Message on the topic of the main motives of Tyutchev's lyrics. Tyutchev did not love Russia with the love that Lermontov called for some reason "strange"

Lesson 2. Topic: Stages of the biography and creativity of F.I. Tyutchev. The main themes and motives of the lyrics Grade 10

Target: to acquaint students with the biography of F. I. Tyutchev and its reflection in poetic works.

Tasks:

Show the meaning of Tyutchev's work, identify the main themes and motifs of the lyrics.

To develop the skills of comparative analysis, independence of judgment, creative abilities of students.

Raise interest in the life and work of F.I. Tyutchev, the study of art.

Lesson type: learning new material.

During the classes

1. Organizational moment.

2. Learning new material.

Introductory speech of the teacher about the goals and objectives of the lesson.

“Stages of the biography and creativity of F.I. Tyutchev. The main themes and motifs of the lyrics ”(recording the date and topic of the lesson in a notebook).

This year (in November) marks the 205th anniversary of the birth of F.I. Tyutchev.

Tyutchev ... created speeches that are not destined to die. I.S. Turgenev

…for Tyutchev to live means to think. I.S. Aksakov

Look what wonderful words were said about Fyodor Ivanovich Tyutchev

(recording one epigraph in a notebook).

You have known Tyutchev's poetry since elementary school. What do you know about this poet?

What verses were taught, read?

What is this poet talking about?

So, this is basically the poet's landscape lyrics. And today at the lesson we are not only

we will get acquainted with the biography of the poet, but also read the poems and understand that the main thing is

Tyutchev is not an image of nature, but its comprehension, i.e. natural philosophical lyrics.

Tyutchev, new to you, will appear before you, that is, poems about love, about the Motherland, philosophical lyrics will be heard.

At the end of the lesson, we will conclude:

What are the main themes and motifs of Tyutchev's lyrics?

Prepare to fill in the chronological table “dates - events”.

(A pre-prepared student reads the message “The Life and Work of F.I. Tyutchev”, the rest of the students write down dates and events from the screen in a table).

3. Synopsis of the writer's biography.

Fedor Ivanovich Tyutchev was born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, into a well-born noble family of average income. Fyodor Ivanovich was the second, younger son of Ivan Nikolaevich and Ekaterina Lvovna Tyutchev. Father Ivan Nikolaevich did not aspire to a service career, he was a hospitable and kind-hearted landowner.

Fyodor Ivanovich Tyutchev both in appearance (he was thin and short) and in his inner spiritual order was the complete opposite of his father; they had one thing in common. On the other hand, he was extremely like his mother, Ekaterina Lvovna, a woman of remarkable intelligence.

The Tyutchevs' house did not stand out in any way from the general type of Moscow boyar houses - open, hospitable, willingly visited by numerous relatives and Moscow society.

In this completely Russian Tyutchev family, French prevailed and almost dominated, so that not only all conversations, but also all correspondence between parents and children and between children was conducted in French.

From the very first years, Fedor Ivanovich was the favorite and darling of grandmother Osterman, mother and everyone around. Thanks to his mental abilities, he studied unusually successfully. .

Tyutchev's parents spared nothing for the education of their son, and in the tenth year of his life they invited Semyon Yegorovich Raich to be his teacher. The choice was the best. A learned man and at the same time quite literary, an excellent connoisseur of classical ancient and foreign literature. Semyon Yegorovich stayed in the house of the Tyutchevs for seven years. Under the influence of the teacher, the future poet joined the literary work early and soon became the pride of the teacher. Already at the age of 14, Tyutchev translated into verse the message of Horace to the Maecenas, which was first published in 1819 .

Tyutchev was to spend 22 years abroad.

The student recites the poem “She stood silently before me…”

There was a fire on the Nikolai steamship, on which Eleanor and her three daughters were returning from Russia to Italy. Eleanor showed courage in saving her daughters. After a nervous and physical shock, Tyutchev's wife dies. According to family tradition, "Tyutchev, after spending the night at the tomb of his wife, turned gray with grief."

The student recites the poem “I strove for you with my soul ...”

Abroad, he lived outside the Russian language element, moreover, both of the poet's wives were foreigners who knew the Russian language.

French was the language of his home, his service, his social circle, and finally, his journalistic articles and private correspondence, only poetry was written in Russian.

As a poet, Tyutchev developed by the end of the 20s. A significant event in the literary fate of Fyodor Ivanovich was the publication of a large selection of his poems in Pushkin's Sovremennik in 1836 under the heading "Poems sent from Germany" with the signature "F.T."

After this publication, Tyutchev was noticed in literary circles, but Tyutchev's name was still unknown to readers.

In 1839 Tyutchev married Ernestine Dernberg (née Baroness Pfeffel).

Before you is a portrait of Ernestine Dernberg.

In moments of great joy and at a time of deep despair, the faithful Nesti bowed at the head of the poet, sick in spirit and body. So called Ernestina Tyutchev. One day he found her sitting on the floor, her eyes full of tears. The letters they wrote to each other were scattered around. Almost mechanically, she took them from the packs one by one, ran her eyes through the lines of love and confessions, and just as mechanically, like a wound up mechanical doll, threw thin sheets yellowed with age into the fire of the fireplace. Thus was born the poem “She was sitting on the floor…”

The student recites the poem “She was sitting on the floor…”

In 1844, Tyutchev and his family permanently moved to Russia.

He lived in St. Petersburg, had extraordinary success in high society, conquering everyone with his refined conversation and brilliant wit. Few people knew that the favorite of the St. Petersburg salons "under the influence of great political and social upheavals ... was an inspired prophet."

At this time, Tyutchev almost did not write poetry: in the fall of 1849, he began to create a large historical and philosophical treatise in French, Russia and the West. This work remained unfinished.

When Tyutchev was 47 years old, a love affair began that enriched Russian poetry with an immortal lyrical cycle. The Denisiev cycle is the pinnacle of Tyutchev's love lyrics, 24-year-old Elena Alexandrovna Denisyeva studied at the Smolensk Institute with Tyutchev's daughters. They fell in love and for 14 years were connected by civil ties and two children.

4. The main themes and motives of the lyrics. Teacher's word.

Tyutchev's poetry belongs to the enduring values ​​of the literature of the past, which today enrich the spiritual culture of every person. Tyutchev's work attracted the attention of many prominent writers, thinkers, scientists, but so far it has remained insufficiently studied and understood. Many opposite opinions have been expressed about Tyutchev's work: they admired him, they did not perceive him. Everyone will have to develop their own point of view on his work. But one cannot imagine his poetry without the lyrics of nature.

The fate of Tyutchev, the poet, is unusual: this is the fate of the last Russian romantic poet, who worked in the era of the triumph of realism and still remained faithful to the precepts of romantic art.

Tyutchev's romanticism affects, first of all, in the understanding and depiction of nature. And the poet entered the consciousness of readers, first of all, as a singer of nature.

The predominance of landscapes is one of the hallmarks of his lyrics. It is more correct to call it landscape-philosophical: the pictures of nature embody the deep, intense tragic thoughts of the poet about life and death, about man, humanity and the universe: what place does Man occupy in the world and what is his Fate.

Tyutchev uniquely captured all four seasons in his poems.

The student recites the poem "Fountain".

A person's thoughts about the meaning of being, the focus of the individual on himself, the tragic pages of life and at the same time the optimism of its perception - such is the content of most of Tyutchev's poetry.

The theme of the loneliness of modern man gets a tragic sound, most deeply revealed in the poem with the Latin name “Silentium”.

Pupils recite poems “Silentium”, “Shadows of gray mixed ...”

By the time Tyutchev returned to Russia, the formation of the political views of the writer, set out in three articles - "Russia and Germany", "Russia and the Revolution", "The Papacy and the Roman Question" had been completed.

In Russia, he sees a great empire, a confessor of the Christian faith in its Orthodox being. Significant changes are also taking place in Tyutchev's poetic work: the chaos of passions is gradually pacified. In mature works, an exit to the Orthodox faith is planned, designed to save the modern egoistic personality from spiritual devastation and self-destruction.

At the same time, in the lyrics of the late Tyutchev, a poetic discovery of folk Russia is made.

Thus, Tyutchev includes everything in the structure of his universe: Light, Chaos, Cosmos, nature, time, man, history, spiritual life.

5. Generalizations and conclusions.

What are the main themes and motifs of Tyutchev's lyrics:

• poet and poetry

  spiritual crisis of the modern generation

  freedom and happiness

  Christian motives.

6. Homework: memorize 2 poems.

7. Summing up. Grading.

The main themes and motifs of Tyutchev's lyrics

The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative legacy to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy worked. Contemporaries considered Tyutchev the smartest, most educated person of his time, they called him "a real European." From the age of eighteen, the poet lived and studied in Europe, and in his homeland his works became known only in the early 50s of the XIX century.

A distinctive feature of Tyutchev's lyrics was that the poet did not seek to remake life, but tried to understand its secrets, its innermost meaning. That is why most of his poems are permeated with philosophical thoughts about the mystery of the Universe, about the connection of the human soul with the cosmos.

In Tyutchev's lyrics, philosophical, civil, landscape and love motifs can be distinguished. But in each poem, these themes are closely intertwined, turning into a work of surprisingly deep meaning.

The poems "December 14, 1825", "Above this dark crowd ...", "The Last Cataclysm" can be attributed to civil lyrics. Tyutchev witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and others. As a state-minded person, Tyutchev could compare and draw conclusions about the development paths of different countries.

In the poem "December 14, 1825", dedicated to the Decembrist uprising, the poet angrily denounces the autocracy, which corrupted the ruling elite of Russia:

The people, shunning treachery,

Swears your names -

And your memory is from posterity,

Like a corpse in the ground, buried.

The poem "Over this dark crowd ..." reminds us of Pushkin's freedom-loving lyrics. In it, Tyutchev is indignant at the "corruption of souls and emptiness" in the state and expresses hope for a better future:

…Will you rise when, Freedom,

Will your golden beam shine?

The poem "Our Age" refers to philosophical lyrics. In it, the poet reflects on the state of the soul of a contemporary person. There is a lot of strength in the soul, but it is forced to remain silent in the conditions of lack of freedom:

Not the flesh, but the spirit has become corrupted in our days,

And the man is desperately longing ...

He rushes to the light from the night shadow

And, having found the light, grumbles and rebels.

According to the poet, a person has lost faith, without the light of which the soul is "dried", and his torment is unbearable. In many poems, the idea is heard that a person has not coped with the mission entrusted to him on Earth and that Chaos should swallow him up.

Tyutchev's landscape lyrics are filled with philosophical content. The poet says that nature is wise and eternal, it exists independently of man. Meanwhile, it is only in her that he draws strength for life:

So connected, united from the ages

union of consanguinity

Intelligent human genius

With the creative power of nature.

Tyutchev's poems about spring "Spring Waters" and "Spring Thunderstorm" became very famous and popular. The poet describes the stormy spring, the revival and joy of the emerging world. Spring makes him think about the future. The poet perceives autumn as a time of sadness, withering. It sets you up for reflection, peace and farewell to nature:

Is in the autumn of the original

Short but wonderful time -

The whole day stands as if crystal,

And radiant evenings.

From autumn, the poet moves immediately to eternity:

And there, in solemn peace

Undressed in the morning

Shining white mountain

Like an unearthly revelation.

Tyutchev was very fond of autumn, it’s not for nothing that he says about it: “Long, last, charm.”

In the poet's love lyrics, the landscape is often connected with the feelings of the hero in love. So, in the wonderful poem "I met you ..." we read:

Like late autumn sometimes

There are days, there are hours

When it suddenly blows in the spring

And something stirs in us.

The masterpieces of Tyutchev's love lyrics include the "Denisyev cycle", dedicated to his beloved E. A. Denisyeva, with whom relations lasted 14 years until her death. In this cycle, the poet describes in detail the stages of their acquaintance and subsequent life. Poems are a confession, like a personal diary of the poet. The last poems written on the death of a loved one are shaking with tragedy:

You loved, and the way you love -

No, nobody has succeeded yet!

Oh Lord! .. and survive this ...

And the heart was not torn to shreds ...

Tyutchev's lyrics have rightfully entered the golden fund of Russian poetry. It is full of philosophical thoughts and is distinguished by the perfection of form. Interest in the study of the human soul made Tyutchev's lyrics immortal.

Budgetary educational institution of additional professional education (advanced training) of specialists "Chuvash Republican Institute of Education"

Ministry of Education of Chuvashia

Department of Russian Language and Literature

Course work

“The main themes and ideas of the lyrics of F.I. Tyutchev"

Performed:
Vishnyakova T. M.

Teacher of Russian language and literature MAOU
Lyceum No. 3, Cheboksary

Supervisor:

Nikiforova V.N.,

Associate Professor of the Department

Cheboksary 2011

Introduction 3

Chapter 1. Biography of the Russian poet F.I. Tyutcheva 4

Chapter 2. The main themes and ideas of F.I. Tyutcheva 13

Landscape lyrics by F. I. Tyutchev 13

Philosophical motives in the poetry of F. I. Tyutchev 22

F.I. Tyutchev's poems about love 25

Conclusion 30

References 31

Introduction

The outstanding Russian lyric poet Fyodor Ivanovich Tyutchev was in all respects the opposite of his contemporary and almost the same age as Pushkin. If Pushkin received a very deep and fair title of "the sun of Russian poetry", then Tyutchev is a night poet. Although Pushkin published in his Sovremennik in the last year of his life a large selection of poems by the then unknown poet, who was in the diplomatic service in Germany, he was unlikely to like them very much. Although there were such masterpieces as "Vision", "Insomnia", "How the ocean embraces the globe", "The Last Cataclysm", "Cicero", "What are you howling about, the wind of the night?..." Pushkin was alien first of all the tradition on which Tyutchev relied: German idealism, to which Pushkin remained indifferent, and the poetic archaism of the 18th and early 19th centuries (primarily Derzhavin), with which Pushkin waged an irreconcilable literary struggle.

Objectives of the course work:

Acquaintance with the biography of F.I. Tyutchev, identifying the features of the life path that influenced the character, creativity and personality;

To form a holistic view of the worldview of F.I. Tyutchev, his character and way of thinking;

Acquaintance with the main themes of the poet's lyrics.

Chapter 1. Biography of the Russian poet
F.I. Tyutchev

Tyutchev Fedor Ivanovich (1803, the village of Ovstug, Oryol province - 1873, Tsarskoye Selo, near St. Petersburg) is a famous poet, one of the most prominent representatives of philosophical and political lyrics.

Born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, in a well-born noble family, who lived openly and richly in Moscow in the winter. In a house "completely alien to the interests of literature and especially Russian literature," the exclusive dominance of the French language coexisted with a commitment to all the features of the Russian old noble and Orthodox way of life.

When Tyutchev was in his tenth year, S.E. Raich was invited to be his educator, who had been in the Tyutchevs' house for seven years and had a great influence on the mental and moral development of his pupil, in which he developed a keen interest in literature. Having excellently mastered the classics, Tyutchev was not slow to test himself in poetic translation. Horace's message to the Maecenas, presented by Raich to the society of lovers of Russian literature, was read at the meeting and approved by the most significant Moscow critical authority at that time - Merzlyakov; after that, the work of a fourteen-year-old translator, awarded the title of "collaborator", was published in the XIV part of the "Proceedings" of the society. In the same year, Tyutchev entered Moscow University, that is, he began to go to lectures with a teacher, and the professors became ordinary guests of his parents.

Having received his Ph.D. in 1821, Tyutchev was sent to St. Petersburg in 1822 to serve in the State Collegium of Foreign Affairs, and in the same year he went abroad with his relative Count von Osterman-Tolstoy, who attached him as a supernumerary officer of the Russian mission in Munich. He lived abroad, with minor interruptions, for twenty-two years. Staying in a vibrant cultural center had a significant impact on his spiritual make-up.

In 1826 he married a Bavarian aristocrat, Countess Botmer, and their salon became the center of the intelligentsia; Heine belonged to the numerous representatives of German science and literature who were here, whose poems Tyutchev then began to translate into Russian; the translation of "Pine" ("From the Other Side") was published in "Aonides" for 1827. There is also a story about Tyutchev's heated disputes with the philosopher Schelling.

In 1826, three poems by Tyutchev were published in Pogodin's almanac "Urania", and the following year, in Raich's almanac "Northern Lyre", several translations from Heine, Schiller ("Song of Joy"), Byron and several original poems. In 1833, Tyutchev, at his own request, was sent by a "courier" on a diplomatic mission to the Ionian Islands, and at the end of 1837 he was already a chamberlain and state councilor - he, despite his hopes of getting a place in Vienna, was appointed senior embassy secretary in Turin. At the end of the following year, his wife died.

In 1839, Tyutchev entered into a second marriage with Baroness Dernheim; like the first, and his second wife did not know a word of Russian and only later learned her husband's native language in order to understand his works. For unauthorized absence to Switzerland - and even while he was entrusted with the duties of an envoy - Tyutchev was dismissed from service and deprived of the title of chamberlain. Tyutchev again settled in his beloved Munich, where he lived for another four years. During all this time, his poetic activity did not stop. In 1829 - 1830 he published several excellent poems in "Galatea" by Raich, and in "Molva" in 1833 (and not in 1835, as Aksakov says) his wonderful "Silentium" appeared, only much later appreciated . In the person of I. S. ("Jesuit") Gagarin, he found in Munich a connoisseur who not only collected and extracted poems abandoned by the author from under a bushel, but also reported them to Pushkin for publication in Sovremennik; here, during 1836-1840, about forty poems by Tyutchev appeared under the general title "Poems sent from Germany" and signed by F.T. Then, for fourteen years, Tyutchev's works did not appear in print, although during this time he wrote more than fifty poems.

In the summer of 1844, Tyutchev's first political article was published - "Lettre a M. le Dr. Gustave Kolb, redacteur de la "Gazette Universelle" (d" Augsburg) ". Then he, having previously traveled to Russia and settled business affairs, moved with his family to St. Petersburg.He was returned his official rights and honorary titles and was given the appointment to be on special assignments at the State Chancellery, a position he retained even when (in 1848) he was appointed senior censor at the Special Chancellery of the Ministry of Foreign Affairs In St. Petersburg society, he was a great success, his education, the ability to be both brilliant and deep, the ability to give a theoretical justification for accepted views created an outstanding position for him. At the beginning of 1849, he wrote an article "La Russie et la Revolution", and in the January book " Revue des Deux Mondes" for 1850 was printed - without a signature - another of his articles: "La Question Romaine et la Papaute". According to Aksakov, both articles were produced abroad and a strong impression: in Russia, very few people knew about them. The number of connoisseurs of his poetry was also very small. In the same year, 1850, he found an outstanding and supportive critic in the person of Nekrasov, who (in Sovremennik), not knowing the poet personally and making guesses about his personality, highly valued his works. I.S. Turgenev, having collected with the help of the Tyutchev family, but - according to I.S. Aksakov - without any participation of the poet himself, about a hundred of his poems, handed them over to the editors of Sovremennik, where they were reprinted, and then published as a separate edition (1854). This meeting caused an enthusiastic review (in Sovremennik) of Turgenev. Since then, Tyutchev's poetic glory - without, however, passing certain limits - has been strengthened; magazines turned to him with a request for cooperation, his poems were published in "Russian Conversation", "The Day", "Moskvityanin", "Russian Bulletin" and other publications; some of them, thanks to anthologies, become known to every Russian reader in early childhood ("Spring Thunderstorm", "Spring Waters", "Quiet Night in Late Summer", etc.). The official position of Tyutchev also changed. In 1857, he turned to Prince Gorchakov with a note on censorship, which went from hand to hand in government circles. Then he was appointed to the post of chairman of the committee of foreign censorship - the successor to the sad memory of Krasovsky. His personal view of this position is well defined in an impromptu, recorded by him in the album of his colleague Vakar: “We are obedient to the command of the highest, we were not very provocative at the thought. .. - Rarely threatened, and rather not a prisoner, but an honorary one, they kept guard with her. "The diary of Nikitenko, Tyutchev's colleague, more than once dwells on his efforts to protect freedom of speech. In 1858, he objected to the projected double censorship - observational and consistent; in November 1866 "Tyutchev, at a meeting of the press council, rightly noted that literature does not exist for high school students and schoolchildren, and that it is impossible to give it a children's direction." According to Aksakov, "the enlightened, sensible liberal chairmanship of the committee, with our administrative worldview, and therefore, in the end, limited in their rights, is remembered by everyone who cherished live communication with European literature. "The "restriction in rights" that Aksakov speaks of coincides with the transfer of censorship from the department of the Ministry of Public Education to the Ministry internal affairs.

In the early seventies, Tyutchev experienced several blows of fate in a row, too heavy for a seventy-year old man; following the only brother with whom he had an intimate friendship, he lost his eldest son and married daughter. He began to weaken, his clear mind grew dim, his poetic gift began to betray him. After the first stroke of paralysis (January 1, 1873), he almost did not get out of bed, after the second he lived for several weeks in excruciating suffering - and died on July 15, 1873.

As a person, he left behind the best memories in the circle to which he belonged. A brilliant interlocutor, whose bright, well-aimed and witty remarks were passed from mouth to mouth (causing in Prince Vyazemsky the desire that Tyutcheviana, "a charming, fresh, lively modern anthology" be compiled from them), a subtle and insightful thinker, with equal confidence versed in the highest questions of being and in the details of current historical life, independent even where he did not go beyond the boundaries of established views, a man imbued with culture in everything, from external appeal to methods of thinking, he made a charming impression with a special - noted by Nikitenko - "courtesy of the heart, consisting not in observance of secular propriety (which he never violated), but in a delicate human attention to the personal dignity of everyone. The impression of the indivisible dominance of thought - such was the prevailing impression that this frail and ill old man, always enlivened by the tireless creative work of thought, produced. The poet-thinker is honored in him, first of all, by Russian literature. His literary heritage is not great: several journalistic articles and about fifty translated and two hundred and fifty original poems, among which there are quite a few unsuccessful ones. Among the rest, on the other hand, there are a number of pearls of philosophical lyrics, immortal and inaccessible in terms of depth of thought, strength and conciseness of expression, scope of inspiration.

The talent of Tyutchev, who so willingly turned to the elemental foundations of being, itself had something elemental; it is highly characteristic that the poet, who, by his own admission, expressed his thoughts more firmly in French than in Russian, wrote all his letters and articles only in French, and throughout his life spoke almost exclusively in French, the most secret impulses of his creative thought could only be expressed in Russian verse; several French poems of his are quite insignificant. The author of "Silentium", he created almost exclusively "for himself", under the pressure of the need to speak out to himself and thereby clarify his own state of mind. In this regard, he is exclusively a lyricist, alien to any epic elements. With this immediacy of creativity, Aksakov tried to link the carelessness with which Tyutchev treated his works: he lost the pieces of paper on which they were sketched, left the original - sometimes careless - concept intact, never finished his poems, etc. The latter indication is refuted by new research; poetic and stylistic negligence is indeed found in Tyutchev, but there are a number of poems that he reworked, even after they were in print. Indisputable, however, remains an indication of "the correspondence of Tyutchev's talent with the life of the author", made by Turgenev: "... his poems do not smell like a composition; they all seem to be written for a certain occasion, as Goethe wanted, that is, they are not invented, but grew by themselves, like a fruit on a tree." The ideological content of Tyutchev's philosophical lyrics is significant not so much in its diversity as in depth. The smallest place here is occupied by the lyrics of compassion, represented, however, by such exciting works as "Tears of the People" and "Send, Lord, your joy." The inexpressibility of thought in the word ("Silentium") and the limits set to human knowledge ("Fountain"), the limited knowledge of the "human self" ("Look, as in the open space of the river"), the pantheistic mood of merging with the impersonal life of nature ("Twilight", "So; there are moments in life", "Spring", "The spring day was still noisy", "Leaves", "Noon", "When, what in life we ​​called our own", "Spring calm" - from Uhland), spiritualized descriptions nature, few and brief, but in terms of coverage of mood almost unparalleled in our literature ("The storm subsided", "Spring thunderstorm", "Summer evening", "Spring", "Loose sand", "Not cooled down from the heat", " Autumn evening", "Quiet night", "Eat in the original autumn", etc. ) associated with a magnificent proclamation of the original spiritual life of nature ("Not what you think, nature"), a tender and bleak recognition of the limitations of human love ("Last love", "Oh, how deadly we love", "She was sitting on the floor "," Predestination ", etc.) - these are the dominant motives of Tyutchev's philosophical poetry. But there is another motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and force by the late V.S. Solovyov, the motive of the chaotic, mystical fundamental principle of life. "And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and did not realize so clearly that mysterious foundation of all life, natural and human, - the foundation on which the meaning is based. cosmic process, and the fate of the human soul, and the whole history of mankind. Here Tyutchev really is quite original and, if not the only one, then probably the strongest in all poetic literature. " In this motif, the critic sees the key to all of Tyutchev's poetry, the source of its content and original charm. Poems "Holy night", "What are you howling about, night wind", "On the world of mysterious spirits", "Oh, my prophetic soul", "How the ocean embraces the globe", "Night voices", "Night sky", " Day and Night", "Madness", "Mall"aria" and others represent a one-of-a-kind lyrical philosophy of chaos, elemental ugliness and madness, as "the deepest essence of the world soul and the basis of the entire universe." And descriptions of nature, and echoes Love is imbued with Tyutchev with this all-consuming consciousness: behind the visible shell of phenomena with its apparent clarity lies their fatal essence, mysterious, from the point of view of our earthly life, negative and terrible. Night with special force revealed to the poet this insignificance and illusory nature of our conscious life in comparison with flaming abyss" of the elements of unknowable, but felt chaos. Perhaps this bleak worldview should be associated with a special mood that distinguishes Tyutchev: his philosophical meditation is always shrouded in sadness, a dreary consciousness of his her limitations and admiration for the inevitable fate. Only Tyutchev's political poetry - as one would expect from a nationalist and realpolitik - is imprinted with cheerfulness, strength and hopes, which sometimes deceived the poet.

About Tyutchev's political convictions, which found expression in his few and small articles. With minor modifications, this political outlook coincides with the teachings and ideals of the first Slavophiles. And he responded to the various phenomena of historical life that resonated in Tyutchev's political views with lyrical works, the strength and brightness of which can captivate even those who are infinitely far from the political ideals of the poet. Actually, Tyutchev's political poems are inferior to his philosophical lyrics. Even such a benevolent judge as Aksakov, in letters not intended for the public, found it possible to say that these works of Tyutchev "are expensive only by the name of the author, and not in themselves; these are not real Tyutchev's poems with originality of thought and turns, with amazing paintings", etc. In them - as in Tyutchev's journalism - there is something rational, - sincere, but not coming from the heart, but from the head. To be a real poet of the direction in which Tyutchev wrote, one had to love Russia directly, to know her, to believe in her faith. This - according to Tyutchev's own confessions - he did not have. Having stayed abroad from the age of eighteen to forty years, the poet did not know his homeland in a number of poems ("On the way back", "I see your eyes again", "So, I saw again", "I looked, standing over the Neva") he admitted that his homeland was not dear to him and was not "for his soul his native land." Finally, his attitude to the folk faith is well characterized by an excerpt from a letter to his wife (1843), quoted by Aksakov (we are talking about how, before Tyutchev's departure, his family prayed, and then went to the Iberian Mother of God): "In a word, everyone happened in accordance with the rules of the most exacting Orthodoxy... Well, what then? one thing... there is in all this for a person equipped with a flair for such phenomena, the greatness of poetry is extraordinary, so great that it overcomes the most ardent hostility... future". This recognition throws light on Tyutchev's religious beliefs, which, obviously, were based on not a simple faith at all, but primarily theoretical political views, in connection with some aesthetic element. Rational in origin, Tyutchev's political poetry, however, has its own pathos - the pathos of convinced thought. Hence the strength of some of his poetic denunciations ("Away, away from the Austrian Judas from his coffin", or about the Pope: "He will be destroyed by the fatal word:" Freedom of conscience is nonsense "). He also knew how to give an expression of his faith, outstanding in strength and conciseness to Russia (the famous quatrain "Russia cannot be understood with the mind", "These poor villages"), to its political vocation ("Dawn", "Prophecy", "Sunrise", "Russian Geography", etc.).

^ Chapter 2. Main themes and ideas of the lyrics
F.I. Tyutchev

We get acquainted with Tyutchev's poetry in elementary school, these are poems about nature, landscape lyrics. But Tyutchev's main thing is not the image, but the comprehension of nature - natural-philosophical lyrics, and his second theme is the life of the human soul, the intensity of love feelings. The lyrical hero, understood as the unity of the personality, which is both the object and subject of lyrical comprehension, is not typical for Tyutchev. The unity of his lyrics gives an emotional tone - a constant vague anxiety, behind which stands a vague, but unchanging feeling of the approach of the universal end.

^ 2.1. Landscape lyrics by F. I. Tyutchev

The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, the image of nature and the thought of nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and the thought acquires expressiveness.

In relation to nature, Tyutchev shows, as it were, two hypostases: an existential, contemplative, perceiving the world around him “with the help of the five senses,” and a spiritual, thinking one, striving to guess the great secret of nature behind a visible cover.

Tyutchev the contemplator creates such lyrical masterpieces as "Spring Thunderstorm", "There is in the original autumn ...", "In the Enchanting Winter ..." and many similar, short, like almost all Tyutchev's poems, charming and imaginative landscape sketches.

Tyutchev the thinker, turning to nature, sees in it an inexhaustible source for reflections and generalizations of the cosmic order. This is how the poems “Wave and Thought”, “There is melodiousness in the waves of the sea ...”, “How sweetly the dark green garden slumbers ...”, etc. were born. Several purely philosophical works adjoin these works: "Silentium!", "Fountain", "Day and Night".

The joy of being, happy harmony with nature, serene intoxication with it are characteristic mainly of Tyutchev's poems dedicated to spring, and this has its own pattern. Constant thoughts about the fragility of life were the poet's haunting companions. “The feeling of melancholy and horror has become my usual state of mind for many years” - such confessions are not uncommon in his letters. A constant frequenter of secular salons, a brilliant and witty interlocutor, "a charming talker", according to the definition of P. A. Vyazemsky, Tyutchev was forced to "avoid, by all means, for eighteen hours out of twenty-four any serious meeting with himself" . And few people could comprehend his complex inner world. This is how Tyutchev's daughter Anna saw her father: “He seems to me one of those primordial spirits, so subtle, smart and fiery, who have nothing to do with matter, but which, however, have no soul either. He is completely outside of any laws and regulations. It strikes the imagination, but there is something creepy and unsettling about it.”

The awakening spring nature had a miraculous property to drown out this constant anxiety, to pacify the poet's anxious soul.

The power of spring is explained by its triumph over the past and future, the complete oblivion of the past and future destruction and decay:

And the fear of inevitable death

Not a leaf shines from the tree:

Their life is like a boundless ocean,

All in the present spilled.

Love for life, an almost physical "overabundance" of life is clearly visible in many of the poet's poems dedicated to spring. Singing spring nature, Tyutchev invariably rejoices at the rare and brief opportunity to feel the fullness of life, not overshadowed by the harbingers of death - “You will not meet a dead leaf”, - an incomparable joy to surrender entirely to the present moment, involvement in “divine-universal life”. Sometimes even in the autumn he feels the breath of spring. A striking example of this was the poem "Autumn Evening", which is one of the clearest examples of Tyutchev's skill as a landscape painter. The poem is clearly generated by domestic impressions, the sadness caused by them, but at the same time it is permeated with Tyutchev's tragic thoughts about the lurking storms of chaos:

Is in the lordship of autumn evenings

A touching, mysterious charm:

The ominous brilliance and variegation of trees,

Crimson leaves languid, light rustle,

Foggy and quiet azure.

Over the sadly orphaned earth

And, like a premonition of descending storms,

A gusty, cold wind at times,

Damage, exhaustion - and on everything

That gentle smile of fading,

What in a rational being do we call

Divine bashfulness of suffering.

A short, twelve-line poem is not so much a description of the originality of an autumn evening as a generalized philosophical reflection on time. It should be noted that not a single point interrupts the excitement of thought and observation, the entire poem is read in prayerful reverence for the great sacrament, for the "divine bashfulness of suffering." The poet sees in everything a meek smile of fading. The mysterious charm of nature absorbs both the ominous brilliance of trees and the dying crimson of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind rushes by with a premonition of storms. Behind the visible phenomena of nature, "chaos stirs" invisibly - the mysterious, incomprehensible, beautiful and fatal depth of the primordial. And in this single breath of nature, only man is aware of the "divinity" of her beauty and the pain of her "shameful suffering."

In opposition, or rather, in preference to the dubious heavenly bliss of the undeniable, reliable enjoyment of the beauty of spring nature, the selfless intoxication with it, Tyutchev is close to A. K. Tolstoy, who wrote: “God, how wonderful it is - spring! Is it possible that in the other world we will be happier than in this world in the spring! Exactly the same feelings fill Tyutchev:

What is the joy of paradise before you,

It's time for love, it's time for spring

Blooming bliss of May,

Ruddy color, golden dreams?

Tyutchev's poetry is also known for completely different moods: a sense of the transience of human existence, an awareness of its fragility and fragility. In comparison with the ever-renewing nature (“Nature does not know about the past ...”; “Her gaze shines with immortality ...” and much more), a person is nothing more than a “cereal of the earth”, a dream of nature”:

Look how in the river expanse,

On the slope of the newly revived waters,

Into the all encompassing sea

After the ice floe, the ice floats after.

In the sun or iridescent shining,

Or at night in late darkness,

But everything, inevitably melting,

They swim towards the same meta.

Oh, seduction of our thoughts,

You, human I,

Isn't that your meaning?

Isn't that your fate?

But neither the triumphant exclamations of "spring waters" nor the tragic notes of the poem "Look how in the open space of the river ..." still do not give a complete picture of the pathos of Tyutchev's poetry. In order to unravel it, it is important to understand the very essence of the philosophical and artistic interpretation of nature and man in Tyutchev's poetry. The poet rises to understanding the correlation of these two worlds - the human Self and nature - not as an insignificant drop and the ocean, but as two infinities: "Everything is in me and I am in everything ...". Therefore, Tyutchev's poetry is permeated not with a numbness of melancholy, not with a sense of the illusiveness of individual being, but with the intense drama of a duel, albeit an unequal one:

Take courage, O friends, fight diligently,

Even though the fight is uneven...

Apotheosis of life. full of burning, the lines of the poem “Like over hot ashes ...” sound, and “Spring Thunderstorm” is perceived as a hymn to youth and human renewal.

On Tyutchev's lyrical landscapes there is a special seal that reflects the properties of his own mental and physical nature - fragile and painful. His images and epithets are often unexpected, unusual and extremely impressive. Its branches are weary, the earth is frowning, the leaves are exhausted and dilapidated, the stars are talking to each other quietly, the day is waning, movement and the rainbow are exhausted, fading nature smiles weakly and frailly, and much more.

The "eternal order" of nature sometimes delights, sometimes desponds the poet:

Nature does not know about the past,

Our ghostly years are alien to her,

And in front of her we are vaguely aware

Ourselves - only a dream of nature.

But in his doubts and painful search for the true relationship between the part and the whole - man and nature - Tyutchev suddenly comes to unexpected insights: man is not always at odds with nature, he is not only a "helpless child", but he is equal to her in his creative potential:

Bound, connected from the ages

union of consanguinity

Intelligent human genius

With the creative power of nature...

Say the cherished word he -

And a new world of nature

But on the other hand, nature in Tyutchev's poems is spiritualized, humanized.

It has love, it has language.

Like a man, nature lives and breathes, rejoices and sadness, constantly moves and changes. Pictures of nature help the poet convey the passionate beating of thought. To embody complex experiences and deep thoughts in vivid and memorable images. In itself, the animation of nature is usually in poetry. But for Tyutchev, this is not just a personification, not just a metaphor: he "accepted and understood the living beauty of nature not as his fantasy, but as truth." The landscapes of the poet are imbued with a typically romantic feeling that this is not just a description of nature, but dramatic episodes of some continuous action.

Tyutchev's inquisitive thought finds philosophical problems in the theme of nature. Each of his descriptions: a series of winter and summer, a spring thunderstorm is an attempt to look into the depths of the universe, as if to open the veil of its secrets.

Nature is a sphinx.

And the more she returns.

With his temptation, he destroys a person,

What, perhaps, no from the century

There is no riddle, and there was none.

Tyutchev's "landscapes in verse" are inseparable from a person, his state of mind, feelings, moods:

Moth flying invisible

Heard in the air at night.

An hour of longing inexpressible!

Everything is in me, and I am in everything!

The image of nature helps to reveal and express the complex, contradictory spiritual life of a person who is doomed to forever strive to merge with nature and never achieve it, because it brings death, dissolution in the original chaos. Thus, the theme of nature is organically linked by F. Tyutchev with the philosophical understanding of life.

The landscape lyrics of F. I. Tyutchev are represented by two stages: early and late lyrics. And there are many differences in the poems of different times. But, of course, there are similarities. For example, in the verses of landscape lyrics of both stages, nature is captured in its movement, the change of phenomena, Tyutchev's "landscapes in verse" are imbued with tension and drama of the poet's aspiration to the secrets of the universe and the "human self". But in Tyutchev's late lyrics, nature seems to be approaching man; more and more often, the poet's attention shifts to the most immediate impressions, to the most concrete manifestations and features of the world around him: “the first yellow leaf, spinning, flies onto the road”; “Dust flies like a whirlwind from the fields”; rain "threads gild" the sun. All this is especially keenly felt in comparison with the poet’s earlier landscape lyrics, where the moon is a “radiant god”, the mountains are “native deities”, and the “brilliant cover” of the day “by the high will of the gods” hangs over the abyss of the “fatal world”. It is significant that, reworking the previously written "Spring Thunderstorm", Tyutchev introduces a stanza into the poem, which enriches the pictorial picture with those visually concrete images that it lacked:

The young peals are thundering,

Here comes the rain. The dust flies

Rain pearls hung,

And the sun gilds the threads.

The figurative system of Tyutchev's lyrics is an unusually flexible combination of concretely visible signs of the outside world and the subjective impression that this world makes on the poet. Tyutchev can very accurately convey the visual impression of the impending autumn:

Is in the autumn of the original

A short but wonderful time -

The whole day stands as if crystal,

And radiant evenings ...

Observing the spring awakening of nature, the poet notices the beauty of the first green translucent leaf (“First Leaf”). On a hot August day, he catches the “honey” smell coming from the “whitening fields” of buckwheat (“Clouds are melting in the sky ...”). In late autumn, he feels the breath of a “warm and damp” wind, reminiscent of spring (“When in the circle of murderous worries ...” ). A vivid visual impression arises even when the poet names not the object itself, but those signs by which it is guessed:

And the shadows of the evening clouds

It flew over the light roofs.

And pines, along the way, shadows

The shadows have already merged into one.

Tyutchev's ability to give a plastically correct image of the outside world, to convey the fullness of the external impression is amazing. But no less surprising is his mastery of expressing the fullness of inner sensations.

Nekrasov wrote that Tyutchev manages to awaken the "reader's imagination" and force him to "finish" what is only outlined in the poetic image. This feature of Tyutchev's poetry was also noticed by Tolstoy, who singled out unusual, unexpected phrases in his poems that hold the reader's attention and awaken creative imagination. How unexpected and even strange at first glance, this combination of two seemingly incompatible words: "an idle furrow." But it is precisely this strange and amazing phrase that helps to recreate the whole picture as a whole and convey the fullness of its inner sensation. As Tolstoy said: “It seems that everything is said at once, it is said that the work is finished, everything has been removed, and a complete impression is obtained.” Such a "full impression" constantly arises when reading Tyutchev's poems. How not to recall in this connection the famous Tyutchev images: “exhausted” - about the rainbow. “mixed” - about shadows, “confuse the azure sky” - about a thunderstorm, “resolved into unsteady dusk, into a distant rumble” - about the colors and sounds of the evening day, etc.

The sound side of the poem never seemed to Tyutchev an end in itself, but the language of sounds was close and understandable to him.

There is melodiousness in the waves of the sea,

Harmony in natural disputes,

And a slender musical rustle

It flows in unsteady reeds.

Shades of gray mixed,

The color faded, the sound fell asleep ...

Rocks sounded around me like cymbals,

The winds called and the billows sang...

The reader hears in Tyutchev's poems the rumble of summer storms, the barely intelligible sounds of twilight, the rustle of unsteady reeds ... This sound writing helps the poet capture not only the external aspects of natural phenomena, but his own feeling, his feeling of nature. The same purpose is served by bold colorful combinations in Tyutchev's poems ("hazy-linear", "radiant and gray-dark", etc.). Besides. Tyutchev has the gift of reproducing colors and sounds in the inseparability of the impression he makes. This is how “sensitive stars” appear in his poetry, and a sunbeam bursting through the window with a “ruddy loud exclamation”, communicating the dynamics and expression of Tyutchev’s poetic fantasy, helping to transform poetic studies from nature into such “landscapes in verse”, where visually concrete images are imbued thought, feeling, mood, contemplation.

^ 2.2. Philosophical motives in the poetry of F. I. Tyutchev

Tyutchev's poetics comprehends the beginnings and foundations of being. It has two lines. The first is directly related to the biblical myth of the creation of the world, the second, through romantic poetry, goes back to ancient ideas about the world and space. The ancient doctrine of the origin of the world is constantly quoted by Tyutchev. Water is the basis of being, it is the main element of life:

Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run, and shine, and say ...
And here is another excerpt from "Fountain":
Oh, water cannon of mortal thought,
Oh, inexhaustible water cannon,
What law is incomprehensible
Does it aspire to you, does it bother you?

Sometimes Tyutchev is frank and magnificent in a pagan way, endowing nature with a soul, freedom, language - the attributes of human existence:

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

F. I. Tyutchev is a brilliant lyricist, a subtle psychologist, a deep philosopher. A singer of nature, keenly aware of the cosmos, a wonderful master of poetic landscape, spiritualized, expressing human emotions.

Tyutchev's world is full of mystery. One of his mysteries is nature. Two forces constantly oppose and coexist in it: chaos and harmony. In the abundance and triumph of life, death peeps through; night is hidden under the cover of day. Nature in Tyutchev's perception continuously doubles, "polarizes". It is no accident that the poet’s favorite technique is the antithesis: “the valley world” is opposed to “icy heights”, the dull earth is opposed to the sky shining with a thunderstorm, the light is shadows, the “blissful south” is “fatal north”.

Tyutchev's pictures of nature are characterized by dynamism. In his lyrics, nature lives at different hours of the day and seasons. The poet draws the morning in the mountains, and the “night sea”, and the summer evening, and the “misty noon”, and the “first spring thunder”, and the “gray-haired moss” of the north, and the “fragrances, flowers and voices” of the south.

Tyutchev seeks to capture the moment of transformation of one painting into another. For example, in the poem “Grey-gray shadows mingled ...” we see how twilight gradually thickens and night comes. The poet conveys a quick change in the states of nature with the help of non-union constructions, homogeneous members of the sentence. The dynamism of the poetic picture is given by the verbs: “mixed up”, “fell asleep”, “faded”, “resolved”. The word “movement” is perceived as a contextual synonym for life.

One of the most remarkable phenomena of Russian poetry is Tyutchev's poems about the captivating Russian nature, which in his poems is always spiritualized:

Not what you think, nature:

Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has a language...

The poet seeks to understand and capture the life of nature in all its manifestations. With amazing artistic observation and love, Tyutchev created unforgettable poetic pictures of the “original autumn”, spring thunderstorms, summer evenings, mornings in the mountains. An excellent image of such a deep, penetrating image of the natural world can be a description of a summer storm:

How cheerful is the roar of summer storms,

When, picking up the flying dust,

Thunderstorm, surging cloud,

Confused sky blue.

And thoughtlessly

Suddenly he will run into the oak forest,

And the whole oak forest will tremble

Loud and noisy...

Everything in the forest appears to the poet alive, full of deep meaning, everything speaks to him "in a language understandable to the heart."

With images of the natural elements, he expresses his innermost thoughts and feelings, doubts and painful questions:

Unflappable order in everything;

Consonance is complete in nature, -

Only in our ghostly freedom

Discord we create with her.

“The faithful son of nature,” as Tyutchev called himself, he exclaims:

No, my passion for you

I can not hide, mother earth!

In the “blooming world of nature”, the poet saw not only “an excess of life”, but also “damage”, “exhaustion”, “fading smile”, “spontaneous discord”. Thus, Tyutchev's landscape lyrics also express the conflicting feelings and thoughts of the poet.

Nature is beautiful in all forms. The poet sees harmony in "spontaneous disputes". The consonance of nature is opposed to eternal discord in human life. People are self-confident, they defend their freedom, forgetting that a person is just a “dream of nature”. Tyutchev does not recognize a separate existence, he believes in the World Soul as the basis of all life. A person, forgetting about his connection with the outside world, dooms himself to suffering, becomes a toy in the hands of Rock. Chaos, which is the embodiment of the creative energy of the rebellious spirit of nature, frightens people.

Fatal beginnings, the attack of chaos on harmony determine human existence, its dialogue with fate. A man is waging a duel with "irresistible Fate", with disastrous temptations. He tirelessly resists, defends his rights. The problem of “man and destiny” is most clearly reflected in the poem “Two Voices”. Addressing readers, the poet calls:

Take courage, O friends, fight diligently,

Although the battle is unequal, the struggle is hopeless! ..

Unfortunately,

anxiety and labor only for mortal hearts...

There is no victory for them, there is an end for them.

The silence of nature, which surrounds a person, looks ominous, but he does not give up; he is driven by a noble will to resist the merciless force and courage, readiness to go to death in order to “wrest the victorious crown from Doom”.

On all his work lies the stamp of reflections on the contradictions in public life, of which the poet was a participant and thoughtful observer.

Calling himself “a fragment of the old generations,” Tyutchev wrote:

How sad half asleep shadow

With exhaustion in the bones

Towards the sun and movement

Follow the new tribe.

Tyutchev calls man an insignificant dust, a thinking reed. Fate and the elements rule, in his opinion, over a man, a homeless orphan, his fate is like an ice floe melting in the sun and floating away into the all-encompassing sea - into the “fatal abyss”.

And at the same time, Tyutchev glorifies the struggle, courage, fearlessness of a person, the immortality of a feat. For all the fragility of human existence, people are possessed by a great thirst for the fullness of life, flight, heights. The lyric hero exclaims:

Oh Heaven, if only for once

This flame developed at will -

And, without languishing, without tormenting the share,

I would shine - and went out!

Tension and drama also penetrate the sphere of human feelings. Human love is only a “fatal duel”. This is especially keenly felt in the "Denisiev cycle". Tyutchev's psychological mastery, the depth of comprehension of the innermost secrets of the human heart make him the forerunner of Tolstoy's discoveries in the field of "dialectics of the soul", determine the movement of all subsequent literature, more and more immersed in the subtlest manifestations of the human spirit.

The seal of duality lies on Tyutchev's love lyrics. On the one hand, love and its “enchantment” are the “key of life”, “wonderful captivity”, “pure fire”, “union of the soul with the soul of the native”; on the other hand, love appears to him as “violent blindness”, “an unequal struggle between two hearts”, “a fatal duel”.

Tyutchev's love is revealed in the guise of an insoluble contradiction: boundless happiness turns into tragedy, moments of bliss entail a terrible retribution, lovers become executioners for each other. The poet makes a startling conclusion:

Oh, how deadly we love

As in the violent blindness of passions

We are the most likely to destroy

What is dear to our heart!

Tyutchev's lyrics are full of anxiety and drama, but this is the real drama of human life. In an effort to capture it, to turn it into beauty, this is also a “victory of immortal forces”. Tyutchev's poetry can be said in his own poems:

Among thunders, among fires,

Among the seething passions,

In spontaneous fiery discord,

She flies from heaven to us -

Heavenly to earthly sons,

With azure clarity in your eyes -

And on the stormy sea

Pours conciliatory oil.

Tyutchev's literary heritage is small in volume, but A. Fet rightly noted in the inscription on Tyutchev's collection of poems:

Muse, observing the truth,

She looks, and on the scales she has

This is a small book

Volumes are much heavier.

“A few lines are enough for Tyutchev; solar systems, foggy spots of "War and Peace" and "The Brothers Karamazov" he compresses into one crystal, into one diamond. That is why criticism so mercilessly beats over him. His perfection is almost impenetrable to her. This nut is not so easy to crack: the eye sees, but the tooth is numb. To interpret Tyutchev is to turn a diamond into coal,” D. Merezhkovsky wrote.

Today, after many years, we take the liberty of once again taking up the interpretation of Tyutchev's poetry. The most important thing that strikes in Tyutchev's lyrics is its philosophical nature, scale, and propensity for deep generalizations. Even poems about nature and love are imbued with the poet's philosophical reflections. In these reflections, the human soul is exposed, the tragedy of its earthly existence is revealed. Tyutchev's man is a part of nature, the crown of her creation, but at the same time his worldview is deeply tragic, it is poisoned by the awareness of the frailty of human existence. In this the poet sees the eternal conflict between man and nature.

Tyutchev's nature is a living being, full of powerful vitality:

Not what you think, nature:

Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has a language...

However, this language is incomprehensible to humans. This is exactly what the poet declares in the poem "Singularity is in the waves of the sea." Peace, harmony, reasonableness and proportionality are poured in nature: “there is melodiousness in the waves of the sea”, harmony in the rustle of reeds, “an imperturbable order in everything”. The freedom of a person, this particle of nature, is illusory and illusory. He is aware of his discord with nature, not understanding its true causes:

Where, how did the discord arise?

And why in the general choir

The soul does not sing like the sea,

And the thinking reed grumbles?

Nature for the poet is a "sphinx", with her "skill" she destroys a person who seeks to know her and unravel her secrets. However, all the efforts of people are in vain: “What, it may turn out, there is no Riddle from the century and it never had.” In his disappointment, a sense of hopelessness, a tragic worldview, Tyutchev goes further, refusing to see the meaning in the very "creation of the Creator":

And there is no feeling in your eyes

And there is no truth in your speeches,

And you don't have a soul.

Take heart, heart, to the end:

And there is no Creator in the creation!

And there is no point in praying!
("And there is no feeling in your eyes")

Just like nature, man himself, his inner world, is incomprehensible. His soul is the "Elysium of shadows", silent and beautiful, but far from real life joys and sorrows.

Tyutchev's favorite landscapes paint pictures of nocturnal nature, when the whole world plunges into darkness, into chaos, shrouded in mystery:

Mysteriously, as on the first day of creation,

In the bottomless sky, the starry host burns,

Distant music exclamations are heard,

The neighboring key speaks more audibly.

The darkness of the night in Tyutchev is always accompanied by some kind of deadness, bliss, immobility, the world of daytime life is, as it were, closed by a special veil: “Movement was exhausted, labor fell asleep ...”. But at the same time, in the silence of the night, some kind of “wonderful daily rumble” wakes up. This rumble reveals the life of the invisible world, of mysterious forces beyond the control of man:

Where does this incomprehensible rumble come from? ..

Or mortal thoughts liberated by sleep,

The world is incorporeal, audible, but invisible,

Now swarms in the chaos of the night.
("How sweetly the dark green garden breathes")

The night hour for the poet is "an hour of inexpressible longing." And at the same time, he would like to merge inseparably with this unsteady twilight, the night air, the slumbering world:

Silent dusk, sleepy dusk,

Lean into the depths of my soul

Quiet, languid, fragrant,

Shut everything up and be quiet.

Feelings - a haze of self-forgetfulness

Fill over the edge!..

Let me taste destruction

Mix with the dormant world!
("Shadows of gray mixed")

Together with the theme of nature, the motif of time, past and future enters Tyutchev's lyrics in an unusually harmonious way. The poem “I sit thoughtful and alone” is devoted to this topic. Time is inexorable and irrevocable - a person is powerless before his power. A person is just a "cereal of the earth", which quickly withers. But every year, every summer - "a new cereal and a different leaf!" However, the motive of the future, the understanding of the infinity of human existence here does not balance the pessimistic thoughts of the poet. The motive of confrontation between the eternal life of nature and the finite, mortal human life sounds unusually sharp here:

And everything that is will be again

And the roses will bloom again

And thorns too...
But you, my poor, pale color,

You don't have a rebirth

Don't bloom!
(“I sit thoughtful and alone”)

The plucked flower will eventually wither, just as the living beating of human life dies down. Feelings of love and bliss are also perishable. Tyutchev's man is helpless, disarmed by ignorance in the face of time and fate:

Alas, that our ignorance

And helpless and sad?

Who dares to say goodbye

Through the abyss of two or three days?
("Alas, that of our ignorance")

Being a romantic, Tyutchev poeticizes and spiritualizes the unrestrained play of natural elements - “the roar of summer storms”, the riot of violent sea waves. The quiet whisper of the waves, their wonderful play in the sun is “sweet” for the poet. The "violent murmur" of the sea, its "prophetic groans" are also intelligible to him. The poet's heart is forever given to the wayward sea element, at the bottom of the sea he forever "buried" his "living soul".

In the poem “Wave and Thought”, the poet compares the sea element with the world of human thoughts, with impulses of the heart. Human thoughts follow each other like wave after wave. And in the heart is the same "eternal surf and lights out." A poignantly dreary feeling is mixed here with the poet’s philosophical thought: our earthly affairs, joys and sorrows are just an “anxiously empty ghost”.

We meet in the poet's lyrics and quite realistic landscapes, which, however, are full of marvelous charm, special Tyutchev's subtlety and grace. They can only be compared with the pictures of Russian nature created by Pushkin.

Is in the autumn of the original

Short but wonderful time -

The whole day stands as if crystal,

And radiant evenings ...
("There is in the original autumn")

We read in Pushkin's poem "Autumn":

Sad time! oh charm!

Your farewell beauty is pleasant to me,

I love the magnificent nature of wilting,

Forests clad in crimson and gold.

Tyutchev's spring landscapes are also magnificent, when nature smiled "through a thinning sleep." Nothing can compare with the beauty of the first green leaves washed in the sun, with the freshness of the spring wind, with the blueness of the sky, with the singing of a distant flute ... The human soul itself, it would seem, wakes up along with the spring awakening of nature.

Thus, the world of nature in Tyutchev's lyrics is a mysterious and unknowable world, a world that opposes human life and its transient joys. Nature indifferently looks at a person, not allowing him to penetrate into his essence. Love, bliss, dreams, longing and sadness - all these feelings are transient and finite. Tyutchev's man is powerless in the face of time and fate - nature is powerful and eternal.