Report on the work of f and tyutchev. Return to Russian lands
BIOGRAPHY AND CREATIVITY F. I. TYUTCHEV
Abstract of a student of 10 "B" class, Lyceum No. 9 Korzhanskaya Anastasia.
Volgograd
Fedor Ivanovich Tyutchev was born into a well-born noble family in the village of Ovstug, Oryol province (now Bryansk region) November 23, 1803. In 1810, the Tyutchev family moved to Moscow. A poet-translator, a connoisseur of classical antiquity and Italian literature S.E. was invited as an educator to Tyutchev. Raich. Under the influence of a teacher, Tyutchev early joined the literary creativity. Tyutchev wrote the earliest of the poems that have come down to us - "To Dear Papa" at the age of 15 (November 1813). Already at the age of 12, Fedor Ivanovich successfully translated Horace. And in 1819, a free transcription of the “Message of Horace to the Maecenas” was published - Tyutchev’s first speech in print. This autumn, he enters the verbal department of Moscow University: he listens to lectures on the theory of literature and the history of Russian literature, on archeology and the history of fine arts.
In the autumn of 1821, Tyutchev graduated from the university with a Ph.D. in verbal sciences. He gets a position as a supernumerary officer of the Russian mission in Bavaria. In July 1822 he went to Munich and spent 22 years there.
Abroad, Tyutchev translates Heine, Schiller and other European poets, and this helps him acquire his voice in poetry and develop a special, unique style. Shortly after arriving in Munich, apparently in the spring of 1823, Tyutchev fell in love with the still very young Amalia von Lerchenfeld. Amalia was only considered the daughter of a prominent Munich diplomat, Count Maximilian von Lerchenfeld-Köfering. In fact, she was the illegitimate daughter of the Prussian King Frederick William III and Princess Thurn y Taxis (and was thus the half-sister of another daughter of this king, the Russian Empress Alexandra Feodorovna). The royal daughter, of dazzling beauty, Amalia clearly sought to achieve the highest possible position in society. And she succeeded. During the departure of Tyutchev on vacation, Amalia got married to his colleague, Baron Alexander Sergeevich Krunder. It is not known exactly when Tyutchev found out about Amalia's wedding, but it is easy to imagine his then pain and despair. But, despite the insults, Amalia’s relationship with Tyutchev lasted for half a century, despite the fact that he was married to another, he shone poetry on her:
"I remember the golden time,
I remember a dear edge to my heart.
The day was evening; we were two;
Below, in the shade, the Danube rustled ... "
Information even reached that Tyutchev was a participant in a duel because of her.
Soon, on March 5, 1826, he married Eleanor Peterson, nee Countess Bothmer. It was in many ways an unusual, strange marriage. twenty two summer Tyutchev secretly married a recently widowed woman, the mother of four sons aged from one to seven years, moreover, with a woman four years older. Even two years later, many in Munich, according to Heinrich Heine, did not know about this wedding. “Serious mental requests were alien to her,” but nevertheless, the poet’s biographer K.V. wrote endlessly charming, charming. Pigarev about Eleanor. It can be assumed that Tyutchev decided to marry mainly for the sake of salvation from the torment and humiliation caused by the loss of his true, beloved. But, one way or another, Tyutchev did not make a mistake. Eleanor loved him unconditionally. She managed to create a cozy and hospitable home. Tyutchev lived with Eleanor for 12 years. From this marriage he had three daughters: Anna, Daria, Ekaterina.
Tyutchev served, and served poorly. The promotion was slow. The salary was not enough to support the family. The Tyutchevs barely made ends meet, they were constantly in debt.
“Fyodor Ivanovich was far from being what is called a good-natured man; he himself was very grouchy, very impatient, a decent grump and an egoist to the marrow of his bones, to whom his calmness, his comforts and habits were dearest of all, ”writes A.I. Georgievsky (publisher, teacher).
One can imagine in what a difficult state of mind Tyutchev was. Failures and hardships in all areas - political activity, career and home life. Under these conditions, Tyutchev surrenders to his new love.
In February 1833, at one of the balls, Tyutchev's friend, the Bavarian publicist Karl Pfeffel, introduces him to his sister, the twenty-two-year-old beauty Ernestina and her already elderly husband, Baron Döriberg. Ernestine is beautiful and a skilled dancer. She made a strong impression on Tyutchev. Moreover, it happened strange story: Dyori, felt unwell and left the ball, saying goodbye to Tyutchev: “I entrust my wife to you,” and died a few days later.
That love began, which was probably a kind of way out, salvation for Tyutchev. He obviously could not, for the sake of a new love, not only part with Eleanor, but even stop loving her. And at the same time, he could not break off relations with Ernestine. And it couldn't remain a secret. Ernestine tried to run from him. She left Munich. During this period of separation, Fyodor Ivanovich is in a terrible state, in which he burns most of his poetic exercises.
Eleanor tried to commit suicide by stabbing her chest several times with a dagger. But she remained alive, she forgave Tyutchev.
On May 14, Eleanor and her three daughters boarded a steamboat heading from Kronstadt to Lübeck. Already near Lübeck, a fire broke out on the ship. Eleanor experienced a nervous breakdown saving the children. They escaped, but the documents, papers, things, money were all gone. All this finally undermined Eleanor's health, and with a big cold on August 27, 1838, at the age of 39, she died.
And already March 1, 1839. Tyutchev filed an official statement of his intention to marry Ernestina. Ernestina adopted Anna, Daria and Ekaterina. At the same time, while living in Munich, Tyutchev maintained the closest relations with the Russian mission, and continued to follow political life with all his attention. There is no doubt that he still had a firm intention to return to the diplomatic service. But, fearing that he would not be given a diplomatic post, he keeps postponing his return to St. Petersburg from vacation, waiting for a more opportune moment. And, in the end, on June 30, 1841, Fedor Ivanovich was dismissed from the Ministry of Foreign Affairs and deprived of the title of chamberlain. In the autumn of 1844, Tyutchev returned to his homeland. He began to actively participate in public life. And in March 1845 he was again enrolled in the Ministry of Foreign Affairs.
He loved his second wife Ernestine (Netty), she had two sons Dmitry and Ivan. But 12 years after marrying her, Tyutchev fell in love with Denisyeva. Fyodor Ivanovich was already under 50 when he was seized by love, bold, excessive, irresistible, for Elena Aleksandrovna Denisyeva, a young girl, a classy lady of the institute where his daughters studied. A prosperous life, established with such difficulty, a career, forcibly restored, public opinion, which he cherished, friendships, political intentions, the family itself, finally, everything went to dust. For 14 years from 1850 to 1864 this love storm raged. Continuing to love Ernestine, he lived in two houses and was torn between them. Tyutchev's relationship with Ernestina Fedorovna for long periods was entirely reduced to correspondence. For 14 years she did not reveal anything that she knew about her husband's love for another, and showed the rarest self-control.
Fyodor Ivanovich was more "spiritual" than "soulful". The daughter wrote about him as a man, “that he appears to her as one of those primordial spirits who have nothing to do with matter, but who, however, has no soul either.”
Elena Alexandrovna loved Fyodor Ivanovich without limit. Children born to Elena Alexandrovna (daughter Elena and son Fedor) were recorded as Tyutchevs. It had no legal force. They were doomed to the sad fate of the "illegitimate" in those days. On May 22, 1864, Elena Alexandrovna gave birth to a son, Nikolai. Immediately after giving birth, she developed an exacerbation of tuberculosis. On August 4, 1864, she died in the arms of Fyodor Ivanovich Tyutchev. Tyutchev tormented and tormented. After her death, he lived in a daze. Tyutchev seemed to be blinded by grief and wisdom. “A short, thin old man, with long temples lagging behind. With gray hair that was never smoothed, dressed discreetly, not fastened with a single button, as it should ... ”Khodasevich wrote in his memoirs about Tyutchev.
Fedor Ivanovich continued to correspond with his wife Ernestina Fedorovna. Later they met, and the Tyutchev family was reunited again. AT last years life, Tyutchev devoted all his strength to diverse activities, pursuing the goal of establishing right direction foreign policy Russia. And Ernestina Fedorovna helps him in this. On January 1, 1873, the poet, says Aksakov, “despite all the warnings, left the house for an ordinary walk, to visit friends and acquaintances ... He was soon brought back, paralyzed. The entire left side of the body was affected and damaged irrevocably.” Ernestina Fedorovna cared for the sick Fedor Ivanovich.
Tyutchev died on July 15, 1873, just on the 23rd anniversary of the day when his affair with E. A. Denisyeva began.
The artistic fate of the poet is unusual: this is the fate of the last Russian romantic, who worked in the era of the triumph of realism and still remained faithful to the precepts of romantic art.
The main advantage of Fyodor Ivanovich's poems lies in the lively, graceful, plastically correct depiction of nature. He passionately loves her, understands perfectly, his most subtle, elusive features and shades are available to him.
Tyutchev inspires nature, animates, she is alive and humanized in his image:
And sweet thrill, like a jet,
Nature ran through the veins.
How hot her legs
Key waters touched.
"Summer Evening" 1829
Nature -
... Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
“Not what you think nature” ... 1836
Tyutchev, aesthetic views and the poetic principles of which took shape in the 20s and early 30s, of course, was not an opponent of the publication literary works, but I saw their main purpose in self-consciousness and self-expression of the individual. It is this feature of Tyutchev's work that can explain the fact that his conservative Slavophile political views, set out by him in special articles and which left an imprint on his diplomatic activity, were almost not reflected at all in his philosophical and intimate lyrics. Tyutchev represents a rare phenomenon in Russian literature as a poet, in whose work poems containing a direct expression of the poet's political ideas are of secondary importance.
His poetry was least of all declarative. It reflected the living being of the cognizing mind, its searches, impulses, passions and sufferings, and did not offer ready-made solutions.
Nature has always been a source of inspiration for Tyutchev. His best creations are poems about nature. His landscapes in poems: “How cheerful the roar of summer storms”, “What are you bowing over the waters, willow, your crown ...”, “Clouds are melting in the sky ...” and others - rightfully entered the golden fund of Russian and world literature. But the thoughtless admiration of nature is alien to the poet, he is looking for in nature that which makes him related to man. Tyutchev's nature is alive: she breathes, smiles, frowns, sometimes dozes, is sad. She has her own language and her own love; it is characteristic of what the human soul is, therefore, Tyutchev's poems about nature are poems about man, about his moods, worries, anxieties: “In stuffy air silence...”, “The stream thickened and grows dim”, “Even the earth looks sad...” and others.
The first cycle of poems was published in 1836 in Pushkin's Sovremennik magazine, which praised Tyutchev as a poet, and criticism spoke of Tyutchev only 14 years later.
Tyutchev's contribution to literature was not immediately appreciated. But those who themselves were masters of the word understood that a new poet, unlike any other, had appeared in Russia. So, I. S. Turgenev wrote: "The poet can tell himself that Tyutchev created speeches that are not destined to die." His first collection was small - only 119 poems. But as Fet said,
Muse, observing the truth,
She looks, and on the scales she has
This is a small book
Volumes are much heavier.
F. M. Dostoevsky noticed "the vastness of Tyutchev's poetry, to whom both sultry passion, and harsh energy, and deep thought, morality and the interests of public life are available."
Tyutchev often "left" to the primary sources of the Universe, in this he is "more extensive" than the work of, for example, Nekrasov. Tyutchev always has two beginnings: the world and man. He tried to solve cosmic “last” questions, and therefore turned out to be interesting not only for the 19th century, but also for the 20th.
Behind every phenomenon of nature, the poet feels her mysterious life.
The world of Tyutchev's poetry is revealed (Pushkin noticed this) only in the complex of many poems. With him, even where there is only a separate landscape, we always find ourselves, as it were, in front of the whole world.
Is in the autumn of the original
short but marvelous time -
The whole day stands as if crystal
And radiant evenings ...
In this real picture of autumn there is something from the promised land, from the bright kingdom. Such epithets as "crystal", "radiant" are not accidental. “Only cobwebs of thin hair” is not only a noticed detail, a real sign, this is what serves the perception of everything vast world, down to a thin web.
Tyutchev's lyrics are one-heroine. But it is noteworthy that there is a person in it, but there is no hero in the usual sense of the word. The personality in his poetry is presented for the whole human race, but not as for the race as a whole, but for each of this kind.
Hence the second feature of Tyutchev - dialogue. There is constant controversy in poetry.
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 love lyrics of the poet are also remarkable. Tyutchev, according to the remark of Z. Gippius, is one of the first when depicting love, the main attention switches to a woman. It is difficult to name another poet, except for Tyutchev, in whose lyrics an individual female image is clearly outlined.
Tyutchev was no stranger and social topics, although very often he was ranked among the "Parnassians", champions of "pure art". Indeed, the problem of the people, as such, in the 50-40s. XIX century Tyutchev is not interested, but by the end of the 50s. radical changes are outlined in the poet's worldview. He writes about the rotten imperial power, likens the fate of Russia to a ship that has run aground. And only the wave folk life able to pick it up and set it in motion."
These poor villages,
This meager nature
The land of native long-suffering,
The edge of the Russian people.
The principle of faith was and forever remained alive for Tyutchev:
Above this dark crowd
unawakened people
Will you rise when, freedom,
Will your golden beam shine? ..
In the 1950s, Tyutchev became close to Nekrasov in depicting nature.
So, in the poem “There is in the original autumn ...” Tyutchev’s harmony of the surrounding being is connected with the laboring peasant field, with a sickle and a furrow:
And pure and warm azure pours
To a resting field.
Tyutchev does not penetrate into the most popular peasant life, like Nekrasov in The Uncompressed Strip, but this is no longer an abstract allegory.
Tyutchev forever remains a poet of tragic spiritual quest. But he believes in genuine values life:
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.
For him, the spirit goes further than thought, so “thought” does not understand Russia, but “spirit” helps to believe in it.
Homeland for him is not an abstract homeland. This is a country that he sincerely loved, although he lived for a long time away from it. It is here, in a sense of the mystery of folk life, that two such different Russian poets, Tyutchev and Nekrasov, are most close.
So, Tyutchev's poetry is extremely wide both in terms of subject matter and in terms of the scope of the problems raised in it. Not averse to social topics, Tyutchev at the same time created a deeply lyrical, intimate world. In his poems, he spoke about the beauty of the world, about the greatness of the Creator, and also about the need to restore harmony between the natural world and man. He called for an intuitive knowledge of the world, for "listening" to nature, for a person to again feel like an organic part of the universe.
Tyutchev's creativity was milestone in the development of Russian literature. It opened in her new page, became a prologue to the work of such poets as A. Blok, A. Bely, V. Bryusov, predetermined the great breakthrough that was made in the era " silver age» Russian poetry.
The fate of Tyutchev the poet was peculiar. For a long time in reader circles, his name was simply not noticed, or they considered him, therefore, “for the elite”. Meanwhile, among these "chosen ones" were Pushkin, Nekrasov, Turgenev, Dostoevsky, Fet, Chernyshevsky, Dobrolyubov. Already one list of names of such connoisseurs, so different in their literary and aesthetic views, indicates that Tyutchev's poetry was destined for a great future.
Once Turgenev assured that "there is no arguing about Tyutchev - whoever does not feel him, thereby proves that he does not feel poetry." But poetry has many faces. Love for this or that poet depends primarily on deeply subjective, individual reasons, and it cannot be imposed. It is impossible to demand from the same reader that he equally "felt" Tyutchev and, say, Nekrasov - poets very dissimilar to each other (which did not prevent Nekrasov from "discovering" Tyutchev in 1850). It is indisputable, however, that one who simultaneously finds an echo for his thoughts and feelings in the poetry of Tyutchev and Nekrasov shows a greater poetic sensitivity than one who recognizes one and rejects the other.
Fet once referred Tyutchev to the "greatest lyricists on Earth." At that time, this judgment could seem both exaggerated and defiant. But years have passed ... And now the name of Tyutchev is among " the greatest lyricists mi-ra” is firmly established. This is evidenced by the growing interest in him from year to year in our country, in the poet's homeland, and the increased interest in him abroad.
Tyutchev's first poem was published in 1819, when the author was not yet 16 years old. From the second half of the 1820s, his creative talent flourished. Russian and Western European romanticism was a kind of poetic school Tyutchev. And not only poetic, but also philosophical, because, along with Baratynsky, Tyutchev is the largest representative of Russian philosophical lyrics. Romanticism as literary direction developed in an aesthetic atmosphere saturated with idealistic philosophical ideas. Many of them were accepted by Tyutchev, but this does not mean that his lyrics turned into a poetic presentation of some - alien or his own - philosophical system. Tyutchev's poems are, first of all, the most complete expression of the poet's inner life, the tireless work of his thought, the complex confrontation of feelings. Everything thought over and felt by him himself was invariably clothed in his poems in artistic image and rose to the height of philosophical generalization.
Tyutchev is usually called the "singer of nature." Author " spring nature” and “Spring Water” was the finest master of poetic landscapes. But in his inspired poems, singing pictures and phenomena of nature, there is no thoughtless admiration. The nature of the poet is always reflections on the mysteries of the universe, on eternal questions human being. The idea of the identity of nature and man runs through all of Tyutchev's lyrics, defining some of its main features. For him, nature is the same animated, "reasonable being" as man:
It has a soul, it has freedom,
It has love, it has language.
Usually, nature is depicted by the poet through the deeply emotional perception of a person who seeks to merge with it, to feel like a part of a great whole, to taste the “grace” of “earthly self-forgetfulness”. But Tyutchev was also aware of moments of painful consciousness that there is a tragic difference between nature and man. Nature is eternal, unchanging. Such is not the case with a man - "the king of the earth" and at the same time a "thinking reed", a quickly withering "cereal of the earth". Man comes and goes, nature remains...
Harmony is found by the poet in nature even in "spontaneous disputes." After storms and thunderstorms, “calm-peace” invariably comes, illuminated by sunshine and overshadowed by a rainbow. Storms and thunderstorms also shake the inner life of a person, enriching it with a variety of feelings, but more often leaving behind the pain of loss and spiritual emptiness.
The philosophical background does not make Tyutchev's lyrics of nature abstract. Nekrasov also admired the poet's ability to recreate a "plastically correct" image of the outside world. Whether Tyutchev uses all the colors of his poetic palette, whether he resorts to verbal halftones and shades, he always evokes in our imagination accurate, visible and true to reality images.
To the best creatures Tyutchev owns not only poems about nature, but also love poems, imbued with the deepest psychologism, genuine humanity, nobility and directness in revealing the most complex emotional experiences. Least of all in them is purely biographical, although we almost always know the names of the poet's inspirers.
So, we know that at the dawn of his youth, Tyutchev loved the "young fairy" Amalia Lerchenfeld (married Baroness Krudener). Subsequently, after many years of separation, he met her again when he was already sixty-seven years old, and she was six or twenty-two years old. Unexpected meeting forced the poet for a moment with the same strength to relive the feeling dormant in his soul, and the memory of this was the poem "I met you, and all the past ...".
We also know that the octoline “I am still languishing with longing for desires ...” is dedicated to the memory of the poet’s first wife, and the poem “December 1, 1837” is dedicated to Ernestine Dern Berg, who later became his second wife. We also know that in his declining years Tyutchev experienced, perhaps, the greatest feeling in his life - love for E. A. Denisyeva, which inspired the poet to create poems “Don’t tell me: he, as before , love-bit ... "," She lay in oblivion all day ... "," The breeze subsided ... breathes easier ... "," On the eve of the anniversary of August 4, 1864 " and others. Taken together, all these poems form the so-called "Denisiev cycle", which, in its penetrating power and tragic power in conveying a complex and subtle range of feelings, has no analogues not only in Russian, but also in world love lyrics. When reading these poems, we do not need to remember at all under what specific biographical circumstances they were created. Best Samples Tyutchev's love lyrics are remarkable for the fact that in them the personal, individual, experienced by the poet himself, is raised to the universal.
The fact that Tyutchev wrote about nature, about love, gave an external reason to refer him to the priests of "pure poetry." But it was not for nothing that the revolutionary democrats Chernyshevsky and Dobrolyubov, struggling with the theory and practice of "pure art", did not find its expression in Tyutchev's lyrics. Moreover, Dobro-lyubov appreciated in the poet's work "sultry passion", "severe energy" and "a deep soul, excited not only by natural phenomena, but also by moral issues, the interests of public life."
There were not many political poems by Tyutchev then published, and Dobrolyubov could not sympathize with the Slavophile idea contained in them. But it is known that in one of his articles, Dobrolyubov fully cited the poem "Russian Woman", seeing in it a true reflection of Russian reality. But, in all likelihood, the words of the critic about the echo of public interests in Tyutchev's lyrics allow for a broader interpretation. The breath of time, the historical era in which Tyutchev lived, is felt even in poems that are far from direct social and political topics.
Tyutchev's poetry is a kind of lyrical confession of a man who visited "this world in its fatal moments", in the era of the collapse of age-old social foundations, moral dogmas and religious beliefs. The poet recognizes himself as a “fragment of the old generations”, forced to give way to the “new, young tribe”. And at the same time, he himself - the child of the new century - bears in his soul a "terrible split." No matter how sad it is for him to wander "with exhaustion in the bones towards the sun and movement", he does not experience a dreary yearning for the past, but a passionate attraction to the present. Tyutchev wrote:
Roses sigh not about the past
And the nightingale sings in the night;
Fragrant Tears
Aurora pours not about the past, -
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.
These lines explain a lot in Tyutchev's lyrics. The desire to live in the “present” was inherent in the poet until the end of his days. But the real one was restless. Every now and then he was blown up by social "storms and anxieties." The same "storms and anxieties" shook the moral structure of modern man, and Tyutchev felt them primarily in his own soul, in his own consciousness. That's why it's so full inner anxiety poet's lyrics.
Of all the Russian poets contemporary to him, Tyutchev, more than anyone else, can be called a lyricist in the full sense of the word. He never tried himself in epic genres, did not turn to dramaturgy. His element is a lyrical poem, usually short, devoid of any genre features.
In his lyrical masterpieces, Tyutchev outwardly comes, as it were, not from a predetermined thought, but from a feeling or impression that suddenly captured him, inspired by the phenomena of the outside world, the surrounding reality, a momentary emotional experience.
The poet sees a rainbow and immediately sketches a small, only eight lines, “landscape in verse,” as Nekrasov aptly called his poetic paintings of nature. But the process of creating a poem does not end there. AT creative presentation poet, the brightness and transience of the "rainbow vision" entails a different image - a bright and fleeting human happiness. A new stanza appears, and the “landscape in verse” acquires the meaning of a philosophical allegory (“How unexpected and bright ...”).
Another example. The hopeless rain inspires the poet with the idea of an equally hopeless human grief, and he writes poems not about rain, but about tears. However, the entire intonation, the entire rhythmic structure of the poem is imbued with the unceasing sound of falling raindrops (“Tears of people, oh tears of people ...”).
One of the sorcerers of the Russian poetic language, a master of verse, Tyutchev was extremely exacting to every written word. In his famous poem"Silentium" the poet confessed:
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
However, in the verses of Tyutchev himself, the idea was expressed with the utmost precision. That is why his poems serve as the best proof not of immortality, but of the power of the word. And no matter how complex the system of “mysterious magical thoughts” is in the poet’s soul, they, contrary to his own doubt, more and more find their way to the heart of the reader.
1. Brief biographical information.
2. Philosophical outlook of the poet.
3. Love and nature in Tyutchev's poetry.
F. I. Tyutchev was born in 1803 into a well-born noble family. The boy received a good education. Tyutchev showed interest in poetry quite early - already at the age of 12 he successfully translated the ancient Roman poet Horace. The first published work of Tyutchev was a free arrangement of the "Messages of Horace to the Maecenas". After graduating from St. Petersburg University, Tyutchev entered the diplomatic service. As an official of the Russian diplomatic mission, he was sent to Munich. It should be noted that Tyutchev spent a total of more than 20 years abroad. He married twice - for love, and both the relationship preceding marriage and the subsequent family life Tyutchev developed quite dramatically.
The career growth of Tyutchev, who received the post of diplomatic envoy and the title of chamberlain, ceased due to the fault of the poet himself, who, during the period of stormy passion for Baroness E. Dernheim, who became his second wife, he arbitrarily resigned the service for some time, and even lost the documents entrusted to him. Having received his resignation, Tyutchev still lived abroad for some time, but after a few years he nevertheless returned to his homeland. In 1850 he met E. Denisyeva, who was half his age and who soon became his lover. This connection lasted 14 years, until the death of Denisiev; at the same time, Tyutchev retained the most tender feelings for his wife Eleanor. Love for these women is reflected in the poet's work. Tyutchev died in 1873 after losing several close people: his brother, his eldest son and one of his daughters.
What did this man bring to poetry that his Poems immortalized his name? Literary critics have come to the conclusion that Tyutchev introduced motifs and images that were practically not used in the poetry of the 19th century before him. First of all, this is the universal, cosmic scope of the poet's worldview:
The vault of heaven, burning with star glory,
Mysteriously looks from the depths -
And we are sailing, a flaming abyss
Surrounded on all sides.
Such a scale would later often be reflected in the work of poets of the 20th century. But Tyutchev lived in the 19th century, so in some way he anticipated the development of poetic tendencies, laid the foundations of a new tradition.
It is interesting to note that for Tyutchev such philosophical categories as infinity and eternity are close and tangible realities, and not abstract concepts. Human fear of them stems from the impossibility of rationally comprehending their essence:
But the day fades - the night has come;
Came - and, from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!
However, Tyutchev, of course, is the heir to the poetic tradition that developed before him. For example, the poems "Cicero", "Silentium!" written in an oratory-didactic style, which was widely used in the 18th century. It should be noted that these two poems reveal some important elements philosophical worldview of the poet. In the poem "Cicero" Tyutchev refers to the image of an ancient Roman orator in order to emphasize the continuity historical eras and to hold the idea that the most interesting are the turning points of history:
Happy is he who visited this world
In his fatal moments!
He was called by all the good
Like an interlocutor at a feast.
He is a spectator of their high spectacles,
He was admitted to their council -
And alive, like a celestial,
I drank immortality from their cup!
Witness major historical events is regarded by Tyutchev as an interlocutor of the gods. Only they can understand the deep feelings of the creative soul. As for people, it is extremely difficult to convey your thoughts and feelings to them, moreover, often this should not be done, as the poet writes about in the poem “Silentium!”:
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.
The use of mythological images in Tyutchev's poetry is also based on a tradition that already existed in Russian literature. The bizarre world of myth allows the poet to abstract from everyday life, to feel complicity with some mysterious forces:
You say: windy Hebe,
Feeding Zeus' eagle
Thundering cup from the sky
Laughing, she spilled it on the ground.
It is necessary to pay attention to the composition of Tyutchev's poems. Often they consist of two interrelated parts: in one of them the poet gives something like a sketch, shows this or that image, and the other part is devoted to the analysis and comprehension of this image.
For poetic world Tyutchev is characterized by a pronounced bipolarity, which is a reflection of his philosophical views: day and night, faith and unbelief, harmony and chaos ... This list could be continued for a long time. The most expressive opposition of two principles, two elements in Tyutchev's love lyrics. Love in Tyutchev's poems appears either as a "fatal duel" of two loving hearts, or as a mixture of seemingly incompatible concepts:
Oh, last love!
You are both bliss and hopelessness.
Nature in Tyutchev's lyrics is inextricably linked with inner life lyrical hero. Note that Tyutchev often shows us not just pictures of nature, but transitional moments - twilight, when the light has not yet completely gone out and complete darkness has not come, an autumn day that still vividly conveys the charm of the past summer, the first spring thunderstorm... As in history, so in nature, the poet is most interested in these "threshold", turning points:
Shades of gray mixed,
The color faded, the sound fell asleep -
Life, movement resolved
In the unsteady dusk, in the distant hum ...
The theme of "mixing", interpenetration, often sounds in those lines that are devoted to the perception of nature by man:
An hour of longing inexpressible!..
Everything is in me and I am in everything!
... Feelings of darkness of self-forgetfulness
Fill over the edge!..
Let me taste destruction
Mix with the dormant world!
Tyutchev's perception of nature, as well as all the poet's lyrics, is characterized by polarity, duality. Nature can appear in one of two guises - divine harmony:
Is in the lordship of autumn evenings
A touching, mysterious charm! ..
or elemental chaos:
What are you howling about, night wind?
What are you complaining about so madly? ..
Nature for Tyutchev is a huge creature endowed with a mind with which a person may well find a common language:
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...
One of the most important topics of Tyutchev is nature in all its diversity of manifestations and influences on the state human soul. In Tyutchev's lyrical miniatures, nature is alive, spiritualized in all its manifestations. spring waters“they say to all ends: “Spring is coming, spring is coming ...” (“Spring Waters”, 1829); “The hazy noon breathes lazily” (“Noon”, 1829); “Winter is still busy and grumbles at Spring. She laughs in her eyes and only makes more noise ”(“ Winter is angry for a reason ... ”, 1836). Personification is a favorite trope in the poet's lyrics.
Nature and man in Tyutchev's poems are extremely strongly interconnected. The poet often uses the folklore principle of psychological parallelism, which makes it possible to fix this interdependence of the life of nature and the human soul. This principle is the basis of the figurative system of poems “The stream thickened and grows dim ...”, “The earth still looks sad ...” (1836). Both of these poems are divided into two stanzas. The first part speaks of the signs of the seasonal state of nature, and the second part, through similitude, tells about the experiences of the soul of the lyrical hero.
There are other accents in Tyutchev's lyrics. His nature is mysterious, she lives a hidden life, inaccessible to the human mind. higher, divine beginnings embodied in movements natural world. Such a feeling permeates the poem "Not what you think, nature ..." (1836):
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 calls the proud human consciousness contemptuously assigning to nature the place of the executor of human whims. In more late period creativity, this sense of the inherent value of the natural world becomes especially strong. In the poem "How good you are, O night sea ..." (1865), the sea is depicted "in the desert of the night." The lyrical hero is the only witness to the "dialogue" of waves, wind, moon and stars, a secret movement, indifferent to how a person perceives it and whether it perceives at all. It is so beautiful, mysterious and majestic that in the face of the playing elements, human life sometimes seems insignificant:
In this excitement, in this radiance,
All, as in a dream, I'm lost standing -
Oh, how willingly in their charm
I would drown my whole soul ...
The eternal doubts of the soul, striving for nature, conquered by its beauty and doubting the spirituality of this beauty, were embodied in Tyutchev's philosophical quatrain:
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.
“Nature is a sphinx. And the more true it is...”, 1869
As you can see, the poet's perception of the natural world was not at all simple and blissful, but complicated, dramatic and even tragic.
The same can be said about his attitude towards love. This feeling can be deprived of harmony, enlightenment. Love frees uncontrollable passions in the soul of a person, threatens with a catastrophe:
Oh, how deadly we love
As in the violent blindness of passions
We are more likely to destroy.
What is dear to our heart!
“Oh, how deadly we are by any...”, 1851
feature love lyrics Tyutchev, which makes her related to Nekrasov's love poems, is a display of feelings of both the lyrical hero and his beloved. He and she are in equally participants in joy derived from pain.
Gone love in this case is likened in the poem "She was sitting on the floor ..." handfuls of ashes, ashes. However, the poet also has love poems of a different tone. The poem "I met you - and all the past ..." (1870) is dedicated to memories of old, youthful love. A meeting after many years with a once beloved woman reminds of the days of happiness. As you can see, the situation is reminiscent of the one that became the basis of Pushkin's poem "I remember wonderful moment... "Yes, and the feelings, moods of the lyrical hero are close to those expressed by Pushkin:
There's not just one memory
Then life spoke again -
And the same charm in you,
And the same love in my soul! ..
The rhyme "again - love" in a different context may seem banal. At the end of this poem, it is used by the poet deliberately to emphasize the enduring significance of love for a person. This feeling is repeated, remaining unique and most precious, giving people anxiety, joy, disappointment and hope.
Tyutchev spent many years abroad, but he retained love for his homeland, faith in its people, the future. The historical existence of Russia for Tyutchev is akin to the organic and spiritual life of nature. There is also a lot of inexplicable, mysterious:
Russia cannot be understood with the mind,
Do not measure with a common yardstick.
She has a special become:
One can only believe in Russia.
This emphasis on the incomprehensible, mysterious in Russian fate and soul is also characteristic of the poem "These poor villages ..." (1855):
They don't understand and they don't notice
The proud gaze of a foreigner,
What shines through and secretly shines
In your humble nakedness.
In that short work there are only three stanzas, but each of them carries a special semantic and emotional load, is a separate compositional part. The first refers to the outward unpretentiousness of the homeland. The second one claims secret meaning, the Russian riddle as the basis of national identity. Finally, in the third stanza, the poet carries out the idea of the suffering and humiliated homeland being chosen by God. This is not about any historical advantages or privileges. Russia historical destiny as if repeating the path and feat of the Savior, who atoned for the sins of the world with his own blood and suffering.
Reflections on own life, experienced suffering and joy, observation of patterns and surprise at the mysteries of life, human life became the basis of the philosophical motives of Tyutchev's lyrics. Many of his poems are permeated with a sense of the catastrophic nature of life, along which "we are floating, surrounded on all sides by a flaming abyss." And man himself is by no means perfect. AT lyrical forms the poet speaks of contradictions and vices modern people, which became the subject of the image of Gogol, Dostoevsky, L. Tolstoy:
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.
The feeling of inescapable human loneliness, expressed in the poem “Silentiumh (“Silence”), is dramatic, because any “thought uttered is a lie”. However, in one of the later philosophical miniatures, this poetic idea is corrected:
We can't predict
As our word will respond, -
And we get sympathy.
How do we get grace...
"It is not given to us to predict...", 1869
The meanings of this poem are multifaceted. One of the possible readings is that the poet hopes for communication and mutual understanding of souls, human feelings, which are wiser and more merciful than logic and mind. The key word for the perception of the complex of thoughts and feelings embodied in the poem completes the text: “grace” is good not as payment for what has been done, achieved, but as a gift of a generous soul and without reason loving heart, responding to good movements or at least the initial inclinations of other souls.
The poet lived long life and in his extremely subjective work he nevertheless expressed what the people of his difficult time lived. No less controversial outlook modern man responds to the intonations of Tyutchev's lyrics as very relevant.
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