, are symbolic: day is life, evening is old age. In this case, the phrase the night is close reveals the symbolic meaning of the word night: evening - old age ends in death - at night. HELL. Grigorieva notes that “in poetry, the likening in poetry of the duration of human life to a day, and its individual periods to morning (dawn), noon and evening (sunset, dawn of evening) is well known. Night in this correlative series is a phenomenon opposed to day - life - it is death, non-existence” (Grigorieva A.D. Ibid.; p. 214).
Thus, the images of day and night created by Tyutchev become parallel and a symbol of the poet’s mental states. They are colored by his experiences and feelings. These are images that symbolize human existence, the uniqueness of his perception of life. Thus, in the poems “Insomnia” and “Like a bird, at the early dawn...” the images of day and night are symbols of both human life and the old and the new, the outdated and the emerging. Here Tyutchev turns to traditional symbolism: life is day, death is night. “Detritus of old generations”, “half-asleep 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, a past that has “long since been forgotten.” The day is a new world, filled with “sun and movement.”
Tyutchev also uses the word day as a symbol of the life of the spirit, the mental activity of man. In this case, the day is contrasted with another symbol - 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 risen on the horizon...”, “Dream at sea”, “Glimmer”, the day is presented as a bright, conscious world of the soul, and sleep is a secret, vague world. Sleep is what is in the poems “Day and Night”, “The merry day was still roaring...”, “How the ocean embraces the globe...”, “What are you howling about, the night wind?...”, “How sweetly the dark garden slumbers “green…” is called the abyss, the kingdom of shadows, chaos. HELL. Grigorieva notes that “by expanding the scope of application of stable poetic symbols (day - life and the life of the soul, sleep - death and the subconscious life of the spirit), Tyutchev determines their understanding by a whole context, although this context does not always allow the reader to select 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 precise nomination by searching for unconventional 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. A 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 star is directly adjacent to the symbol of the sky - something inaccessible, incomprehensible. The sky and stars are contrasted with the image of the earth, which is also a symbol. In the mythological tradition, heaven and earth appeared after the division of the original chaos into above and below, that is, into heaven and earth. For Tyutchev, the earth is a symbol of human physical life, while the sky is a symbol of immortality, “divine fire,” spiritual rebirth, flight, to which a person passionately strives, but “insignificant dust is not allowed to breathe divine fire” (“Glimpse”). Tyutchev's man is constantly between the abysses - between earth and sky. Here lies another symbol: earth and sky in the human soul, their eternal confrontation. The sky in a person’s soul strives to fly, but the earth does not allow the soul to take off. The sea in Tyutchev’s night cycle is also symbolic. It is a symbol of life, a symbol of the vitality of the soul. By placing a person between two abysses - sky and ocean, 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 “suffocating earthly” (“Even though I made a nest in the valley...”). And the man floats, surrounded by a “flaming abyss” (“Like an ocean envelops 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...”).
The symbolism of color and sound is of great importance in “night poetry”. The day is always painted in light colors and the sounds of the day are pure, “blessed” sounds, merging into one “system, hundred-sounding, noisy and indistinct” (“The merry day was still noisy...”). Night colors are dark and have many shades. For Tyutchev, night is not just blackness, impenetrable darkness, darkness. Night is gray shadows, quiet, sleepy, languid, fragrant twilight (“The gray shadows have shifted…”). The night is painted in halftones, which gives a feeling of tragedy, anxiety, and fear. Not black is a symbol of absolute emptiness and absolute darkness, but rather gray, bluish, gloomy undertones. Night sounds are also muffled, blurred, semi-sounds that only slightly reach human hearing. The color and sound of the night symbolize a state of mind close to death. That is why Tyutchev does not use black color - a symbol of complete non-existence, but muted half-tones and half-sounds, reflecting a person’s state of mind.

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 famous among wide readership. But 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 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 that Mr. Tyutchev probably 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 and content of Tyutchev’s poetry were in many ways ahead of, in Aksakov’s apt expression, the “mental development” and “habit of thinking” of the reader, the poet’s contemporary. 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.
“What can we say about the readers,” exclaims G.V. Chagin, - when even the people closest to Fyodor Ivanovich often lost every spiritual thread of his understanding. “He seems to me to be one of those primordial spirits, so subtle, intelligent and fiery, who have nothing in common with matter, but who, however, do not have a soul,” the poet’s eldest daughter, Anna Fedorovna, once wrote down her impressions of him. – He is completely outside of any laws and rules. It amazes the imagination, but there is something creepy and disturbing 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. He gives birth to individual existence, and he also destroys it. For the individual, annihilation is suffering and evil. In the general structure of the world, that is, outside of human life, this is neither good nor evil... Without destruction, life would not exist, just as it would not exist without birth... And when chaos does not take into account human concepts, it is not because he violates them “out of spite,” because he fights them and counters 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 good with the opposite 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 highest law as the beauty of the world, as a “golden cover”, and the joy of life, the fullness of life, the justification of life - in familiarization 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 existence has the most direct, immediate relation to universal, cosmic existence, that I have no right to forget about this and am called upon to measure my life exactly this measure...” (Kozhinov V. Ibid.; p. 475). For Tyutchev there is no division into the individual and the cosmic. His personal existence is completely dissolved in the universal. That is why “night poetry” reflected the rich spiritual world of the poet. His purely individual experiences in all their unique richness, complexity, and sophistication were always correlated with the general state of the modern world, with human history as a whole and with the Universal, cosmic existence (Kozhinov V. Ibid.; p. 487).
“Tyutchev,” writes L. Ozerov, “equally considers as close the “web 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 the glory of the stars.” The infinity and vastness of the world in Tyutchev’s poetry are revealed not emblematically, but realistically; they are absorbed into the poet’s mental life, like events in his personal life. This property of Tyutchev was noticed and picked up by poetry after him, although none of the poets up to the present day in this sense managed to rise to his, Tyutchev’s, artistic heights. The space theme was not only a theme for Tyutchev, but also the pathos of his work, his thoughts. Nowadays, his poetry continues to serve as a model for us, living in the era of the great space flights discovered by the flight of Yuri Gagarin...” (Ozerov L. Ibid.; pp. 99 – 100).
L. Ozerov notes the deep connection of Tyutchev’s poetry with Russian psychological prose. Tyutchev's poetry was echoed in Turgenev's poems, in his prose poems, as well as in his short and large prose. Tyutchev played a major role in Dostoevsky's work. Tyutchev's influence on L. Tolstoy's prose was organic, long-lasting, and significant. Speaking once about Tyutchev, L. Tolstoy remarked bitterly: “Everyone, our entire intelligentsia has forgotten him or is trying to forget: he, you see, is outdated... He is too serious, he does not joke with the muse... And everything about him is strict: both content and form "(Pigarev K. Ibid.; p. 355). Tyutchev was rescued from this oblivion by the idealist philosopher and poet Vl. in the mid-nineties of the 19th century. Solovyov, who adopted some of Tyutchev’s artistic traditions in his poetic work and was in this sense one of the predecessors of the Symbolists.
Following Solovyov, the Symbolists turned to Tyutchev. The perception of Tyutchev's legacy by the symbolists was largely external in nature and was limited to variations in individual and far from the main motives of his lyrics and borrowing from him techniques and forms of verbal representation. Internally, 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”.
“Shocked to the core by the drama of existence and non-existence,” 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).

Bibliography:

1. Grigorieva A.D. The word in Tyutchev's poetry. – M.: “Science”, 1980.
2.Kozhinov V.V. Tyutchev. – M.: Young Guard, 1988.
3. Korolev K. Encyclopedia of symbols, signs, emblems. – M.: Eksmo Publishing House; St. Petersburg: Terra Fantastica, 2003.
4. Ozerov L. Tyutchev’s poetry. – M.: “Fiction”, 1975.
5. Pigarev K. Life and work of Tyutchev. – M.: Publishing House of the USSR Academy of Sciences, 1962.
6.Russian literature. XIX century. From Krylov to Chekhov. – St. Petersburg: “Parity”, 2001.
7. Russian poetry of the 19th century. BVL. T. 106. – M.: “Fiction”, 1974.
8.Chagin G.V. Fyodor Ivanovich Tyutchev. – M.: “Enlightenment”, 1990.

“PURE ART” AND K.L. KHETAGUROV

The emergence of the theme of “night” in Russian poetry is connected, according to researcher V.N. Toporov, with the name of the 18th century writer M.N. Muravyov, who first published 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, since “his thought is drawn to pleasant silence.” He rejoices at the night, which brought him “solitude, silence and love.”

The image of the night and the nocturnal thoughts and feelings it stimulates are reflected in many beautiful poems by Russian poets. Although all poets have their own perception of the night, it can be noted that generally the night was for poets the most fertile time of day for their reflection on the meaning of life, their place in it, and the awakening of various memories, especially about loved ones.

The image of the night was also idolized by poets of the 19th century. This is A.S. Pushkin, and S.P. Shevyrev, and F.I. Tyutchev and many others. We do not dwell on their poems, since they are not the subject of our research. Our goal is to consider the image of the night in the poetry of Kosta Khetagurov and Russian poets of “pure art”. And here we remember first of all A.A. Fet.

The image of the night occupies a large place in the poetry of A.A. Fet, the 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, remembered his tragic love with Maria Lazic; thought about the hardships of life, progress, beauty, art, “poverty of words,” etc.

His actions in poetry often take place at night: “zephyr kisses the night violet”, “at night the storm got angry, the roof was covered with snow”, “the stars pray, twinkle and blush, the moon prays, floating on the azure”, “the stars all around seem to have all gathered, without blinking , look into this garden”, “the wind sleeps”, “the moon with quick rays pierced the glass”, “the moon with a deceptive light Silvers both the waves and the leaves”, “The moon timidly looks into the eyes”. All these examples indicate that Fet personifies the night, as well as its companions - the stars and the moon.

Fet loves the night. Even “the silence of the cold night occupies the spirit” of him. The night awakens various desires in him, so he longs for the night to come:

I'm waiting... Nightingale echo

Rushing from the shining river,

Grass under the moon in diamonds

Fireflies burn on caraway seeds.

I'm waiting... Dark blue sky

And in small and large stars,

I can hear the heartbeat

And trembling in the hands and feet

Fet explains his love for the night this way: “at night it’s somehow easier for me to breathe,” “every feeling is clearer to me at night,” “I love standing in my room at night at the window in the dark, if the moon looks directly at me from above...”. Therefore, the reverent attitude towards the night can be understood from the lines where it is endowed with various epithets, creating a polysemantic poetic image:

Fragrant night, blessed night,

The irritation of an ailing soul!

Everyone would listen to you - and I can’t bear to remain silent

In the silence that speaks so clearly.

Animating the night, the poet enthusiastically addresses it:

Hello! A thousand times my greetings to you, night!

Again and again I love you

Quiet, warm,

Silver-edged!

And with what pleasure the reader perceives his poem “Whispers, timid breathing, trills of a nightingale”: “the silver and swaying of the Sleepy Brook” clearly appears before our eyes, and we, as if spellbound, repeat the poet’s lines:

Night light, night shadows,

Endless shadows...

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears

And dawn, dawn!

Fet constantly feels the presence of the night: when he and his beloved run away “from the lights, from the merciless crowd.” And then, when they are alone, “the third azure night with them.” The poet explains this by saying that if you can hide from people, then you can’t hide anything from the companions of the night, the stars.”

In all cycles of Fet's poems dedicated to different seasons - winter, spring, summer, autumn - the image of night occupies a large place, and it is always depicted in colors that are inherent precisely in the period in question.

For example, a winter night “in the moonlight it is cold, quiet, clear”, “the frost is shining”, “the snow is crunching”, there are frosty lights a mile away.” At this moment, Fet is fascinated by the picture that unfolds before him:

Diamonds in the moonlight

Diamonds in the sky

Diamonds on the trees

Diamonds in the snow.

The poet not only admires the beauty of the winter night, but is also concerned about “lest in a whirlwind the night spirit blow the path” laid by his beloved. The winter night, as we see, also captivates the poet. You are convinced of this when reading his famous poem “A Wonderful Picture...”:

Wonderful picture

How dear you are to me:

White plain,

Full moon,

The light of the high heavens,

And shining snow

And distant sleighs

Lonely running.

And for the spring night that “ignites” him, the poet creates a different picture. Here “some kind of unearthly spirit at night owns the garden.” And Fet, enchanted by the May night, joyfully exclaims:

What a night! What bliss there is in everything!

Thank you, dear midnight land!

………………………………………

What a night! Every single star

Warmly and meekly they look into the soul again,

And in the air behind the nightingale's song

Anxiety and love spread.

And the poet’s heart, full of love, on this mysterious spring May night turns to his beloved with a confession:

You, tender! You promised me happiness

On a vain land.

On a summer night, when “the evening is quiet and clear”,” “the sharply dry hypnotic and crackling restless ringing of Grasshoppers,” “the moon timidly looks into the eyes, amazed that the day has not passed, But the Day has spread its arms wide into the region of the night,” Fet advises someone:

In the humble soul understand

Breath of the immaculate night

And until the lights of the eastern dawn

Sleep under the canopy of stars!

But now summer is ending, the days are shortening, and the poet does not want to part with it, he is sad that “bad weather-autumn” is coming, “the heart is getting cold.” And, upset by this, the poet asks:

Where are the golden rays of summer?

Autumn reigns not only in nature, but also in his soul, therefore:

Only gray eyebrows move,

Only the gray curls sway.

The autumn night and the birds that fly to warm countries make the poet sad.That’s why it’s “hard for him to bear the anguish of his soul in the silence of the night”:

And sweet-severe pain

My heart is so happy to ache again,

ANDat night the maple leaf turns red,

That, loving life, you are unable to live.

Fet's image of the night is close in meaning to the image of the night in Polonsky, who was also often overcome by secret nocturnal thoughts.

Analyzing his poem “Night,” critic V. Fridlyand stated that “it is not inferior to the best creations of Tyutchev and Fet. Polonsky in it is like an inspired singer of the night. For him (as well as for Fet) night is a mysterious, intimate time when a person’s soul is accessible to everything beautiful and when it is especially unprotected and anxious, anticipating future adversities.” [ 2]

In the poem “Night,” Polonsky, not understanding why he loves the night, tries to find out the reason for his love from the night itself:

Why do I love you, bright night -

I love you so much that, while suffering, I admire you!

And why I love you, silent night!

You don’t send me peace, you send peace to others!

("Night")

At the end of the poem, the poet, who could not answer himself why he loves the night, admitted:

CaI don’t know why I love you, night -

Perhaps because my peace is far away!

And although Polonsky himself cannot explain why he loves the night, his enthusiastic exclamations in addresses to the night and the wonderful epithets, metaphors and other artistic means he used help us understand why he loves the night - for the stars, “trees in crystals and white silver,” the moon, silver light, the darkness of the hills, the swaying of sleepy leaves, a mysterious noise; the light of its stars and moon, “gliding onto cold granite, turns the dewdrops of a flower into diamonds.” She, the night, is a witness to his secret thoughts, and the music of the night awakens the music of the soul.

Like Fet, Polonsky personifies the night. So, night, “the royal daughter of the south,” he wants to “take as his girlfriend,” who came to him, -

Blight purple of dawn:

On the way, in the spaces of the sky,

Lighting the altars.

This Italian night is dear to him, because she, like no one else, “knew how to heal the wounds of the heart, sing over the sea, and inspire.” The poet speaks about her as a living being:

And she breaks up with me

I didn't want to, I couldn't

Over the mountains, blinking with tears,

It flowed after me.

That same night “stood thoughtfully... over the poet’s steppe fire”, “spent the night with him over the river near the stacks, wafting with the subtle aroma of early mown meadows”, “and begged and moaned”,promised to sing him a “song of paradise” if he returned from his north to the south.

In Polonsky’s perception, autumn “night is like a dark sea”:

And alone, at the bottom of the autumn night,

II lie like a worm at the bottom of the sea.

But he is a worm only for those who tried to humiliate him, did not recognize his poetic talent, but for himself he is “a spirit full of aspirations.” And the winter night, “the cold night looks dimly..., the cloudy ghost of the moon is shining.” Comparing night and day, mind and love, the poet comes to the following conclusion:

The night looks with thousands of eyes,

And the day looks the same.

…………………………

The mind looks with thousands of eyes,

Love looks alone...

Polonsky, as we have already noted, personifies the night and its companions: “the month walks, guarding the peace of the earth,” and also “tells the story.” And “the shadows of the night came and stood at his door.” The poet presented the night so clearly that it seems to him:

Looks boldly straight into my eyes

The deep darkness of her eyes.

And feeling the presence of the night next to him, “Polonsky begs her to coverwith his “thick darkness” from strangers his love:

Slow down, night! thick darkness

Cover the magical world of love!

He also passionately asks for time and the sun to allow the moments of love to last:

You, time, with a decrepit hand

Stop your watch!

……………………………

Oh, sun, sun! Wait a minute!

Polonsky is so intoxicated by the night and the magical light of the moon that he can hear when the night is passing. He rejoices at the night, because at this time:

Everything that sleeps deeply in the soul,

At this moment it was illuminated.

In the heights of the night, in a host of stars, he tries to find one cherished star, but does not find it: “it is clear that its ray has gone out in a vain struggle with the fogs, whose stormy path stretches across the sky like a black ridge.”

Polonsky also sang of the Georgian night, the breath of which he revels under the cool canopy of the cozy sakla of the village headman (national):

I lie on a soft carpet under a shaggy cloak,

I don’t hear the barking of dogs or the cry of a donkey,

Not a wild song under the plaintive chatter of the Chinguri.

But suddenly he hears other sounds, “another harmony,” which delights him, and he joyfully shouts:

And, oh my! What a resonance! Chu! some kind of bird

A nocturnal swamp bird sings in the distance...

Sobbing sound - forever the same and the same

INsize repeated note - sad and quiet

It sounds. “Isn’t she the one who doesn’t let me sleep?” Isn't she

Sadness sang into my soul!

He continues to develop the theme of the Caucasian night in the poem “Don’t Wait”:

The glow of dawn has barely faded,

All night long the zurna sounds behind Avlabar,

Sazandari sing all night outside the baths.

Here the warm light of the moon gilded the balconies,

There the shadows deepened into the grape garden,

Here the poplars stand like dark columns,

And there, in the distance, cheerful bonfires are burning.

At these moments, -

When the soul itself - the soul itself does not know,

What love, what other miracles

To ask or to desire - but asks - but regrets -

But he prays before the image of heaven...

Polonsky, like Fet, personifies not only the night, but the stars and the moon: “the clear stars cast down their gaze, the stars listen to the night conversation” (verse “Agbar”). And in the poem “Caravan”, he, enchanted by the night, joyfully exclaims: “What a night - not night, but paradise!” Here “the night stars throw sparks”, “the silence of the night creeps to eavesdrop on the night stars”, “the stars talk in the night sky”, the shadows of the night, “surging in a dark crowd”, flew towards him.

Whatever epithets Polonsky gives to the night: white, dark, gloomy, lonely, radiant, cold, dumb, etc.

And thinking about the hour of death “about the gray day” that is approaching, the poet desperately calls on him in the poem “Evening Bells”:

Waiting.. Come holy shadow!

I'm tonights with a more gullible heart,

II'll believe somehow

What can I do, extinguishing my evening light,

Will point me to the star path.

And hearing the blessed evening ringing of the bell, the poet asks him:

Prophesy to me inspiration by night

Or the grave and peace.

And at the end of the poem, Polonsky philosophically predicts:

But life and death are a ghost to the world

They talk about something eternal -

And no matter how bitterly you sing - the lyre

The bells will ring back.

Without them, in the dust of forgotten ruins,

The geniuses of centuries will disappear...

It will be a hell of unsatiated beasts,

Or the Eden of the demigods...

For Sluchevsky, night is also a desired time, the time of blossoming of love and testing of passion:

Unwhispered speeches

Freezing of greedy hands,

Cold shoulders...

And the clock knocks heavily.

(“Night. Dark...”)

His night is also beneficial for awakening memories:

Yes, on a summer night, when dawn breaks

They come into contact, meeting one another,

With particular clarity in my memory

The past of long-lived days rises...

("Dawn all night")

And mentally, turning over at these moments the pages of the past “from childhood to manhood,” he recalls that in life he saw good and bad:

INshe had everything: mistakes and falls,

And the children of passions, and the charm of sleep,

ANDbitter tears of sick inspiration,

And victims, victims... On their graves

Is it possible to reconcile? But it hurts to measure yourself,

And I feel sorry for myself, and I feel sorry for my former strength...

("Dawn all night")

And when night falls on the city, when the noise has died down all around “and darkness lies all around the garden,” the poet is “happy as mad,” joyfully calling to his beloved:

Hurry up, little dove! You're losing

("Come")

And together with him, nature also experiences a feeling of joy, she rejoices with him:

A full month, as if enchanted,

Trembling high and joyfully.

(“Come!”)

The poet swears to his beloved of eternal love and fidelity, but she remains silent and turns pale.

Sluchevsky’s heart, protecting the peace of his beloved, is full of tenderness: he asks her, who woke up early, to close her eyes and return to her unfinished dreams, since

Night, the giant newcomer, spread over the earth;

In the field there is darkness and darkness through the forests.

(“Early, early! Close your eyes again”)

At the same time, he promises her that when morning comes he will wake her up:

I'll wake you up, I'll wake you up...

At these moments, the poet is overwhelmed with love and passion, this explains the psychological pause indicated by the ellipsis.

In Sluchevsky, night is often present in the poem with its companions - the moon and stars.

For example, in the poem “On the Steep Sides of the Black Sea,” where the onset of night is indicated by the appearance of the moon: “the moon is shining, fully illuminated,” and then we see the night itself:

Oh, and the forest is great and calm!

Oh, and the night is deep blue!

Yes, and I am in a serene mood...

The fact that the poet is “serenely disposed...” can be understood from the ten exclamation marks he used in this poem.

It was the night and the moon that awakened in Sluchevsky the feeling that he and his horse were riding after a girl who,

...hiding behind a veil,

He's waiting... he's looking through his eyes...

But then the poet realized that his dreams were not real, that he only wished for all this; and he interrupted his dreams:

...No! We are delirious

And no one is waiting for you and me, -

Sluchevsky addresses the horse.

The silence of the horse, whom he had just asked to imagine that they were going with him to the girl, forces him to return to reality:

The horse doesn't say a kind word to me!

It's a fairy tale for the horse to talk!

And the poet asks in bewilderment:

But why the black side?

Has the month been illuminated with such brilliance?

And in the poem “It’s a little dark, the girl sings” Sluchevsky suggests that the girl’s song probably reaches the heavens, and therefore the companions of the night, “the stars, look a little, dance...”.

The poet, as we have already noted, personifies the night, the moon, and the stars:

Overgrown. It's been a month.

There is peace above the left.

Even Sluchevsky’s night dreams are personified:

Night dreams are also here,

They gather and scurry about

In cities, along bushes,

On the wings of owls and owls.

(“Across the rubble near the huts”)

Night is the poet’s favorite time, which is why his lyrical hero blissfully declares:

Have a wonderful night... The air is bright...

How quiet it is! I'll fall asleep, love

The whole God's world... But the loops shouted!

Or have I denied myself? –

The ellipses and psychological pauses in this quatrain indicate that the heropronounces these lines, blissfully falling asleep, plunging into sleep.

Enchanted by the night, Sluchevsky joyfully exclaims:

What a night! I went into the house

The whole forest is illuminated with rays

And, like forged gold,

Blackened by the shadows of the night.

Through the thatched roof

I feel like I'm a flower

With his midnight languor,

Happy moonlight at your feet!

(“What a night! I went into the hut...”)

But Sluchevsky does not like every night, not every night makes him happy. And then insteadT Some romantic epithets such as “divine”, “starry”, “wonderful”, “blue”, etc., the night is endowed with other epithets:

What a murderous, evil night!

The wind is raging, hail is knocking on the windows;

And such darkness came around,

That the lantern in it barely, barely shines.

(“What a night, murderous, evil!”)

And on this stormy night the poet reassures himself that there is another night:

And the night is sometimes rich in beauty!

Yes, somewhere there is no darkness at all,

There is the shine of the moon, there is the beauty of the sunset

And full speed ahead for all your dream aspirations.

Since this “killing” night prevents him from indulging in his dreams, he is ready to destroy the “evil spell” that brought this bad weather. He is confident that he can do it:

Believe me, I can drive her away:

The strings are ready, my guitar is waiting,

I'll start singing about the stars, about the moon, -

which, according to Sluchevsky, listening to his song, will emerge. And then, despite the hail, whirlwind, darkness, his clear song will awaken the spring nightingale, which will echo him with its song, illuminating everything around.

And the cold winter night plunged the poet into memories of long-ago years, which surfaced in him near the house where his beloved once lived. And now older, Sluchevsky convinces himself that at any age a person has the right to memories:

I am old! But am I dreaming

About how we met here,

I can’t clean it up with flowers myself

Is this snow here in the dead of winter?

The poet is confident that the memories that have come to life in him will brighten up his old age, the “dead winter.” And he, forgetting about age, driving away thoughts of old age, rises up and shouts:

Oh no! The dream is full of excess

Memories of past feelings...

……………………………………

June night chirping...

And the splash of the waves off the coast...

And there is no winter... and no snow!

(“You lived here”)

The poet’s emotional excitement is conveyed using a series of ellipses and exclamation marks. He seems to be looking for the right word that would convey to the reader the fullness of the feelings that surged over him from the memories.

For Sluchevsky, nights of love are “crazy nights” (verse “A pair of bays...”). And even the songs of the “midnight hours” in the night of love seem “unreasonable” to him, like the lovers themselves, “with trembling, with the trembling of sick voices!” And then the poet explains why he loves “crazy songs”:

Secret meetings and noisy orgies,

Sadness... failure... missing days...

We love you, we love you, crazy songs:

Your madness is akin to ours!

Sluchevsky loves the night because at this time “dreams haunt” him and in it “songs are born by the power of witchcraft.” But then:

The connection between me and them is burning,

I'm becoming a stranger to them all

And before your creatures

I stand with my head bowed...

If the “starry”, “blue”, “wonderful night” (verse “On the Wave”) makes him happy, then another,“a terrible night”, which “God sends to punish unworthy and proud sons”, in which “the spirit of man grieves, languishes, in the chain of unspeakable, painful dreams”, then this the cruel night that “turns over the soul” of the poet is hateful to him. That’s why he longs for it to end soon, so that “the shadows will dissipate, the darkness of the night will disappear.”

Another supporter of “pure art,” K.M. Fofanov, also has a number of poems where the reader encounters the image of the night. Thus, in the poem “I am wandering home tired at midnight in spring,” the poet immerses us in the world of night silence of a sleeping huge city. Nothing escapes the poet’s gaze and ear during these hours:

Beyond the sleeping river, in the pale purple distance,

It gets dark and the gardens and buildings form a tight circle.

Here the late droshky rattled in silence,

And again there was silence all around.

The poem accurately reflects the mood of the poet, immersed in his sorrowful thoughts of life, who in the silence of the night “sometimes imagines” -

That drunken orgy is unbridled screams,

Those are the sighs of sick poverty.

Fofanov conveys in detail what happened in nature at night:

The pink west is cooling down,

The night is wet with rain.

It smells like birch bud,

Wet crushed stone and sand.

A thunderstorm swept over the grove,

Fog rose from the plains.

And the skinny leaves tremble

The darkness of the frightened peaks.

In the poem “After the Storm,” from which these lines are quoted, the night is animated:

The spring midnight sleeps and wanders,

Breathing timid cold.

In Fofanov’s perception, a spring night after a storm is as sinless as a soul in love.

The poem “The nightingale sang, the flowers fragrant” is also about a spring night, about the night of love of a young man who, “having entered life as through a fatal door, ... flew with an inspired dream towards her, only towards her, “both before and now.” And everything around him was at one with him, echoing his love:

And the world is before him as a mysterious ruler

Lying at my feet, shining from all sides,

Full of faceless midnight

And filled with sweet spring.

Psychologically, Fofanov conveys the state of his lyrical hero, the longing of his soul in love, the desire to meet her as soon as possible and caress her:

He was waiting for her, in his sorrowful separation,

All the happiness, all the trepidation and dreams...

And this night, like an effeminate sphinx,

It darkened his gaze and burned his lips.

The lyrical hero longs for love so passionately that he began to liken the night to the “effeminate sphinx,” a mysterious woman who came to “dark his gaze and burn his lips.”

In the poem “Clear Stars, Beautiful Stars,” the satellites of the night, the stars, are already animated. They “whispered wonderful tales to the flowers,” and the poet’s own soul in love was filled with starry tales from the earth itself:

And now, these days are difficult,

On these dark and stormy nights,

I give it to you, beautiful stars,

Your tales are thoughtfully wonderful! –

the poet declares joyfully.

The poet likens his joyless life to the autumn night “with its sad beauty, with its dreamy, painful face:

But my life is dark and my thoughts are desolate,

Like a fallen garden, my soul is empty,

And the wind moves in it swiftly and greedily

And the tops of the linden trees bend, breathing fitfully.

And wandering in his orphaned garden, where autumn and fog reign, he, admiring the night sky, exclaims:

Oh, if only life would bloom like this distant reflection!

The faded dawn in the blue sky!

(“This night is wonderful...”)

Then, Fofanov believes, inspiration would come to him, and he would “open the world, a world of colors and wonders.”

And when “the desired, fragrant sorceress came - spring,” the poet’s perception of the night was already different: he seemed to have forgotten about his sorrows: he rejoices at the awakening of nature, draws a picture spread out before him, giving the reader the opportunity to understand that Fofanov’s state of soul has merged with what is happening in nature:

And the stars sparkle with their eyes

Flashing in the sky in choirs,

Over blue lakes

Like the tears of a deity.

Awakening everywhere

Love and inspiration

Thoughtful singing

There is glitter and noise everywhere.

(“The shady forests are noisy”)

But then the winter moonlit night came. The poet’s heart, of course, “is not averse to dreaming,” but since his “sad soul,” he cannot dream and sadly confesses:

Spring has bloomed in my heart:

There, as in the desert, it is silent;

Past happiness - the moon

Looks dead and unclear...

("Moonlit Silent Night")

In the poem “At Night”, yearning for lost happiness. Fofanov does not sleep, his “eyes glow without tears.” Although he sees that the night is leaving and the “radiant smile of a jubilant day” is approaching, his heart feels that the cold night will not leave him:

The shine of the fragrant day will not frighten her away,

And the golden round dance of enchanting dreams

For hopes and love will not wake me up, -

states the poet.

Fofanov animates the night in many other poems: “the autumn night, like a sinner, weeps” (verse “Old Clock”), “the darkness of the night “wove unsociable dreams” (“Dreams of Loneliness”), “the night is sad and seems to be toil” (“ In the park"), "the night trembles in the shadow of dozing birches" ("At Night") and others.

Comparing the characteristics of the image of the night in the named Russian poets and in K.L. Khetagurov. one can notice that with national originality he depicted the features of the mountain nights that were well known to him, which are “painful and long.” The winter nights are the most unpleasant for him. “The Heart of a Poor Man”), when “snow fell as tall as a man, and the evil cold from the pass had already paved the river beds.” But even such a night is more to his liking for his lyrical hero, a poor mountaineer, since even in his sleep, seeing joyful dreams, he forgets about his hard life.

The night, having plunged into sleep the five children of a poor widow living in a sakla high in the mountains, helps them forget about the terrible hunger, whom the mother is forced to deceive that she is cooking beans for them, although in fact she is boiling stones in a cauldron (verse “Mother”) .

On a stormy winter night, Khetagurov’s own heart is torn apart from the fact that he cannot help the grief of his sister, who is being bullied by her unloved husband, “an unbridled, rude husband” who has broken all her hopes and dreams (verse “To my sister”).

Tired of life's hardships, Khetagurov likens his life, like Fofanov, to a gloomy autumn night (verse: “The thought has dried up, the eyes are dimming”).

He also compares the life of the poor with the night, to whom he prophesies that their hard life will soon end:

The night is coming to an end -

he assures in the poem “Don’t reproach me.”

Like an autumn night, like a nightmare, like an illness,

Days after days crawled without any clearing, -

It was as if everything had died out - I couldn’t see around

No smile, no tears, no hello.

(“At the decisive moment”)

Painful feelings haunt the poet even during the nights of “Holy Week,” because -

On these dark days, on these mournful nights

Filled again with unaccountable melancholy

Sore chest and tired eyes

They sparkle again with a burning, involuntary tear.

On sleepless nights, the poet is tormented by the fact that he cannot help the “hopeless grief of the people,” the end of whose difficult life is still so far away. In despair he exclaims:

What a long dark night!

How far it is still until sunrise!

(“Zigzags of thoughts into insomnia”)

Only in the only poem “Etude” do we see an image of the night that pleases the poet. How enthusiastically Khetagurov described this “fragrant night”, full of “dreams and bliss.” The vocabulary of high style reigns here, which has supplanted from the poet’s heart the previous characteristics of the night, represented by the epithets: “hopeless,” “inclement,” “gloomy.”

As we see, although sometimes poets have different perceptions of the night, for them this is the mostdesired time of day. Night gives them the opportunity to calmly comprehend life problems, indulge in dreams and memories. She is also a source for them inspiration. And such poets as Fet, Polonsky, Sluchevsky, Fofanov personify the night.

Literature

1. Toporov V.N. From the history of Russian literature. T.2. Russian literature of the second half of the 18th century. Research, materials, publications. M.N. Muravyov: Introduction to the creative heritage. Book 2. – M., 2003. P.89.

2. Fridlyand V.Ya. Polonsky//Ya.P.Polonsky. Poems and poems. – M., 1986. P.13.

Introduction

“The Theme of Night in the Poetry of F. I. Tyutchev” is relevant already because it is an integral part of the work of the poet, who is a prominent representative of Russian literature of the 19th century.

The object of the study is the lyrics of F.I. Tyutchev, dedicated to the theme of night. The subject of the study is the image of the night in the poetry of F. I. Tyutchev.

The purpose of the study is to reveal Tyutchev’s understanding of the image of the night, to find out what place the theme of night occupies in the poet’s work.

Research objectives:

1) determine the development of the theme of night in Russian poetry;

2) identify the image of the night in the poetic representation of F. I. Tyutchev;

3) establish the features of the theme of night in the works of F. I. Tyutchev.

The structure of the work is determined by the tasks set: from defining the theme of the night in Russian poetry to the unique perception of this theme by F. I. Tyutchev. Poetry is music that excites the soul, filling it with boundless love for everything: for man, for nature, for the Motherland, for animals... The language of poetry itself attunes to a deep understanding and inner comprehension of what is happening around. Poetry penetrates into the most secret corners of the soul. This work will examine the work of F.I. Tyutchev. Particular attention will be paid to the image of the night in the work of this great poet. An analysis of F.I. Tyutchev’s poem “The gray shadows mixed together...” will also be made.

The work uses materials from the texts of poems, monographs with analysis of Tyutchev’s lyrics, a selection of memoirs of contemporaries about the poet, as well as critical articles by N. A. Nekrasov, I. S. Turgenev, A. A. Fet, M. P. Pogodin, V. A. . Sologuba, N.A. Dobrolyubova and other works published on Internet sites.

Development of the image of night in Russian poetry

The emergence of the theme of “night” in Russian poetry is connected, according to researcher V.N. Toporov, with the name of the 18th century writer M.N. Muravyov, who first published 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, since “his thought is drawn to pleasant silence.” He rejoices at the night, which brought him “solitude, silence and love.”

The image of the night and the nocturnal thoughts and feelings it stimulates are reflected in many beautiful poems by Russian poets. Although all poets have their own perception of the night. It can be noted that basically the 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, S. P. Shevyrev, 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, remembered his tragic love, reflected on the hardships of life, progress, beauty, art, “poverty of words,” 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. Fet’s image of the night is close in meaning to the image of the night in Polonsky, who was also often overcome by secret nocturnal thoughts,” note researchers of the poet’s work. Analyzing the poem “Night” by Polonsky, critic V. Fridlyand stated that “it is not inferior to the best creations of Tyutchev and Fet. Polonsky in it is like 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 cast down their gaze, 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, night is also a desirable time, a time of blossoming love and testing passion, and is also beneficial for awakening memories. In the poem “Night,” according to literary critic V. Fridlyand, “The poet’s emotional excitement is conveyed using a series of ellipses and exclamation marks. He seems to be looking for the right word that would convey to the reader the fullness of the feelings that surged over him from the memories. In Sluchevsky, night is also often present in the poem with its companions - the moon and stars.

So, we can say that the image of the night and the nocturnal thoughts and feelings prompted by it are reflected in many beautiful poems of Russian poets. Although all poets have their own perception of the night, it can be noted 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 accessible to everything beautiful and when it is especially unprotected and anxious, anticipating future adversity. Hence the numerous epithets that help to see the night as only this poet saw it.

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

The holy night has risen into the sky,

And a joyful day, a kind day,

She wove like a golden shroud,

A veil thrown over the abyss.

And like a vision, the outside world left...

And the man is like a homeless orphan,

Now he stands weak and naked,

Face to face before a dark abyss.

He will be abandoned to himself -

The mind is abolished and thought is orphaned -

In my soul, as in an abyss, I am immersed,

And there is no outside support, no limit...

And it seems like a long-ago dream

Now everything is bright and alive for him...

He recognizes the family heritage. Tyutchev F.I. Poems - 95 pp.

The basis of the universe, the stirring chaos, is terrible for a person because at night he is “homeless”, “weak”, “naked”, his “mind is abolished”, “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 lurks in his soul. The little things of the material world will not save a person in the face of the elements. The night reveals to him the true face of the universe, contemplating the terrible stirring chaos, he discovers the latter within himself. Chaos, the basis of the universe, is in the human soul, in his consciousness.

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

I am immersed in my soul, as if in an abyss, -

the line is maximally saturated with voiced sounds. The word “abyss” carries the greatest semantic load. It connects the supposedly external chaotic night principle and the internal human subconscious, their kinship and even in depth unity and complete identification.

And in the alien, unsolved, night

He recognizes the family heritage.

The last two lines are emphasized simultaneously on both rhythmic and sound levels. They certainly increase the tension of the compositional conclusion, echoing the line:

I am immersed in my soul, as if in an abyss...

The comparison “like in the abyss” enhances this sound.

All that remains is to agree with the opinion of experts: “The extreme concentration of voiced sounds against the background of minimized voiceless sounds quite sharply accentuates the last two lines of the poem. On a rhythmic level, this pair of lines is taken 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 man, who longs to unite with a related principle into a harmonious whole, but is also afraid to merge with the infinite.”

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

Let's look at another poem by F.I. Tyutcheva:

The hazy afternoon lazily breathes,

The river rolls lazily

And in the fiery and pure firmament

The clouds are lazily melting.

And all nature, like fog,

A hot drowsiness envelops,

And now the great Pan himself

In the cave the nymphs are peacefully dozing. Tyutchev F.I. Poems 120 pp.

First of all, the conspicuous external “laziness” of the poetic world of the poem attracts attention. The word of the state category “lazy” is intensely emphasized: it is used three times in the first stanza of the poem. At the same time, even repeating it three times itself unfolds in the imagination an extremely dynamic, not at all “lazy” picture. Through the external “laziness”, colossal internal tension and rhythmic and intonation dynamics are manifested.

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

On the one hand, “Hazy Afternoon” is concrete nature, these are clouds, a river, fog, which are completely concretely sensual. On the other hand, nature is the “cave of nymphs” and the slumbering Pan. “Hazy noon” turns into “great Pan”, “hazy noon” is “great Pan” himself. This turnover is combined with the irreducibility of the whole to either one or the other. The dialectical unity of the existence of the “hazy noon” and the “great Pan” in its irreducibility to one specific meaning represents a symbolic reality. “Hazy Afternoon” itself is “a contradictory clot of meanings, very powerfully energetically charged, where chaos plays and turns into each other, the dark and true basis of the universe, and the peace that covers this terrible teeming chaos, and makes the latter plausible. Like the dormant Pan, an essentially impossible connection, but, nevertheless, realized in a poetic text, a clot 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 are sleeping 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 distinctiveness of “hazy noon” and “great Pan” is also confirmed at the rhythmic level. Throughout the poem, these lines stand out from the general rhythmic structure: “The hazy afternoon lazily breathes” and “And now the great Pan himself / In the cave of the nymphs is calmly dozing.” These lines are the only ones with full stress.

“Hazy Afternoon” is extremely focused on the sound level: the concentration of voiced and sonorant 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” intensifies, as it follows the line: “A hot slumber embraces,” which is maximally saturated with voiced consonants. Aikhenvald Yu. Silhouettes of Russian writers - 60s-63s.

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

Turning into each other, “Hazy Afternoon” and “Great Pan” as an intense 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 poet feels the teeming and raging discord between night and day, chaos and space, the world and man extremely acutely; he feels on a cosmic scale the fear of a person who has lost the original harmony, the original unity with the world that now seems hostile and threatening to him. And the poet can only write about this, creating a meaning-generating reality of connections between disconnected parts of the world: they find themselves in communication with each other in the artistic reality of a poetic work. “With his creativity, the poet solves the problem of tragic disharmony - he can restore lost harmony, or at least clarify disharmony in the light of harmonious thought and ideal,” emphasizes V.N. Kasatkina. Russian literature of the 19th century - 91-94s.

So, 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 things, the reality of the original unity of opposite principles: light and darkness, sky and earth, “visible” and “invisible,” material and immaterial. The night appears in Tyutchev's lyrics in an individual, unique stylistic refraction.

Full text of the dissertation abstract on the topic ""Night" poetry in the Russian romantic tradition: genesis, ontology, poetics"

As a manuscript

TIKHOMIROVA Lyudmila Nikolaevna

“NIGHT” POETRY IN THE RUSSIAN ROMANTIC TRADITION: GENESIS, ONTOLOGY, POETICS

Specialty 10 01 01 - Russian literature

Ekaterinburg 2010

The work was carried out at the Department of Russian Literature of the State Educational Institution of Higher Professional Education "Ural State University named after A. M. Gorky"

Scientific adviser:

Doctor of Philology, Professor Oleg Vasilievich Zyryanov

Official opponents:

Doctor of Philology, Associate Professor Olga Vasilievna Miroshnikova

Candidate of Philological Sciences Kozlov Ilya Vladimirovich

Lead organization:

State Educational Institution of Higher Professional Education "Chelyabinsk State Pedagogical University"

The defense will take place on March 2010 at a meeting of the dissertation council D 212 286 03 for the defense of doctoral and candidate dissertations at the State Educational Institution of Higher Professional Education "Ural State University named after AM Gorky" at the address 620000, Yekaterinburg, Lenin Ave., 51, room 248

The dissertation can be found in the scientific library of the State Educational Institution of Higher Professional Education "Ural State University named after A. M. Gorky) /

Scientific Secretary

dissertation council

Doctor of Philology, Professor

-> M. A. Litovskaya

GENERAL DESCRIPTION OF WORK

The relevance of research. The concept of “night” poetry, which is quite often found in literary works dealing with various aspects of the work of many Russian and foreign authors, still remains terminologically not clarified. Despite the fact that this artistic phenomenon in the modern science of literature is already devoted not only to individual articles (V N Kasatkina, T A Lozhkova, V N Toporov),1 but also entire scientific works (S Yu Khurumov),2 the theoretical aspect of the issue still remains insufficiently developed. In domestic literary criticism there is not a single study in which it would be clearly defined the content of this concept, as well as the boundaries and criteria for selecting the poetic material included in it have been established. The typological features of “night” poetry as an integral artistic system with stable structural and content features have been practically not identified. In addition, in a significant part of scientific works (JIO Zayonts, E A. Maimin, S. G. Semenova, F. P. Fedorov, S. Yu. Khurumov, etc.) the concepts of “night poetry” and “night theme” not only are not differentiated in any way, but also act as some kind of synonymous definitions of the same artistic phenomenon In some cases, the unclear definition of the substantive scope of the concept of “night poetry” even becomes the reason that the specified poetic community begins to include works that are unusual for it.

The selection of the “night” theme as the main structure-forming criterion of “night” poetry is very controversial. In the overwhelming majority of works classified by researchers as this poetic system, the night acts rather as a factor generating a certain lyrical situation, and not as a subject of artistic depiction. Thematically, poems , included in it, can be very heterogeneous

V. N. Toporov’s attempt to isolate the “text of “night”” from the context of Russian poetry of the 18th - early 19th centuries on the basis of including only those works “that are called “Night” (“Night &”, etc.) does not seem convincing enough.” or have titles consisting of the word “.night with various kinds of definitions.” In the case of “the absence of a title (and sometimes even if it is present),” the scientist proposes to determine whether a particular work belongs to the identified structural-semantic model “by the first verse” 4 With this principle of artistic selection

1 Kasatkina V N Tyutchev’s tradition in the “night” poetry of A A Fet and K K Sluchevsky // Issues of the development of Russian poetry in the 19th century scientific tr - Kuibyshev, 1975 - T 155 - P 70-89, Lozhkova TA “Night” lyrics M Yu Lermontov traditions and innovation // Lermontov readings, materials of the zonal scientific conference - Ekaterinburg, 1999 - P. 33-41, Toporov V N “Text of the night” in Russian poetry of the 18th - early 19th centuries // From the history of Russian literature T II Russian literature of the second half of the 18th century research, materials, publications M H Muravyov Introduction to the creative heritage of Book II -M.2003 -S 157-228

1 Khurumov S Yu “Night” “cemetery” English poetry in the perception of S S Bobrov dis cand.

lol sciences - M, 1998 - 144 s

1 See Kasatkina V N Tyutchev’s tradition in the “night” poetry of A A Fet and K K Sluchevsky - C 70-89

"Toporov V H “Text of the Night” in Russian poetry of the 18th - early 19th centuries - C 209-210

material, the “text of the night” identified by the researcher inevitably includes poems that cannot be unconditionally considered “night”, while outside of it remain many works whose belonging to this poetic complex is obvious

Since none of the principles of combining “night” poems into artistic integrity discussed above can be considered satisfactory, there must be another, more significant criterion that allows us to consider “night” poetry as a system of interconnected texts that has its own structural organization. Such a criterion can be a specific mode of consciousness (“night” consciousness), the content potential of which forms in a person the need for a special kind of value self-determination and self-affirmation, which, in turn, is reflected in the poetic works that form the analyzed system

The concept of “night” consciousness” in the work under review is used only in the sense of “waking “night” consciousness.” Psychopathological phenomena (not controlled by the individual and corrected only by special therapeutic influence) or artificially induced states qualitatively close to them (drug / alcohol intoxication) are excluded from the scope of consideration , hypnotic influence, sensory deprivation, etc.) that go beyond the norm, and that which belongs to the sphere of the unconscious (for example, dreams) “Night” consciousness is considered as one of the modes of the “normal” state of human consciousness, which, from the point of view according to K. Jaspers, “itself is capable of exhibiting the most varied degrees of clarity and semantic fullness and including the most heterogeneous contents” 5

Thus, the relevance of the chosen topic is determined by the insufficient degree of terminological understanding of its basic concepts, the urgent need to establish the boundaries of artistic material included in the concept of “night poetry”, to identify the principles of its selection, which ultimately dictates the need to develop a theoretical model “ night" poetry An urgent task also seems to be to discover the innovative role of Russian romantic poets of the 18th-19th centuries (including little-studied ones) in the formation and evolutionary development of the supertext of "night" poetry

The object of the study is the “night” poems of Russian poets of the 18th-19th centuries (M V Lomonosov, M M Kheraskova, G R Derzhavin, M N Muravyov, S S Bobrov, G P Kamenev, V A Zhukovsky, V K Kuchelbecker, A S Pushkin, S. P. Shevyreva, A. S. Khomyakova, M. Yu. Lermontova, F. I. Tyutcheva, A. A. Feta, S. Ya. Nadsona, A. N. Apukhtina, A. A. Golenishcheva-Kutuzova, K. N. Ledov, N. M. Minsky, etc.), analyzed in the context of domestic and European romantic tradition

5Jaspers K General psychopathology ~M, 1997 - P 38

The subject of research in the dissertation was the supertext of Russian “night” poetry as an open system of interconnected texts and the path of its evolutionary development from the first pre-romantic experiences of the last quarter of the 18th century to the works of the late romantics (poets of the 1880-1890s)

The purpose of the work is to study the “night” supertext of Russian poetry in three interrelated aspects: evolutionary (genesis), structural-content (ontology) and figurative-style (poetics)

Achieving the set goal is associated with setting and solving the following tasks

Clarification of the concept of "night" poetry, identification of its typological features, description of this super-textual unity as a structural and content model,

Establishing the origins of the “night” supertext in Russian poetry of the late 18th - early 19th centuries (the era of pre-romanticism),

Identification of the natural stages of the formation and formation of the classical version of the “night” supertext in the poetry of Russian romanticism, taking into account the specific forms of manifestation of the “night” consciousness,

Determining the place and role of poets (including little-studied ones) belonging to the period of the “late classics”, or neo-romanticism of the late 19th century, in the evolutionary development of the supertext of Russian “night” poetry

The theoretical basis of the dissertation consists of the works of Russian and foreign philosophers (N A Berdyaev, I A Ilyin, A F Losev, N O Lossky, V N Lossky, V V Rozanov, V S Solovyov, E N Trubetskoy, P A Florensky, G A Florovsky, F. Nietzsche, O. Spengler, etc.), including those devoted to understanding the phenomenon of consciousness and the principles of working with it (M. K. Mamardashvili, V. V. Nalimov, V. M. Pivoev, L. Svendsen, Ch. Tart, K. Jaspers, etc.), literary studies on the theory romanticism (N Ya Berkovsky, V V Vanslov, V M Zhirmunsky), theoretical and historical poetics (S S Averintsev, S N Broitman, V I Tyupa), supertext theory (N E Mednis, V N Toporov, etc.), lyrical metagenre ( R S Spivak, S I Ermolenko), works devoted to the work of individual Russian romantics and particular issues of analysis of poetic text (L Ya Ginzburg, E V Ermilova, P R Zaborov, L O Zayonts, Yu M Lotman, E A Maimin, O V Miroshnikova, A N Pashkurov, I M Semenko, etc.)

The methodological basis of the dissertation is a combination of a structural-typological approach with the principles of historical, literary and phenomenological research

The scientific novelty of the dissertation lies in the consideration of “night” poetry as an artistic system in its integrity and dynamics. The basis for identifying “night” supertext as a structure-forming criterion for the first time is one of the modes of consciousness - “night” consciousness. The approach taken allows us to consider the problem of typological convergence in a new way artists, make adjustments to the designation of the origins

Russian supertext of “night” poetry, to specify its boundaries, establishing clearer principles for the selection of works included in it, and also to determine the contribution of Russian poets of the 18th-19th centuries (including little-studied ones) to the supertext of “night” poetry

1 “Night” poetry in the Russian romantic tradition is a systemic community of works that took shape during the eighteenth and nineteenth centuries, the integrity of which is ensured not only by the textual denotation “night”, but also by a special mode of consciousness (“night” consciousness), which determines the author’s attitude to reality and the way of comprehending and reflecting it “Night” poetry, composed of many subordinate subtexts that form a single semantic field, acts as a kind of “synthetic supertext”, thanks to which a “breakthrough into the sphere of the symbolic and providential” is made 6

2 Along with the traditionally distinguished types of supertexts - “urban” and “nominal (personal)” (terminology N E Mednis)7 - other types of supertext unities can be found in literature. The supertext of “night” poetry acts as an open system of interconnected texts (with its own thematic center and periphery), formed within the boundaries of the paradigm of “night” consciousness, ensuring the integrity of this system through the commonality of the text-generating situation, the typological similarity of aesthetic modes of artistry (the author’s ideological and emotional assessment)

3 The supertext of “night” poetry in Russia begins to take shape under the influence of European Jungianism at the end of the 18th century, when artists discovered new principles for depicting the inner world of man. Finding themselves at the origins of the supertext of “night” poetry, Russian pre-romanceists (M N Muravyov, S S Bobrov, GP Kamenev and others) set the main vector of its development, outlining the paths of creative quest for the subsequent generation of poets

4 From the moment a new paradigm of artistry appeared in the literary consciousness - the paradigm of creativity - a supertext of “night” poetry began to intensively form in Russian literature, in which, over the course of a century and a half, the experiences of the manifestation of “night” consciousness in various forms - religious and mystical (VA Zhukovsky), psychological (A S Pushkin), existential (M Yu Lermontov), ​​mythological (F I Tyutchev), each of which carries out in its own way a poetic reflection of a person’s relationship to the world

5 “Night” poetry of the 1880-1890s is characterized by the presence of two opposing trends. On the one hand, remaining generally in line with the classical romantic tradition, it ensures a transition to a new type of imagery in poetry - non-classical, and on the other hand, a loss of integrity on

"Toporov VN Myth Ritual Symbol Image Research in the field of mythopoetic Favorites -M.1995 -P 285

"Mednis NOT Supertexts in Russian literature - Novosibirsk, 2003 -P 6

different levels of the lyrical text leads to the fact that the function of the beginning, uniting a given complex of poems into a certain system, at the end of the 19th century is taken over by the theme of the night state of a person. The given theme determines the stereotypical nature of the lyrical situation, repetition and “stability of micro-images and emotional structure”,8 which , following E M Taborisskaya, allows us to talk about “a special phenomenon of thematic genre” 9

The theoretical significance of the study is to establish a structural and content model of “night” poetry based on the specific situation of night consciousness, to understand the value-ontological parameters of the “night” supertext, their correlation with the romantic paradigm of artistry

The practical value of the study lies in the fact that its results and conclusions can be used in the development of basic university courses on the history and theory of literature, special courses on the problems of poetry of the 18th-19th centuries and methods of literary analysis of poetic text, in the practice of school teaching

Approbation of work. The main provisions and conclusions of the dissertation were presented in reports and discussed at theoretical seminars of the Department of Literature and Russian Language of the Chelyabinsk State Academy of Culture and Arts (2006-2009), the Department of Russian Literature of the Ural State University (2008-2009) Certain fragments and ideas of the study were covered at conferences different levels of international “Literature in the context of modernity” (Chelyabinsk, 2005, 2009), “Culture and communication” (Chelyabinsk, 2008), “Language and culture” (Chelyabinsk, 2008), IV Slavic scientific council “Ural Orthodoxy Culture” (Chelyabinsk ,

2006), V Slavic Scientific Council “Ural in the Dialogue of Cultures” (Chelyabinsk,

2007), All-Russian scientific conference with international participation Third Lazarev readings “Traditional culture today theory and practice” (Chelyabinsk, 2006), final scientific conferences of the Chelyabinsk State Academy of Culture and Arts (2005-2009)

Work structure. The dissertation consists of an introduction, four chapters divided into paragraphs, a conclusion and a list of references containing 251 titles.

1 Taborisskaya BM “Insomnia” in Russian lyrics (to the problem of thematic genreoid) // “Studia métrica etpoética” In memory of A Rudnev - St. Petersburg, 1999 -P 224-235 "Ibid. -P 235

The Introduction provides a rationale for the relevance of the research topic, characterizes the degree of its scientific development, defines the theoretical and methodological basis, object, subject, purpose and objectives of the dissertation, substantiates its scientific novelty, reveals its theoretical and practical significance, formulates the provisions put forward for defense, and provides information about testing the main results of the work

In the first chapter, "Night" poetry as an artistic phenomenon, a theoretical model of "night" poetry is established, the problems of identifying the philosophical, ontological and structural-typological grounds for identifying "night" poetry as an integral system are solved.

In paragraph 1.1 “The situation and mode of “night” consciousness” the views of G. Bachelard, G. V. Leibniz, F. Nietzsche, O. Spengler, A. A. Gorbovsky, I. A. Ilyin, A. F. Losev, V. V. Nalimov, V. M. Pivoev, V. From Solovyov, P A Florensky on the problem of the multidimensionality of human consciousness, the concepts of “situation” and “mode of “night” consciousness are clarified”, the status of the mode of “night” consciousness in the structure of “normal” human consciousness is established, its role in artistic creativity is determined

Along with the “daytime” mode of consciousness (the state of wakefulness), in the structure of “normal” consciousness there is such a specific mode as “night” consciousness. “Nighttime” consciousness is “the area of ​​extra-logical perception of reality, intuitive comprehension of those dependencies between phenomena that lie outside the causal -consequences, outside the rational" 10 Probably, what is expressed by this concept has existed in art since ancient times, but it turns into a certain mature paradigm of artistic thinking only in the middle of the 18th - early 19th centuries, when a "new understanding of relationships" begins to take shape in culture man and the world, in the center of which is not a universal norm, but a thinking “I.” 11 From now on, the writer no longer appeals to the mind, but to the feeling of a person, to his soul. According to S. N. Broitman, “the discovery of the intrinsic value of feeling is accompanied by a reorientation of literature from external and public to individual-deep layers of consciousness" 12 All kinds of experiences, falling into the field of attention of the individual, are now realized by him, rising to the level of consciousness, the various states of which are reflected in the literary text

Activation of the mode of “night” consciousness was initially associated with the passage of a person through a certain difficult situation, exploding the internal harmony of the individual, but at the same time revealing the multidimensionality of the world, which cannot be comprehended, obeying only common sense, and, in connection with this, with a decrease in mental status human rational elements

10 Gorbovsky A A In the circle of eternal return? Three hypotheses - M, 1989 - P 42

12 Broytmak S N Historical poetics // Theory of literature in 2 volumes / Edited by N D Tamarchenko - M, 2004 - T 2 - S 225

and the growth of irrational elements. An extreme situation that activated the irrational (“night”) component of consciousness and determined the extra-logical (irrational) comprehension of the world could be caused by the loss of a loved one, an incurable illness and a premonition of the inevitability of an imminent end, a fundamental awareness of one’s own mortality, the collapse of creative or life plans , disappointment in the justice of the social order, the experience of personal mystical experience, etc. Under the influence of night darkness, silence, loneliness, emotional imbalance of the psyche, a person’s experiences intensify so much that they can completely capture his consciousness. In this case, according to N O Lossky, these experiences become “experience, because they are not reduced only to subjective feelings, but are aimed at something absolutely different from mental life” 13 Intense night comprehension of what happened and the acquisition of personal spiritual experience transform a person’s experiences into a certain state of consciousness, the results of which are recorded in works of supertext "night" poetry

In paragraph 1.2 “To the origins of the “night” supertext: E. Jung’s poem “The Complaint, or Night Thoughts about Life, Death and Immortality””, the well-known poem of the English artist is analyzed as the debut experience of the manifestation of “night” consciousness, recorded in European literature

Jung was the first European poet to capture that special state of soul, which would later become a distinctive feature of an entire literary tradition. The experience of suffering caused by the loss of loved ones, and, as a consequence, the awareness of the frailty and fragility of human life, including his own, force the artist to take a new approach to understanding the phenomenon of death Death and faith in rebirth after it are at the center of the intense thoughts of the author of the poem

It was precisely the “night of death” that snatched Jung’s hero from the endless celebration of life that determined his acquired ability to see what is always hidden from the eyes, but at certain moments becomes accessible to the heart. The new vision of the lyrical subject now turns into the depths of his own<сЯ» Для такого зрения не нужен яркий свет, ибо оно обусловлено не физиологическими особенностями человеческого глаза, а иным ментальным состоянием В связи с этим важную роль в поэтической философии Юнга стала играть ночная картина мира ночь выступает у него временем истинной жизни души, идущей по собственным, иррациональным, законам Сделав личные переживания предметом художественного анализа, Юнг открыл читателю свой внутренний мир С его «Ночами» в литературу входит конкретный живой человек, личный опыт несчастий которого сделал его близким читателю Интерес к поэме, не ослабевавший долгое время, был связан именно с этим, еще не знакомым художественной литературе пристальным вниманием к сложному духовному миру человека и его напряженной внутренней жизни

"Lossky N O Sensual, intellectual and mystical intuition - Paris UMSA-RSh^v, 1938 -P 187

Despite the fact that the discovery of the theme of night in the European literary tradition does not belong to Jung, researchers, as a rule, associate the birth of “night” poetry as an artistic phenomenon with his name. According to VN Toporov, before Jung there was “poetry of the night”, different parts which most often were not connected with each other with sufficient certainty and therefore, strictly speaking, did not constitute a whole. The merit of isolating in the “poetry of the night” that whole that could be called the “text of the night” certainly belongs to Jung” 14 The main criterion of integrity The scientist calls the identified “text of the night” “the very spirit of Jung’s main book. It is about a certain limiting situation and the corresponding state of the soul” 15 In all likelihood, the “spirit of the book” that VN Toporov speaks of is nothing more than the in the literary text, “night” consciousness, which most clearly made itself felt precisely through the combination of “night” and “cemetery” and determined the intense emotional background of the poem. Thus, the main merit of the English poet was the consolidation in a work of art of the experience of manifestation of “night” consciousness, which later became the organizing principle of a large textual community - “night” poetry,” which, in fact, inscribed his name in the history of world literature

In paragraph 1.3 “Text of the night”: theoretical aspects of the concept, the concepts of L. V. Pumpyansky, V. N. Toporov, M. N. Epstein, N. E. Mednis and other researchers are analyzed, allowing us to consider “night” poetry as a structural and meaningful unity - “text of the night”, is given theoretical justification of the term “supertext”, explains the reasons for the productivity of its application to this poetic community

In the domestic science of literature, two types of supertexts have been identified and studied in sufficient detail - “urban” and “personal”. “Night” poetry acts as a supertextual unity of a special type. Reflecting for a long time the same natural phenomenon in its integrity and dynamics, it each time it models the world in a new way, consolidating in the word a certain emotional and value-based attitude of a person towards it

Like the “text of the city,” the “text of the night” establishes a connection between various types of languages, the “language of the world” and the “language of man,” but unlike the city (“text” of culture), to the emergence and development of which man has a direct connection, night (“text” of nature), like any other phenomenon of a similar scale that existed before the appearance of man, and rpop does not depend on his will and desire. Any “text of nature” is given meaning by man himself. Consequently, as part of this “text”, the “night the text" in itself does not have any meaning until it is included in the system of human communications. The world of the night is initially hostile to man, and, applying his own yardstick to the world that is incomprehensible to himself, he introduces a certain meaning and order into it and thus creates from chaos space Only in this case in a human-created model

14 Toporov VN “Text of the Night” in Russian poetry of the 18th - early 19th centuries - C 102

15 Ibid - C 103

In the world, the night, being a value-significant phenomenon for it, transforms from a “text of nature” into a “text of culture”, which has a special semiotic space and gives, through a system of analogies of the natural and human, an idea of ​​the connection between the microcosm and the macrocosm - man and the entire universe. Since the textualization of the night is in in some sense, a “product” of the work of consciousness to master a certain part of an alien space and consolidate the results obtained in symbols, concepts and categories of human language, it is logical to consider “night” poetry as a special form of conveying the experience of people mastering a certain irrational part of the world, a way of axiological interpretation of this world and a person’s attempt to self-determinate in it

Paragraph 1.4 ““Night” poetry as a supertext” is devoted to identifying criteria that allow us to consider “night” poetry as a supertext unity. In the process of analyzing the works of poets of the 18th - 19th centuries, the principles of the analytical description of this supertext are determined

The basis of the artistic ontology of “night” poetry is a situation of intense reflection on complex (often extreme) questions of existence, built into the night chronotope. The most important characteristics of the “night” state of consciousness are determined by the specific experience that the person experiencing it gains in this situation. For this situation to arise, not only certain internal reasons are necessary, but also some external factor or reason. Such a reason is most often a specific circumstance (forced wakefulness or insomnia, a night walk, etc.), an indication of which is usually given by the author or in the title , or in the text of the work itself. It reveals the true causes of a person’s experiences (anxiety, doubts, fears, etc.), which, together with his moral, ethical, spiritual and other attitudes, determine the nature of the “nightly” thoughts that are consolidated in the poetic text

In an intense search for truth, contemplation of beauty, comprehension of difficult situations in life, etc., a person experiences a kind of personal transformation, which determines the unity of the semantic setting of the “night” supertext - a breakthrough of his own personal capsule and access to a completely new level of understanding of the world in a qualitatively different state of consciousness. Based on this semantic setting in the structure of the supertext of “night” poetry, it is possible to distinguish the core and peripheral zones, thus separating “night” meditation from landscape, love, social, etc. poetry, in which the night becomes only the background of unfolding events, and not a condition transition of the soul to a new metaphysical state

The situation of night meditation provides the analyzed supertext with a stable complex of related motifs and a system of interconnected universals that perform the function of “codes”, among which the “code of night”/ associated with the semantics of silence and darkness is, of course, central Silence (silence) and darkness (incomplete light) give the human soul access to the space of the transcendental, that is, through this code system with

the semiotic field of the night turns out to be closely connected with the semantics of mystery. Thus, the supertext of “night” poetry, formed within the framework of a certain paradigm of consciousness, given by the corresponding system of ontological coordinates, has, like any other supertext, its own semiotic space, the elements (signs) of which “in the sum and interaction constitute that efficient interpretive code that sets the strategy for constructing and perceiving"1 the information contained in it. An important component of this "interpretative code" is a system of keywords-images (starry sky, moon, fog, water surface, etc.), which, transforming in the universal of mental space, no longer designate the realities of existence, but some spheres of a person’s inner life

The works of the supertext of “night” poetry are united by the similarity of the internal structure - a state of restlessness, emotional imbalance, instability of mental balance. The instability of a person’s emotional world is determined by the breadth of the range of feelings recorded in the “night” supertext (from horror and melancholy to ecstatic delight), and the degree of intensity of their manifestation

The second chapter, “Genesis of the “night” supertext of Russian poetry,” is devoted to identifying the origins of the Russian supertext of “night” poetry and determining the nature of its evolution

Paragraph 2.1 “Some prerequisites for the “text of the night” in Russian poetry of the 18th century” examines the moment preceding the emergence of the supertext of “night” poetry in Russian literature

Before the Russian reader became acquainted with Jung’s “Night Thoughts,” pictures of the night in Russian poetry were quite rare, and if they were, then, according to V. N. Toporov, “they had an informative rather than an artistic function,”17 nevertheless they exist , although in a very limited quantity. Among them are the poems of M. V. Lomonosov (“Evening reflection on God’s majesty on the occasion of the great northern lights”) and M. M. Kheraskov (“The Comet that appeared in 1767 at the beginning of the war with the Turks,” “ Night Reflection") During the analysis of these works, it is discovered that they were created within the framework of the “culture of the ready-made word” (the expression of A. V. Mikhailov), according to rationalistic canons and are subject to different aesthetic guidelines than the works of the “night” supertext. The personal principle in them is extremely blurred , the principles of depicting reality are still such that the emotions experienced, caused by the experience of a different state of the world, do not become the subject of reflection, but are only material for speculative constructions and didactic conclusions, therefore the poems of Lomonosov and Kheraskov inevitably find themselves outside the analyzed poetic unity

In paragraph 2.2 “Debut manifestation of “night” consciousness: lyrics by G.R. Derzhavin and M.N. Muravyov" the first experiments of ma-

"MednisNE Supertexts in Russian literature - C 119" Toporov VN “Text of the night” in Russian poetry of the 18th - early 19th centuries - C 142

manifestations of “night” consciousness recorded in Russian poetry

In the last third of the 18th century, due to a change in aesthetic positions, individual uniqueness receives priority significance in a literary work. This leads to the fact that the subjective in the assessment of experience comes to the fore and the image of the night in Russian poetry begins to correlate “with the totality of melancholic thoughts and feelings "18 According to the observations of A. N. Pashkurov, melancholy, as a type of feeling, is embodied in poetic texts in two different models" "melancholy of the idyllic model with the cult of the Dream" and "cemetery melancholy", in the model of which "the emphasis moves to the tragedy of reflection" 19 Realization of both models in the very first works of the “night” supertext explains the fact that almost simultaneously two directions of development emerged in it: on the one hand, the night was experienced and depicted as a harmonious time, on the other, its disharmony was clearly felt. Thus, the works of the supertext of the Russian “night” poetry, thematically going back to one source - Jung's "Night Thoughts", initially differed from each other in the type of aesthetic completeness (idyllic or tragic)

An analysis of the works of Derzhavin and Muravyov and a comparison of the views of researchers (JIB Pumpyansky, VH Toporov, etc.) on the beginning of the formation of the domestic supertext of “night” poetry leads to the conclusion that the birth of this supertext is associated with the name of MH Muravyov. He was the first of the Russian poets to discover that the situation of night reflection can have both positive and negative connotations; the poems “Night” and “The Unknown of Life” created by him almost simultaneously reflect different states of “night” consciousness and are directly opposite in type of the dominant artistic modality

In paragraph 2.3 “The pre-romantic aspect of the “night” poetry of S.S. Bobrova and G.P. Kamenev" evaluates the contribution to the supertext of Russian "night" poetry of the pre-Romanticists Bobrov and Kamenev

Despite the fact that there are not so many “night” poems in the creative heritage of Bobrov and Kamenev, they can be considered as a kind of single text, the integrity of which will be determined not only by the motives taken from Jung, but also by the “general way of creating an image of experiencing the world”20 In all likelihood, in this case, we can talk about the “cyclization of the theme” (JI Ginzburg’s expression) in the new artistic era, the theme gave the author space to express his own feelings and through its solution the artist’s individuality began to emerge

In connection with the emerging trends in aesthetics associated with a change in the paradigm of artistry, “night” poetry at the turn of the 18th - 19th centuries takes on new features; it begins to sound distinctly apocalyptic.

"KhurumovSYu "Night" "cemetery" English poetry in the perception of S S Bobrov - S 39

"Pashkurov A N Genre-thematic modifications of the poetry of Russian sentimentalism and pre-romanticism in the light of the category of the Sublime abstract dissertation doctor of philol. sciences - Kazan, 2005 - P 28"

Ermolenko S I Lyrics M Yu Lermontov genre processes - Ekaterinburg Publishing house Ural Roc Pedagogical University, 1996 - P 75

Sky and mortal motives, a transformation of the classical understanding of reality occurs. Reality for the artist is no longer limited to the sphere of only sensory perception and, freed from existential characteristics, seems unthinkable without the work of imagination. This new reality created by the imagination is found in Bobrov’s “night” poetry (“Walk at Twilight” , “Night”, “Midnight”, etc.) and Kamenev (“Cemetery”, “Dream”, “Evening of June 14, 1801”, etc.) The source of inspiration for both poets is the mysterious side of the night, which gives a person access to the world of eerie visions and witchcraft dreams Analysis of the works of Bobrov and Kamenev allows us to conclude that it was in their poetic experiments that for the first time in Russian poetry not only the presence of “night” consciousness was identified as a certain area of ​​​​spiritual life with significant originality, but a special form of it was discovered and recorded existence Since the transition of consciousness to another state in both authors is initiated by the experience of night as a time of other existence, this form can be called mystical

In the third chapter, “Stages of formation of the supertext of “night” poetry (classical period),” a historical and literary analysis of the supertext of Russian “night” poetry of the period of romanticism is carried out, the stages of its formation are identified and the main development trends are determined

Paragraph 3.1 “The religious and mystical nature of the “night” poetry of V.A. Zhukovsky" is dedicated to revealing the specific features of Zhukovsky's "night" poetry

Despite the fact that in Zhukovsky’s lyrical poetry the image of the night is quite rare, many of his works can safely be called “night”: “The Village Watchman at Midnight”, “Towards the Month”, “The Proximity of Spring”, “Night”, etc. In addition, in the poet’s creative heritage there are many works in which “night” motifs are woven into the outline of the lyrical text, performing an important semantic function in it “Slavyanka”, “Consolation”, “March 9, 1823”, “Love”, etc. In his experience of the night, Zhukovsky turned out to be in many ways close to Novalis, the author of the famous “Hymns to the Night,” which captivate the reader with their exquisite beauty and mysterious sound. It is known that at a certain moment Zhukovsky was strongly influenced by the German romantics, although, unlike them, his “mysticism has a pronounced religious overtones and feeds primarily on Christian ideas about the immortality of the soul.”21

Zhukovsky’s night is not only a moment of liberation from the vain worries of everyday life, getting rid of daytime anxieties and suffering (“Night”), it is, first of all, the time when a person gets the opportunity to open his heart to God and unite with him (“Striving”). such moments he gains the ability to communicate with higher powers (“Slavyanka”) Night becomes for the lyrical hero Zhukovsky a time of immersion in the past, an influx of memories.

g| Semenko I M Life and poetry of Zhukovsky - M, 1975 - P 34

knowledge, an incomprehensible inner revelation, when melancholy and sorrow recede from a person (“March 9, 1823”, “Detailed report on the moon”, etc.) Remembering the dear dead, he joins the future, Eternity Memory in Zhukovsky’s poetic philosophy is overcoming time and decay In dreams and memories, his lyrical hero is freed from reality, experiences a feeling of spiritual fullness, finding precisely at such moments a foothold in the Universe. The opposition “memory - oblivion”, important for Zhukovsky’s “night” poetry, thus reveals another key opposition for the poet’s work “immortality - death” In the process of analyzing the poet’s “night” poems, it is concluded that Zhukovsky’s night has a religious-mystical connotation, and the form of manifestation of “night” consciousness recorded in his poetic texts can be called religious-mystical

In paragraph 3.2 “The role of poetic induction in the “night” poetry of the 1820s - early 1830s (V.K. Kuchelbecker, A.S. Pushkin, S.P. Shevyrev, etc.)” reveals the changes that have occurred in the works of the “night” supertext » poetry during the first third of the 19th century

In the 1820s - early 1830s, the volume of supertext of “night” poetry increased significantly. Most of the poems that supplemented it were already significantly different from those written earlier. This was explained by the impact on “night” poetry of those aesthetic processes that during this period covered all Russian lyrics ( the collapse of the genre system with its strict stylistic rules and pre-established themes, which changed the laws of creating a poetic text, the process of “individualization of context”, which opened the “broad road of poetic induction”)22 The picture of the world created by the author now turns out to be unique in its own way, reflecting only his idea about existence and may or may not coincide with established forms of embodiment of a person’s connection with the world in art. Poetic induction led to changes in the supertext of “night” poetry. The theme of death in these years ceases to be decisive. Night becomes a time of reflection not so much about death and eternity, how much about life in the infinite variety of its manifestations. Through the form of night meditation, well known to the reader, from now on, the inner experience of the poet himself, the different states of his soul, invariably emerges. Superimposed on the individual inner experience of the reader, his value guidelines and preferences, the poem evokes (or does not evoke ) there is a certain emotional resonance in his soul

The very situation of nighttime reflection has changed qualitatively over the two decades noted, turning from standard and generalized into an individual, particular, but at the same time it is such a “particular”, which, in the words of JI Ginzburg, is always “aimed at the general, expanding, gravitating towards symbolization.” » 23

"Ginsburg l I About the old and the new - L, 1982 -P 25

n Ibid - C 25

Analyzing the works of Kuchelbecker (“Night” (between 1818 and 1820), “Night” (1828), etc.), Pushkin (“The Daylight Has Gone Out,” “Memory,” etc.), Shevyrev (“Night”, etc.), etc. the dissertation author notes that in changed circumstances, the dialogue between the author and the reader can be productive only on the condition that the individual experience of the artist, included in the lyrical event, will not only report his subjective reaction to reality, but will certainly find a way out into the imperishable and eternal, equally valuable for both the poet, and for his audience. During this period, “night” poetry evolves from works of traditional artistic forms to individualized poetic experiences of a psychological nature. These changes are associated with the artistic discoveries of A. S. Pushkin, thanks to whose influence on the work of his contemporaries numerous poetic texts appear in literature, consolidating experiences of manifestation of “night” consciousness in psychological form

Paragraph 33 “The existential character of the “night” poetry of M.Yu. Lermontov" is devoted to the analysis of Lermontov's "night" poetry in the aspect of its evolution

“Night” poems appear in Lermontov’s early works. The situation of night meditation with his arrival in literature changes again radically. In the short cycle of poems “Night I”, “Night II” and “Night III”, the subject of Lermontov’s comprehension becomes the tragic discord between man and the world created by the will of God The poet places himself at the center of his poetic narrative, linking the death of the world with his own physical end. The problem of death, traditional for the “night” supertext, once again finds itself in the center of attention of the brilliant artist, but sixteen-year-old Lermontov’s understanding of it is of a completely different nature than that of of his more adult predecessors. If many of them considered death as a transition to a new, real life, then, in the understanding of the young poet, this is just a terrifying path into the dark emptiness of nothingness. His physical disappearance and complete destruction of his own “I” is perceived by Lermontov’s hero as a terrible injustice , allowed by the Almighty and forcing one to doubt the rationality of the world he created. His rebellion takes on an infernal character; he is ready to reject the highest gift of the Creator - life, meaningless by the absurdity of such an ending, and to rebel against God, who created such an illogical world

The idea of ​​the world’s hostility to man, almost for the first time openly expressed in the “Nights” cycle, will be repeated many times in Lermontov’s works (“Excerpt”, etc.) The struggle between the “sacred and the vicious” that does not stop for a minute in the hero’s soul gives rise to a special internal state, when “life is hateful, but death is also terrible,” called by the poet himself “the twilight of the soul.” In Lermontov’s poetry, the concept of “twilight” is the equivalent of a state of insecurity, hopelessness, despair, confusion and fear that leaves no hope for the best. An attempt to break through to a different, meaningful life through a strong feeling, a heroic act, a creative

the impulse only aggravates this state, revealing a person’s ontological doom to loneliness and exposing the futility and vanity of his quest. At the same time, in an intense mental dialogue with himself, the hero discovers the reasons for his mental torment; hell turns out to be contained within himself, he is an eternal prisoner of his own imperfect and contradictory nature The essentially limiting situation of the hero’s awareness of his incessant movement towards death and the standard state of loneliness for night reflection, reinforced by a feeling of abandonment by God and perceived as ontological loneliness, create conditions for the manifestation of “night” consciousness in a form that can be called existential

The cycle of philosophical meditations “Night I”, “Night I” and “Night III” does not exhaust the “night” poetry of early Lermontov. His poems also depict another night, full of harmony and majestic beauty, when for a while the mood of hopelessness and melancholy disappears and the a different experience of the world (“I love the chains of blue mountains”) Despite the fact that in the “night” poetry of early Lermontov there are still few such poems, they largely anticipate such masterpieces of his later work as “From Goethe” and “I Go Out Alone on the road"

In paragraph 3.4 “The mythological aspect of “night” consciousness in the lyrics of F. I. Tyutchev” Tyutchev’s “night” poetry is considered as a complex artistic unity that has a certain philosophy and internal dynamics

Tyutchev has at least fifteen poems in which the night is endowed with a special “life-creative function” (FP Fedorov’s expression) “Vision”, “How the ocean embraces the globe”, “Day and Night”, “The holy night has risen on the horizon ”, “The night sky is so gloomy”, etc. In addition, in the poet’s artistic heritage there are many works that record moments of intermediate states - the transition from light to dark time of day and vice versa (“Summer evening”, “The gray shadows mixed”, “The day is getting evening , the night is coming”, “December morning”, etc.), and poems in which the night does not become the subject of the author’s concentrated attention, but its givenness seems to be thought of by him and is expressed through the attributes of the night picture of the world or certain states of the soul “Glimmer”, “Swan ", "Insomnia", etc. All of them are united by the special worldview of the lyrical subject, who perceives the world as a whole and unconsciously does not separate himself from the natural elements, that is, a form of “night” consciousness that can be called mythological

Day and night in Tyutchev’s poetry are not only closely connected, but also form an opposition, which, among other binary oppositions of his poetic world (“north - south, “light - darkness”, etc.) is not only central, but also unites Day and Tyutchev’s night is not just two time periods, it is two human reactions in the sphere of his exploration of the world, two states of consciousness (“day” and “night”), which are fundamentally different from each other, since they implement two opposite ways of experiencing life -

rationality and irrationality If the day is an area of ​​​​ordered life (“revival of earth-born”, “friend of men and gods”), where the rational principle reigns, then the night is life in its elemental, subhuman manifestation, when the soul is open to the invasion of the dark forces of the subconscious and all its fears and hardships are exposed. In other words, “day” and “night” act as signs of the “interpretive code” of Tyutchev’s poetry. Along with them, in his “night” poems there are other images-symbols that perform the function of mental constants “wind”, “twilight” , “star”, “wave”, “chaos”, “abyss”, etc.

At night, an abyss opens up not only over the sleeping world, but also in the human soul, which is no longer protected by daytime regularity and sunlight from itself. In Tyutchev’s poems, night usually appears as a time when a person, finding himself “face to face before a dark abyss,” experiences a primitive horror, feels his own instability in the universe, his defenselessness before the abyss of nothingness and inevitable dissolution in this abyss. Chaos is also that primordial state of the world from which man created his own cosmos, but with which, like many millennia ago, he is in constant struggle , this is that irresistible universal force that constantly threatens to destroy the life of the planet and the human race, but it is also some dormant primitive structures of the subconscious that are making themselves felt, animated by the darkness and “violent sounds” of the night world

The gloomy element of night in Tyutchev's poems, as a rule, is harmonized by two images of light (starry, lunar, incomplete solar) and water (sea, lake, river, spring, wave, jet), the presence of one of which usually presupposes the appearance of the second. These images, ascending to the four main elements of the universe (earth, water, fire and air), emphasize the natural philosophical meaning of night in Tyutchev’s poetry

In the fourth chapter, “Night” poetry of the late classical period (1880-1890s),” the specific features of “night” poetry of the late 19th century are revealed, the place is designated and the role of the works of the late classics in the structure of the “night” supertext is determined

Paragraph 4.1 “The phenomenon of late classics: the experience of literary critical reception” is devoted to the understanding by scientists of different eras of poetry of the last two decades of the 19th century and the identification of changes that have occurred over these years in the supertext of Russian “night” poetry

The analysis of a number of critical and literary works devoted to the poetry of “timelessness” (S. S. Averintsev, V. V. Rozanov, G. A. Florovsky, S. N. Broitman, E. V. Ermilova, O. V. Miroshnikova, L. P. Shchennikova, etc.) showed that Given a certain difference in views, scientists agree that the poetry of the “eighties” was the final link of the classical tradition and subsequently Russian poetry began to develop completely differently. On the one hand, the “eighties” were adherents of the classical tradition, who continued to embody in their work “the idea of ​​perfection and

harmony,”24 on the other hand, destroying all established canons, they ensured the transition to poetry of a new type of artistry - “non-classical” (in the terminology of S. N. Broitman)

Everything that scientists have said about the poetry of the last two decades of the 19th century can certainly be applied to the analyzed supertext, which was being formed unusually intensively during these years. “Night” poems not only function as independent works, but also, connecting with each other through cross-cutting motifs and images, begin to be combined into poetic cycles (NM Minsky “White Nights”), included in collections and books of poems (A A Fet “Evening Lights”, K.N Ldov “Echoes of the Soul”) or their sections (K K Sluchevsky “Thoughts” ", "Moments", K N Ldov, "Thoughts", "Sketches",<(Времена года») Как отмечалось ранее, «ночная» поэзия представляет собой особую форму фиксации художником собственного опыта выявления многомерности мира и попытку постижения этого мира внелогическим путем Поскольку интерес ко всему загадочному и таинственному свидетельствует об утрате человеком духовных опор и представляет собой попытку их напряженного поиска, обращение к данной форме целого поэтического поколения прежде всего указывает на трагическое мирочувствование человека, устремившегося от объективной реальности жизни к ее иррациональной («ночной») стороне Стремительное увеличение объема сверхтекста «ночной» поэзии доказывает настойчивое желание человека рубежного времени понять происходящее с ним, осмыслить собственные смутные переживания и, выразив их в категориях человеческого языка, зафиксировать в произведениях искусства

In paragraph 4.2 “Image-style model of “night” poetry by A.A. Fet" notes Fet's role in the formation of a new poetic paradigm, gives a general idea of ​​Fet's philosophical concept of the night, talks about the poetics of the "night" in his work

In the 1880s - early 1890s, four editions of Fet’s new poems were published under the general title “Evening Lights” and the last, fifth, was being prepared, which would be published after the poet’s death. The fact is that the works of these years were in no way inferior, but in many ways and surpassed what was written earlier, researchers are unanimous. Being an impressionist, Fet knew how to very sensitively capture and capture the invisible connections between the world and man. Fet’s night landscapes are full of unearthly beauty and harmony; they are created not only with the help of visual images (silhouettes, shadows, halftones, flickering light , vibrations of colors), but also with the help of other means (sounds, smells, tactile sensations)

Researchers, noting that Fet has no equal in Russian poetry in terms of the number of “night” poems, quite often compare his works with similar poems by other artists (Zhukovsky, Tyutchev, etc.) The feeling of something familiar that sometimes arises when reading “night” poems Fet, it’s no coincidence. Firstly, because Fet uses equipment

24 Ermilova E.V. Lyrics of “timelessness” (end of the century) // Kozhinov V.V. Book about Russian lyric poetry of the 19th century, development of style and genre - M, 1978 -P 239

mouths of speech “of a special poetic language (in its origins romantic), and in each poem they come with their own emotional coloring, with ready-made semantic shades”25 Secondly, the repetition of epithets, the stability of images (garden, river, window, smoke, shadows , fire), the banality of rhyme (“nights are eyes”, “blood is love”, “clear” - “beautiful”) and the syntactic structure of the phrases really take place in his lyrics. However, the fact that in the “night” poems of Fet’s closest followers will be perceived as an obvious quotation of other people’s (including Fet’s) techniques, he took shape in an original and recognizable manner of versification, and figurative and thematic parallels with his predecessors perform an important artistic function in the structure of his poetic system, which O. V. Miroshnikova called “ dialogical connections between lyrical contexts"26

When comparing Fet's early (before the 1860s) and late "night" poems, it is discovered that some motifs and themes of the works of the 1840-1850s seem to be rethought and reproduced in a new way in his final book. We can say that some early works The poet has lyrical doublets in his late work (“I’m waiting for the Nightingale’s echo” - “I’m waiting, overwhelmed with anxiety”, “I can’t sleep. Let me light a candle. Why read?..” - “In the midnight silence of my insomnia”, “It’s still a May night” - “May Night”, etc.) They are connected not only by the theme. Throughout Fet’s entire creative career, in his “night” poetry there is a tendency to bring together heterogeneous elements. Both in early and late poems, high metaphorical vocabulary is combined with deliberately reduced everyday detail (a crying mosquito, the rustle of a falling leaf, etc.) This combination helps the author convey the inexpressible, it becomes a way of transmitting a state of mind that is impossible to somehow define. An analysis of Fet’s “night” poetry leads to the conclusion that the technique of “lyrical induction” is typical for the poetry of the 20th century, already fully inherent in his lyrics. Walking in the vanguard of the late classics, Fet makes a significant contribution to the “night” supertext with his own works, paving the way that subsequently ensured the transition to a new type of imagery in poetry

In paragraph 43, ““Night” supertext in the poetry of Russian neo-romantics: cyclization of the theme, tendency towards standardization,” the “night” poetry of A. A. Golenishchev-Kutuzov, S. Ya. Nadson and K. N. Ldov is examined, and individual poems by K. K. Sluchevsky, N. M. Minsky are brought into analysis , DN Tsertelevaidr

Despite the existing differences in the creative style of the later classics, their “night” poetry has a number of similar features. Neo-romanticists create their own, artificially harmonized world, which little coincides with the real world, therefore night as a time of day in their poems already becomes a kind of conventional sign indicating the moment recreations by the author in

15 Ginzburg L Ya About the old and the new -P 7-8

26 Miroshnikova O V The final book in the poetry of the last third of the 19th century, architectonics and genre dynamics dissertation doctorate in sciences - Omsk, 2004 - C 24

text of a person’s special internal state. This attitude is associated with the initial certainty of the lyrical situation. Still remaining a situation of nightly reflection among neo-romantics, it ceases to have the spontaneity characteristic of classical poetry. Therefore, the transition of consciousness from the “day” state to the “night” state, as a rule, is recorded in late classics are still quite traditional in listening and peering into the world, intense attention to the movements of one’s own soul, noted in the smallest detail. However, feelings as a reaction to reality do not arise involuntarily in the hero, but are, as it were, “attached” to the situation from the very beginning, almost without changing even in the intensity of its manifestation Personal transformation and, accordingly, the hero’s emergence to a new level of understanding of the world in a different state of consciousness are often so unobvious that the author himself has to point out to the reader the changes that are taking place (Golenischev-Kutuzov “Within Four Walls”, etc.)

In their “night” poetry, the late classics seem to accumulate the experience of artistic discoveries of poets of the previous tradition, but use it, already turning it into a certain standard. Probably, in individual poems they created, one can find certain forms of “night” consciousness (psychological in Golenishchev-Kutuzov, existential in Nadson, religious-mystical in Ldov, mythological in Minsky), but the non-appearance, erasure of these forms, their contamination with others within the framework of the work of one artist do not allow us to draw a conclusion about any integrity in the attitude of any of these poets to the world

Thus, on the one hand, trying to remain in line with the classical tradition, the “eighties” artists simply doom themselves to cultivating “poetic banality” (the expression of E. V. Ermilova), on the other hand, focusing on the artistic experiences of their predecessors, they discover in their own creativity some the principles of “new” poetry turn out to be the connecting link between the classics and the poets of the next generation. Already in their “night” poetry there are works in which the connection of the metaphorical image to reality is almost destroyed and the prerequisites for new poetic imagery are ripening (Ldov “Day and Night”, Sluchevsky "Snow" etc.)

At the conclusion of the dissertation, the results of the research are summarized, general conclusions are drawn and prospects for further work are outlined.

Since the analyzed supertext is an open system in continuous development, it seems promising to trace the process of transformation of this typological unity in the literature of the 20th - early 21st centuries, as well as to identify the role of its constituent elements (archetypes, symbols, images, motifs, situations, etc.). ) within the framework of the above-mentioned artistic system

The main provisions of the dissertation research are reflected in the following publications:

1 Tikhomirova LN. Origins of the “night” supertext in Russian poetry / LN Tikhomirova // Bulletin of the Chelyabinsk State Pedagogical University scientific journal -2008 -№8 -С 226-234

2 Tikhomirova L. N. “Night” poetry as a supertext / L N. Tikhomirova // News of the Ural State University Ser 2, Humanities -2009 - No. 1/2(63) -S 137-143

P. Other publications:

3 Tikhomirova LN “Night” poetry of the second half of the 19th century to the formulation of the problem / LN Tikhomirova // Literature in the context of modernity materials of the II international scientific conference - Chelyabinsk CHITU, 2005 - Part I - C 109-111

4 Tikhomirova LN Opposition of night and day in the poetic world F I Tyutcheva / L N Tikhomirova // Culture - art - new education in methodology, theory and practice materials of the XXVI scientific - practical conference professional - teachers of the academic staff - Chelyabinsk ChGAKI, 2005 - C 134 -137

5 Tikhomirova LN Two elements of “night” poetry by A A Fet // Third Lazarev readings Traditional culture today theory and practice materials of the all-Russian scientific conference with international participation - Chelyabinsk-ChGAKI, 2006 - Part 2 - C 41-46

6 Tikhomirova LN Night as beauty in the poetic philosophy of A. A Feta / L N Tikhomirova // Culture - Art - Education new aspects of the synthesis of theory and practice materials of the XXVII scientific and practical conference of professional teachers of the academician - Chelyabinsk ChGAKI, 2006 - P 153 -156

7 Tikhomirova LN The theme of death in poetry GR Derzhavin contexts of literature and Orthodoxy / LN Tikhomirova // Orthodox culture in the Urals materials of scientific theologians of the conference with international participation of the IV Slavic Scientific Council “Ural Orthodoxy Culture” - Chelyabinsk ChGAKI, Department of Culture of Chelyabinsk , 2006 -P 370-374.

8 Tikhomirova LN The archetype of the starry sky as an expression of infinity / LN Tikhomirova // Orthodoxy in the Urals, historical aspect, the universality of the development and strengthening of writing and culture, materials of a symposium with international participation. V Slavic scientific council “Ural in the dialogue of cultures” - Chelyabinsk ChGAKI, Ministry of Culture Chelyab region, 2007. - Part 2 - pp. 84-90

9 Tikhomirova LN The image-symbol of “twilight” in the structure of the “night” supertext / LN Tikhomirova // Uzbekistan - Russia prospects for educational and cultural cooperation sb scientific tr - Tashkent National Library of Uzbekistan named after Alisher Navoi, 2008 - T 2 - C 205-210

10 Tikhomirova LN “Night” poetry of V A Zhukovsky in the context of the romantic tradition / L N Tikhomirova // Culture - art - education of no-

High aspects in the synthesis of theory and practice materials of the XXVIII scientific and practical conference professional teachers of the Academic Academy - Chelyabinsk ChGAKI, 2008 - C 182-185

P. Tikhomirova LN Artistic innovation of Edward Jung’s poem “The Complaint, or Night Thoughts about Life, Death and Immortality” / LN Tikhomirova // Culture and communication collection of materials Sh international scientific and practical conference - Chelyabinsk ChGAKI, 2008 - P - S 69-72

12 Tikhomirova LN The situation of insomnia in Russian poetry of the 19th century / L. N Tikhomirova // Problems of studying literature and folklore, historical, cultural and theoretical approaches Sat scientific tr - Chelyabinsk Publishing house "Eastern Gate", 2008 - Issue IX - P 25- 32

13 Tikhomirova LN “Night” poetry GP Kameneva / LN Tikhomirova // Culture - art - education new aspects in the synthesis of theory and practice materials of the XXVIII scientific-practical conference professional teachers of the academic staff - Chelyabinsk ChGAKI, 2009 -P 150-154

14 Tikhomirova LN To the question of some theoretical aspects of the problem of supertext of “night” poetry / LN Tikhomirova // Literature in the context of modernity Sat Mat IV international scientific method conference - Chelyabinsk Encyclopedia LLC, 2009 - P 90-94

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Chapter I. “Night” poetry as an artistic phenomenon.

1.1. The situation and mode of “night” consciousness.

1.2. To the origins of the “night” supertext: E. Jung’s poem “The Complaint, or Night Thoughts about Life, Death and Immortality.”

1.3. “Text of the night”: theoretical aspects of the concept.

Night poetry as supertext.

Chapter II. The genesis of the “night” supertext of Russian poetry.

2.1. Some prerequisites for the “text of the night” in Russian poetry of the 18th century.

2.2. Debut manifestation of “night” consciousness: lyrics by G. R. Derzhavin and M. N. Muravyov.

2.3. Pre-romantic aspect of the “night” poetry of S. S. Bobrov and

G. P. Kameneva.

Chapter III. Stages of formation of the supertext of “night” poetry (cl.Gassic period).

3.1. The religious and mystical nature of the “night” poetry of V. A. Zhukovsky

3.2. The role of poetic induction in “night” poetry of the 1820s - early

1830s (V.K. Kuchelbecker, A.S. Pushkin, S.P. Shevyrev).

3.3. The existential character of the “night” poetry of M. Yu. Lermontov.

3.4. The mythological aspect of “night” consciousness in the lyrics of F. I. Tyutchev

Chapter IV. “Night” poetry of the late classical period (1880-1890s).

4.1 The phenomenon of late classics: the experience of literary critical reception

4.2 Imagery-style model of “night” poetry by A. A. Fet.

4.3 “Night” supertext in the poetry of Russian neo-romantics: cyclization of the theme, tendency towards standardization.

Introduction of the dissertation 2010, abstract on philology, Tikhomirova, Lyudmila Nikolaevna

The relevance of research. The concept of “night poetry”, which is quite often found in literary works concerning various aspects of the work of many Russian and foreign authors, in our opinion, still remains terminologically unclear. Despite the fact that this artistic phenomenon c. Not only individual articles are already devoted to modern science of literature (V. N. Kasatkina, T. A. Lozhkova,

1 2 V.N. Toporov), but also entire scientific works (S. Yu. Khurumov), the theoretical aspect of the issue still remains insufficiently developed. We do not yet know of a single study in which the content of this concept would be clearly defined (it seems that the attempts of researchers to define “night” poetry as “lyrics of unclear, subtle, indefinable feelings, spontaneous emotional outbursts that defy logical definition”3, or as “a type of romantic philosophical lyrics”4, the situation does not change significantly), and also the boundaries and criteria for selecting the poetic material included in it are indicated. The typological features of “night” poetry as an integral artistic system with stable structural and content features have practically not been identified.

In addition, in a significant part of literary studies, the concepts of “night poetry” and “night theme” are not only not differentiated in any way, but also act as some kind of synonymous definitions of the same artistic phenomenon. So, for example, JI. O. Zayonts, characterizing in one of his articles the attitude of S. S. Bobrov’s contemporaries to his poems,

1 Kasatkina V. N. Tyutchev’s tradition in the “night” poetry of A. A. Fet and K. K. Sluchevsky // Questions of the development of Russian poetry of the XfX century: scientific. tr. - Kuibyshev, 1975. Volume 155. - P. 70-89; Lozhkova T. A. “Night” lyrics of M. Yu. Lermontov: traditions and innovation // Lermontov readings: materials of the zonal scientific conference. - Ekaterinburg: Intersectoral region. Center, 1999. - P. 33-41; Toporov V.N. “Text of the Night” in Russian poetry of the 18th - early 19th centuries // From the history of Russian literature. T. II: Russian literature of the second half of the 18th century: Research, materials, publications. M. N. Muravyov: Introduction to creative heritage. Book 11. - M.: Languages ​​of Slavic culture, 2003. - P. 157-228.

2 Khurumov S. Yu. “Night” “cemetery” English poetry in the perception of S. S. Bobrov: dis. .cand. fi-lol. Sci. - M.: Ross. 17m. univ., 1998. - 144 p.

3 Lozhkova T. A. “Night” lyrics by M. Yu. Lermontov: traditions and innovation. - P. 36.

4 Kasatkina V.N. Tyutchevsky tradition in the “night” poetry of A.A. Fet and K.K. Sluchevsky. - P. 75. notes: “The fact that to parody the most characteristic aspects of S. S. Bobrov’s work, his “night” poetry was chosen by his contemporaries (italics in quotes hereinafter are ours. - L. T.), is in itself indicative , although all the texts reflecting the “night” theme fit, in fact, into half a volume of the four-volume edition of his works “The Dawn of Fullness”.”5

A similar relationship of concepts can be seen in S.G. Semenova. “In European literature of modern times,” the researcher writes, “two cases of preoccupation with the night theme are especially noticeable: this is the great philosophical poem of the English poet Edward Young “Night Thoughts” and “Hymns for the Night” by Novalis.<.>Novalis's development of the night theme is more mystical in nature, while Jung's is more psychological.<.>The psychologism of Pushkin’s “night” things is of a special kind: morally feathered, elevating the soul from the everyday to the eternal questions of existence.”6

Both concepts appear almost on an equal footing in E. A. Maimin’s monograph “Russian Philosophical Poetry. Love-wise poets, A. S. Pushkin, F. I. Tyutchev.” Analyzing the poetic experiments of S.P. Shevyrev, the scientist concludes: “Shevyrev’s poems dedicated to the theme of night also belong to poetic successes.<.>The main semantic plan of Shevyrev’s “night” poems is connected with the world of the human soul.<.>“Night” poems by Shevyrev - and, of course, not only by Shevyrev - are largely psychological poems.”7

In some cases, the unclear definition of the substantive scope of the concept of “night poetry” even becomes the reason that works that are unusual for it begin to be included in the specified poetic community. For example, V. N. Kasatkina, considering this artistic phenomenon in the aspect of its evolution (“Tyutchev’s tradition in “night” poetry

5 Zayonts L. O. Jung in the poetic world of S. Bobrov // Uch. zap. Tartu State un-ta. Works on Russian and Slavic philology. The problem of typology of Russian literature. - Tartu, 1985. - Issue. 645. - P. 72.

6 Semenova S.G. Overcoming tragedy: “eternal questions” in literature. - M.: Sov. writer, 1989. - P. 45.

7 Maimin E. A. Russian philosophical poetry. Lover-wise poets, A. S. Pushkin, F. I. Tyutchev. - M.: Nauka, 1976.-S. 90-91.

A. A. Fet and K. K. Sluchevsky), notes: ““Night poetry”, associated with the sentimental-romantic tradition in the second half of the 19th century, develops in different directions, ... it is enriched with social content, merging with socio-political lyrics in the works of Nekrasov and the poets of his school, and appears in the form of a social elegy, a social meditative miniature, or even a lyrical and everyday sketch from nature with a symbolic image of the night as the Russian dark kingdom.” To support his point of view, the researcher cites quotes from the works of N. A. Nekrasov (“It’s stuffy without happiness and will.”) and F. I. Tyutchev (“Above this dark crowd.”, “You will be behind the fog for a long time.”), concluding: “In this case, “night poetry” turned into socio-political accusatory lyrics and entered the realistic mainstream of poetry of the 19th century or became very close to it.”9 It seems, however, that the affiliation of the poems referred to

V. N. Kasatkina, not only the structural-semantic model of “night poetry”, but also this thematic complex is very doubtful. The lyrical situation in them is connected with a totality of other experiences, not generated at night. The night appears here, rather, as a symbol of social disorder, painful anticipation of future changes, and not as an object of the hero’s intense thoughts.

The confusion of the concepts of “night” poetry and “night” theme continues to be observed in later works. So, in the dissertation research

S. Yu. Khurumova ““Night” “cemetery” English poetry in the perception of S. S. Bobrov” (1998) - the most voluminous scientific work on this issue in Russian literary criticism to date - the author comes to the conclusion: “Assimilation themes of “night” and “cemetery” became a symptom of a new emerging literary consciousness.”10 In other words, the semantic scope of the concept of “night” poetry, the task of identifying which

8 Kasatkina V.N. Tyutchevsky tradition in the “night” poetry of A.A. Fet and K.K. Sluchevsky. - P. 74.

9 Ibid. - P. 75.

10 Khurumov S. 10. “Night” “cemetery” English poetry in the perception of S. S. Bobrov. - P. 4. is emphasized in the work as a priority, practically reduced by scientists to the concept of “the theme of the night in poetry.”

In our opinion, there is no clear terminological distinction between the two above-mentioned concepts in the article by F. P. Fedorov “Night in the lyrics of F. I. Tyutchev” (2000). Rightly calling Tyutchev “one of the most “night” poets,” the author states: “It is absolutely obvious that the frequency of “night” poems in different periods of his work is uneven, that their fall means the simultaneous onset of “daytime” poems.<.>The poem “Urania” (1820) opens the night theme in Tyutchev’s work.”11 We believe, however, that the identification of the “night” theme as the main structure-forming criterion of “night” poetry is very controversial. In the overwhelming majority of works included by literary scholars in the substantive community that interests us, night appears rather as a factor generating a certain lyrical situation, and not as an object of artistic depiction. Thematically, the poems included in this poetic system can be very heterogeneous.

V. N. Toporov’s attempt to isolate the “text of “night”” from the context of Russian poetry of the 18th - early 19th centuries on the basis of including in this artistic unity only those works “that are called “Night” (. "Night &. ", etc.)" or have titles consisting of the word "night with various kinds of definitions

19 author's italics. - L.T.).” In the case of “the absence of a title (and sometimes even if there is one),” the scientist proposes to determine whether a particular work belongs to the system being identified “by the first verse.”13 With this principle of selecting artistic material, the “text of the night” that he identifies inevitably includes poems that cannot be unconditionally considered “night” (“Memories in Tsarskoe Selo” by A. S. Pushkin, “Borodi’s Field”

11 Fedorov F. P. Night in Tyutchev’s lyrics // Slavic readings. - Daugavpils-Rezekne, 2000. - Issue. 1. - P. 41.

12 Toporov V.N. From the history of Russian literature. - P. 209.

13 Ibid.-S. 210. on” by M. Yu. Lermontov and others), while many works remain outside its boundaries, whose belonging to this poetic complex is quite obvious (for example, a significant part of the “night” poems by F. I. Tyutchev). Realizing that the chosen classification criterion is unlikely to give an objective picture, V. N. Toporov, outlining the further path of searching for a unifying, typologizing principle, adds that “the “night” in poems with “night” titles is not exhausted by them: they are only gates, - most often - leading to the depicted “night.”14

Since none of the principles discussed above for combining “night” poems into a certain poetic community can be considered satisfactory, we believe that there must be another, more significant criterion that allows us to consider “night” poetry as a system of interconnected texts that has its own structural organization. In our opinion, such a criterion is a specific mode of consciousness (let’s call it “night”), the content potential of which forms in a person the need for a special kind of value self-determination and self-affirmation, which in turn is reflected in the poetic works that form the analyzed system. It should be noted that when introducing the concept of “night consciousness,” we mean only the so-called waking “night” consciousness, excluding from the range of states covered by this concept psychopathological conditions (not controlled by the individual and corrected only by special therapeutic influence) or qualitatively close to them, caused artificially and beyond the norm (drug / alcohol intoxication, hypnotic influence, sensory deprivation, etc.), as well as what belongs to the sphere of the unconscious (for example, dreams).

According to K. Jaspers, “the term “consciousness” designates, firstly, the actual experience of inner mental life (as opposed to purely

14 Ibid.-S. 210. external nature of the events that are the subject of biological research); secondly, this term indicates the dichotomy of subject and object (the subject deliberately “directs himself”, his attention to the object of his perception, imagination or thinking); thirdly, it denotes knowledge of one's own conscious self. Accordingly, the unconscious, firstly, denotes something that does not belong to actual internal experience and is not revealed as experience; secondly, the unconscious is understood as something that is not thought of as an object and remains unnoticed; thirdly, the unconscious knows nothing about itself.”15

Based on the above statement, we believe it is possible to join the point of view of those scientists who consider “night” consciousness as one of the modes of the “normal” state of human consciousness, since, from Jaspers’ point of view, it “in itself is capable of showing a wide variety of degree of clarity and semantic content and include the most heterogeneous contents.”16

Thus, the relevance of our chosen topic is determined by the insufficient degree of terminological understanding of its basic concepts, the urgent need to establish the boundaries of artistic material included in the concept of “night” poetry, and to identify the principles of its selection, which ultimately dictates the need to develop a theoretical model “ night" poetry. An urgent task also seems to be to discover the innovative role of Russian romantic poets of the 18th-19th centuries (including little-studied ones) in the formation and evolutionary development of the supertext of “night” poetry.

The object of the study is the “night” poems of Russian poets of the 18th - 19th centuries (M. V. Lomonosov, M. M. Kheraskov, G. R. Derzhavin, M. N. Muravyov, S. S. Bobrova, G. P. Kameneva , V. A. Zhukovsky, V. K. Kuchelbecker, A. S. Pushkin, S. P. Shevyrev, A. S. Khomyakov,

15 Jaspers K. General psychopathology. -M.: Praktika, 1997. - P. 36. (Italics in the author’s quote).

16 Ibid. - P. 38.

M. Yu. Lermontova, F. I. Tyutcheva, A. A. Fet, S. Ya. Nadson, A. N. Apukhtina,

A. A. Golenishchev-Kutuzov, K. N. Ldov, N. M. Minsky and others), analyzed in the context of the domestic and European romantic tradition.

The subject of research in the dissertation was the supertext of Russian “night” poetry as an open system of interconnected texts and the path of its evolutionary development from the first pre-romantic experiences of the last quarter of the 18th century to the works of the late romantics of the 1880-1890s.

The purpose of the work is to study the supertext of Russian “night” poetry in three interrelated aspects: evolutionary (genesis), structural-content (ontology) and figurative-style (poetics).

Achieving this goal is associated with setting and solving the following tasks:

Clarification of the concept of “night poetry”, identification of its typological features, description of this super-textual unity as a structural and content model;

Establishing the origins of the “night” supertext in Russian poetry of the late 18th and early 19th centuries (the era of pre-romanticism);

Identification of the natural stages of the formation and formation of the classical version of the “night” supertext in the poetry of Russian romanticism, taking into account the specific forms of manifestation of the “night” consciousness;

Determining the place and role of poets (including little-studied ones) belonging to the period of “late classics”, or neo-romanticism of the late 19th century, in the evolutionary development of the supertext of Russian “night” poetry.

The theoretical basis of the dissertation was based on the works of Russian and foreign philosophers (N. A. Berdyaev, I. A. Ilyin, A. F. Losev, N. O. Lossky,

V. N. Lossky, V. V. Rozanov, V. S. Solovyov, E. N. Trubetskoy, P. A. Florensky, G. A. Florovsky, F. Nietzsche, O. Spengler), including those dedicated to comprehension the phenomenon of consciousness and the principles of working with it (M.K. Mamardashvili, V.V. Nalimov, V.M. Pivoev, L. Svendsen, Ch. Tart,

K. Jaspers); literary studies on the theory of romanticism (N. Ya. Berkovsky, V. V. Vanslov, V. M. Zhirmunsky), theoretical and historical poetics (S. S. Averintsev, S. N. Broitman, V. I. Tyupa), theory supertext (N. E. Mednis, V. N. Toporov, etc.), lyrical metagenre (R. S. Spivak, S. I. Ermolenko), works devoted to the work of individual Russian romantics and particular issues of analysis of poetic text (JI. Y. Ginzburg, E. V. Ermilova, P. R. Zaborov, J. I. O. Zayonts, Yu. M. Lotman, E. A. Maimin, O. V. Miroshnikova, A. N. Pashkurov, I. M. Semenko and others).

The methodological basis of the dissertation is a combination of a structural-typological approach with the principles of historical, literary and phenomenological research.

The scientific novelty of the dissertation lies in the consideration of “night” poetry as an artistic system in its integrity and dynamics. For the first time, the basis for identifying the “night” supertext as a structure-forming criterion is one of the modes of consciousness - “night” consciousness. The approach taken allows us to take a fresh look at the problem of the typological convergence of artists, make adjustments to the designation of the origins of the Russian supertext of “night” poetry, specify its boundaries, establishing clearer principles for the selection of works included in it, and also determine the contribution of Russian poets of the 18th-19th centuries (in including little-studied ones) into the supertext of “night” poetry.

Provisions for defense:

1. “Night” poetry in the Russian romantic tradition is a systemic community of works that took shape during the 18th-19th centuries, the integrity of which is ensured not only by the textual denotation “night”, but also by a special mode of human consciousness (“night” consciousness), which determines the attitude of the author to reality and the way of comprehending and reflecting it. Composed of many subordinate subtexts that form a single semantic field, “night” poetry acts as a kind of synthetic supertext,” thanks to which a “breakthrough into the sphere of the symbolic and providential” is made.17

2. Along with the traditionally distinguished types of supertexts - “urban” and “nominal (personal)” (terminology by N. E. Mednis),18 - other types of supertextual unities can be found in the literature. The supertext of “night” poetry acts as an open system of interconnected texts (with its own thematic center and periphery), formed within the boundaries of the paradigm of “night” consciousness, which ensures the integrity of this system through the commonality of the text-generating situation, the typological similarity of aesthetic modes of artistry (the author’s ideological and emotional assessment) .

3. The supertext of “night” poetry in Russia begins to take shape under the influence of European Jungianism at the end of the 18th century, when artists discovered new principles for depicting the inner world of man. Finding themselves at the origins of the supertext of “night” poetry, Russian pre-romanticists (M. N. Muravyov, S. S. Bobrov, G. P. Kamenev, etc.) set the main vector of its development, outlining the paths of creative quest for the subsequent generation of poets.

4. From the moment a new paradigm of artistry appeared in the literary consciousness - the paradigm of creativity - a supertext of “night” poetry began to intensively form in Russian literature, in which, over the course of a century and a half, the experiences of manifestation of “night” consciousness in various forms were reflected: religious and mystical (B A. Zhukovsky), psychological (A. S. Pushkin), existential (M. Yu. Lermontov), ​​mythological (F. I. Tyutchev), each of which carries out in its own way a poetic reflection of a person’s relationship to the world.

17 Toporov V. N. Myth. Ritual. Symbol. Image. Studies in the field of mythopoetic: Selected. - M.: Progress - Culture, 1995. - P. 6.

18 Mednis N. E. Supertexts in Russian literature. - Novosibirsk: Novosibirsk Publishing House. state ped. University, 2003. -S. 6.

5. “Night” poetry of the 1880-1890s is characterized by the presence of two opposing trends. On the one hand, remaining generally in line with the classical romantic tradition, it ensures a transition to a new type of imagery in poetry - non-classical, and on the other hand, the loss of integrity at different levels of the lyrical text leads to the fact that the function of the beginning, uniting a given complex of poems into a certain system, at the end of the 19th century the theme of the nocturnal state of man took over. The specificity of the theme determines the stereotypical nature of the lyrical situation, repetition and “stability of micro-images and emotional structure,”19 which, following E. M. Taboriskaya, “allows us to talk about the special phenomenon of the thematic genreoid.”20

The theoretical significance of the study lies in establishing the structural and content model of “night” poetry based on the specific situation of night consciousness, in understanding the value-ontological parameters of the “night” supertext, their correlation with the romantic paradigm of artistry.

The practical value of the study lies in the fact that its results and conclusions can be used in the development of basic university courses on the history and theory of literature, special courses on the problems of poetry of the 18th-19th centuries and methods of literary analysis of poetic text, in the practice of school teaching.

Approbation of work. The main provisions and conclusions of the dissertation were presented in reports and discussed at theoretical seminars of the Department of Literature and Russian Language of the Chelyabinsk State Academy of Culture and Arts (2006-2009), the Department of Russian Literature of the Ural State University. A. M. Gorky (2008, 2009). Certain fragments and ideas of the study received coverage and were discussed at conferences of various levels: international “Literature in the context of modernity” (Chelya

19 Taboriskaya E. M. “Insomnia” in Russian lyrics (to the problem of the thematic genre) // “Studia metrica et poetica”. In memory of P. A. Rudnev. - St. Petersburg: Academ, project, 1999. - P. 224-225.

20 Ibid.-S. 225. Binsk, 2005, 2009); “Culture and Communication” (Chelyabinsk, 2008); “Language and Culture” (Chelyabinsk, 2008); IV Slavic Scientific Council “Ural. Orthodoxy. Culture" (Chelyabinsk, 2006); V Slavic Scientific Council “The Urals in the Dialogue of Cultures” (Chelyabinsk, 2007); All-Russian scientific conference with international participation Third Lazarev Readings “Traditional Culture Today: Theory and Practice” (Chelyabinsk, 2006); final scientific conferences of the Chelyabinsk State Academy of Culture and Arts (2005 -2009).

Work structure. The dissertation consists of an introduction, four chapters divided into paragraphs, a conclusion and a list of references containing 251 titles.

Conclusion of scientific work dissertation on the topic ""Night" poetry in the Russian romantic tradition: genesis, ontology, poetics"

CONCLUSION

As a result of the research conducted in this dissertation, the following conclusions were drawn:

1. The tradition of turning to a certain natural phenomenon (in our case, the night) as a certain sign indicates, first of all, that, having acquired the qualities of a symbol, it becomes a code capable of giving the initiate access to previously encrypted information and thereby ensuring a transition from unstable “the world of chance” into a stable “world of causes and effects”, where it can exist more or less stably. Since the textualization of the night is, in a sense, a “product” of the work of human consciousness in mastering a space that is initially alien to him and consolidating the results obtained in the symbols, concepts and categories of human language, it is logical to consider “night” poetry as a special form of conveying the experience of people mastering a certain the irrational part of the world, the way of its axiological interpretation and man’s attempt to self-determinate in it. Reflecting over a long period of time the same natural phenomenon in its unity and dynamics, “night” poetry each time models the world in a new way, consolidating in the word a certain emotional and value-based attitude of a person towards it.

2. The emergence of a “night” state of consciousness is associated with a person’s passage through a certain non-standard situation, exploding the internal harmony of the individual, but at the same time revealing the multidimensionality of the world, which cannot be comprehended, guided only by common sense, and - in connection with this - with a decrease in his mental the status of rational elements and the growth of irrational elements. Under the influence of a number of reasons (darkness at night, silence, loneliness, emotional imbalance of the psyche, etc.), a person’s experiences caused by these circumstances become so aggravated that they can completely capture his consciousness. In this case, according to N. O. Lossky, these experiences become “experience, because they are not reduced only to subjective feelings, but are aimed at something absolutely different from mental life.”1 Intense night comprehension of what is happening and the acquisition of personal spiritual experience transforms emotional experiences of a person into a certain state of consciousness, the results of the manifestation of which are recorded in the works of supertext of “night” poetry. "

3. The basis of the artistic ontology of the supertext of “night” poetry is the situation of night reflection, which determines not only a wide range of problems that fall into the field of comprehension of the person who finds himself in it and the way the author presents them to the reader, but also the unity of the semantic setting of the works included in this artistic community (breaking through one’s own personal capsule and emerging in a qualitatively different state of consciousness to a completely new level of understanding of the world and, more broadly, the universe), their characteristic emotional atmosphere (an atmosphere of a certain vital numbness, slowing down and even stopping time, through which one touches the world’s secret ), the similarity of the internal structure (states of restlessness, emotional imbalance, instability of mental balance) and a special semiotic space, the elements (signs) of which “in sum and interaction constitute that integral interpretative code that sets the strategy for building and perceiving”2 the information contained in it.

4. The birth of the phenomenon of “night” poetry is associated with the transition of literature from the “traditionalist type” of artistic consciousness to the “individual-creative” consciousness (terminology of A. V. Mikhailov). The debut “night” work in European literature was the poem by the Englishman Edward Young “A Complaint, or Night Thoughts on Life, Death and Immortality” (1742 - 1745). For Jung, night becomes the factor that activates the irrational component of the human psyche and gives rise to a special state of consciousness in which the soul reveals its involvement in two worlds at once.

1 Lossky N. O. Sensual, intellectual and mystical intuition. - P. 187.

2 Mednis N. E. Supertexts in Russian literature. - P. 131. realities: “to the non-existence from which it is called, and to the fullness of being.”3 The main merit of the English poet was the consolidation in poetry of the experience of the manifestation of “night” consciousness, which later became the organizing principle of a large text structure - “night” poetry" - which forever inscribed Jung’s name in the history of world literature.

5. Despite the fact that in Russian literature until the last third of the 18th century, original works related to the thematic complex of night, although in very limited quantities, still appear (poems by M. V. Lomonosov, M. M. Kheraskov), they created according to rationalistic canons and subject to different aesthetic guidelines than the works of the “night” supertext, therefore they inevitably find themselves outside the boundaries of this typological unity. The supertext of Russian “night” poetry begins to take shape only at the end of the 18th century, when artists discovered new principles for depicting the inner world of man, already embodied in Jung’s poem. The first Russian poet to show that the situation that initiates night reflection can have different (both positive and negative) connotations, and therefore, the attitudes of the consciousness that perceives it can also be different, was M. N. Muravyov, whose poem “Night” (1776, 1785) and “The Unknown of Life” (1775, 1802), reflect the life of the “night” consciousness, but are directly opposite in type to the dominant artistic modality.

6. In the poetic experiments of Bobrov and Kamenev, for the first time in Russian poetry, the presence of “night” consciousness was not only indicated as a certain area of ​​spiritual life with a significant originality, but also the mystical form of its existence was discovered and recorded. The identification of the mode of “night” consciousness and the discovery of a special way of its existence and implementation testified to a change in artistic and,

3 Trubetskoy E. N. The meaning of life. - P. 122. broader, ideological guidelines: literature was looking for new ways to convey spiritual life and increasingly served the self-expression of the author.

7. By the middle of the 19th century, the supertext of “night” poetry finally acquired its typological features. At this time, in “night” poetry, as in all Russian lyric poetry, there is an intensive process of deepening the original principle of the classics - orientation towards a specific and finite-dimensional beginning (including the “individually lyrical event”),4 which is expressed not only through the appearance many original poems, based on the author’s vision of the world, developing the situation of night reflection, but also through those forms of “night” consciousness (religious-mystical, psychological, existential, mythological) that are reflected in these poems.

8. The “eighties” poets turn out to be a connecting link between the classics and the artists of the subsequent generation. On the one hand, trying to remain in line with the classical tradition, they simply doom themselves to the cultivation of “poetic banality” (the expression of E.V. Ermilova), on the other hand, focusing on the artistic experiences of their predecessors, they discover in their own creativity some principles of “new” poetry . Already in their “night” poetry there are works in which the connection of the metaphorical image to reality is almost destroyed and the prerequisites for new poetic imagery are ripening.

The research carried out and the conclusions made during it allow us to outline the prospects for further work on the stated topic.

Firstly, since in this dissertation it was established that, in addition to the so-called “local” (Moscow, St. Petersburg, Venetian, Florentine, etc.) and “personal” (Pushkin, Shakespeare, Bulgakov, etc.) (typology N. E. Mednis) supertexts, in literature there are other types of typological unities (for example, “night”

4 Broitman S.N. Russian lyrics of the 19th - early 20th centuries in the light of historical poetics. - pp. 171-172. poetic supertext), we believe that one of the promising areas of literary science is their further identification and study.

Secondly, since our research was devoted only to the supertext of “night” poetry and the area of ​​scientific interests was limited to the identification and analysis of the poetic works that form it, it is logical to assume that in the future it is possible to expand the object of study and include issues related to prosaic “ night" supertext.

Thirdly, since the analyzed supertext is an open system in continuous development, and our scientific work concerned only the “night” poetry of the classical period (romantic tradition), we think that in the future it would be possible to trace the process of formation of this supertext in literature XX - early XXI centuries, explore intertextual connections in the works of artists of different eras.

Fourthly, we believe it is possible to take a more detailed look at the various elements of the “night” poetic (prosaic) supertext (archetypes, symbols, signs, images, motifs, situations, etc.), identify their role within the framework of the above-mentioned artistic system, and resolve issues associated with their modification at various stages of the formation of a given system; We also consider the study of genre varieties of “night” poetry to be promising.

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The emergence of the theme of “night” in Russian poetry is connected, according to researcher V.N. Toporov, with the name of the 18th century writer M.N. Muravyov, who first published 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, since “his thoughts are drawn to pleasant silence.” He rejoices at the night, which brought him “solitude, silence and love.”

The image of the night and the nocturnal thoughts and feelings it stimulates are reflected in many beautiful poems by Russian poets. Although all poets have their own perception of the night. It can be noted that basically the 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, S. P. Shevyrev, 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, remembered his tragic love, reflected on the hardships of life, progress, beauty, art, “poverty of words,” 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. Fet’s image of the night is close in meaning to the image of the night in Polonsky, who was also often overcome by secret night thoughts,” note researchers of the poet’s work. Analyzing the poem “Night” by Polonsky, critic V. Fridlyand stated that “it is not inferior to the best creations of Tyutchev and Fet. Polonsky in it is like 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 cast down their gaze, 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, night is also a desirable time, a time of blossoming love and testing passion, and is also beneficial for awakening memories. In the poem “Night,” according to literary critic V. Fridlyand, “The poet’s emotional excitement is conveyed using a series of ellipses and exclamation marks. It’s as if he is looking for the right word that would convey to the reader the fullness of the feelings that surged over him from the memories. For Sluchevsky, night is like that and 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 nocturnal thoughts and feelings prompted by it are reflected in many beautiful poems of Russian poets. Although all poets have their own perception of the night, it can be noted 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 accessible to everything beautiful and when it is especially unprotected and anxious, anticipating future adversity. Hence the numerous epithets that help to see the night as only this poet saw it.

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

The holy night has risen into the sky,

And a joyful day, a kind day,

She wove like a golden shroud,

A veil thrown over the abyss.

And like a vision, the outside world left...

And the man is like a homeless orphan,

Now he stands weak and naked,

Face to face before a dark abyss.

He will be abandoned to himself -

The mind is abolished and thought is orphaned -

In my soul, as in an abyss, I am immersed,

And there is no outside support, no limit...

And it seems like a long-ago dream

Now everything is bright and alive for him...

He recognizes the family heritage.

The basis of the universe, the stirring chaos, is terrible for a person because at night he is “homeless”, “weak”, “naked”, his “mind is abolished”, “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 lurks in his soul. The little things of the material world will not save a person in the face of the elements. The night reveals to him the true face of the universe, contemplating the terrible stirring chaos, he discovers the latter within himself. Chaos, the basis of the universe, is in the human soul, in his consciousness.

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

I am immersed in my soul, as if in an abyss, -

the line is maximally saturated with voiced sounds. The word “abyss” carries the greatest semantic load. It connects the supposedly external chaotic night principle and the internal human subconscious, their kinship and even in depth unity and complete identification.

And in the alien, unsolved, night

He recognizes the family heritage.

The last two lines are emphasized simultaneously on both rhythmic and sound levels. They certainly increase the tension of the compositional conclusion, echoing the line:

I am immersed in my soul, as if in an abyss...

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

We can only agree with the opinion of experts: “The extreme concentration of voiced sounds against the background of minimized voiceless sounds quite sharply accentuates the last two lines of the poem. At the rhythmic level, this pair of lines stands out from the stanza written in iambic pentameter. They form a semantic tension around themselves: chaos is akin to man , he is the progenitor, the fundamental principle of the world and man, who longs to unite with a related principle into a harmonious whole, but is also afraid to merge with the infinite."

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

Let's look at another poem by F.I. Tyutcheva:

The hazy afternoon lazily breathes,

The river rolls lazily

And in the fiery and pure firmament

The clouds are lazily melting.

And all nature, like fog,

A hot drowsiness envelops,

And now the great Pan himself

First of all, the conspicuous external “laziness” of the poetic world of the poem attracts attention. The word of the state category “lazy” is intensely emphasized: it is used three times in the first stanza of the poem. At the same time, even repeating it three times itself unfolds in the imagination an extremely dynamic, not at all “lazy” picture. Through the external “laziness” colossal internal tension and rhythmic and intonation dynamics are revealed.

The artistic world of the poem is full of movements and internally contradictory. Thus, in the first stanza, “lazy” occurs three times, correlates with grammatical basics: “noon breathes,” “the river rolls,” and “the clouds are melting.” And in the second, this part of speech is used only once - this is the adverb “quietly”. It correlates with the predicative center “Pan is dozing”. There is a very strong contradiction here: behind Pan there is stirring chaos, causing panic. In the slumber of panic horror, dynamics on a cosmic scale are obvious.

On the one hand, “Hazy Afternoon” is concrete nature, these are clouds, a river, fog, which are completely concretely sensual. On the other hand, nature is the “cave of nymphs” and the slumbering Pan. “Hazy noon” turns into “great Pan”; “hazy noon” is “great Pan” himself. This turnover is combined with the irreducibility of the whole to either one or the other. The dialectical unity of the existence of the “hazy noon” and the “great Pan” in its irreducibility to one specific meaning represents a symbolic reality. “Hazy Afternoon” in itself is “a contradictory clot of meanings, very powerfully energetically charged, where chaos, the dark and true basis of the universe, and the peace that covers this terrible teeming chaos play and turn into each other, and make the latter plausible. Like the dormant “Pan is basically an impossible combination, but, nevertheless, realized in a poetic text, a clot of contradictions that accumulates a lot of meanings around itself.”

In the last two lines we read:

And now the great Pan himself

In the cave the nymphs are sleeping 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 distinctiveness of “hazy noon” and “great Pan” is also confirmed at the rhythmic level. Throughout the poem, these lines stand out from the general rhythmic structure: “The hazy afternoon lazily breathes” and “And now the great Pan himself / In the cave of the nymphs is calmly dozing.” These lines are the only ones with full stress.

“Hazy Afternoon” is extremely focused on the sound level: the concentration of voiced and sonorant sounds, there are more of them in the first stanza than in the second. In the second stanza, the only line where the deaf ones prevail over the voiced ones is: “And now the great Pan himself.” The sound emphasis of “the great Pan” intensifies, as it follows the line: “A hot slumber embraces,” which is maximally saturated with voiced consonants.

“Hazy Afternoon” and “Great Pan” turning into 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 poet feels the teeming and raging discord between night and day, chaos and space, the world and man extremely acutely; he feels on a cosmic scale the fear of a person who has lost the original harmony, the original unity with the world that now seems hostile and threatening to him. And the poet can only write about this, creating a meaning-generating reality of connections between disconnected parts of the world: they find themselves in communication with each other in the artistic reality of a poetic work. “With his creativity, the poet solves the problem of tragic disharmony - he can restore lost harmony, or at least clarify disharmony in the light of harmonious thought and ideal,” emphasizes V.N. Kasatkina.

So, 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 things, the reality of the original unity of opposite principles: light and darkness, sky and earth, “visible” and “invisible,” material and immaterial. The night appears in Tyutchev's lyrics in an individual, unique stylistic refraction.