The originality of Tyutchev's philosophical lyrics. The world is eternal, but human life is temporary
We depend on days and nights
From things, from people and weather.
We are separated from our soul,
We don't see her for many years.
We rattle the metal of chains,
We go under dark vaults.
We are from the whole of nature, from all,
They took slavery without taking freedom.
(K. Balmont)
The lyrics of Fyodor Ivanovich Tyutchev in domestic literary criticism and criticism are usually called philosophical. This definition has long been an axiom. Indeed, many of the poet's lyrical works are, as it were, small philosophical treatises in which he gives answers to the "eternal" questions of human existence in an extremely concise form. However, regarding the attitude of Tyutchev's worldview to one or another philosophical direction, there are significant discrepancies among the researchers of his work. So some consider him a follower of Schelling, others - a pantheist, someone - a natural philosopher, and some - a mystic. In addition, there are opinions about the presence of Slavophile and Christian motifs in Tyutchev's lyrics.
This diversity of opinion is explained, in my opinion, by two main reasons. Firstly, each of the researchers perceived Tyutchev's work through the prism of their own worldview and worldview, and, secondly, this perception was, it seems to me, very fragmentary. However, there is nothing surprising in this: Tyutchev's work is so deep and peculiar that it will take many more years and a lot of research work to fully understand it (if at all possible).
In this article, I will try to discover and identify the general idea in Tyutchev's lyrics, which is the basis of his poetic worldview. In addition, I will try to pay attention to those nuances in the poet's lyrics that have escaped the attention of other researchers.
It should be noted that Russian philosophical poetry of the 19th century was a living, real and significant fact that had a huge impact on the development of literature of that time. In the philosophical lyrics of this period, a very special picture of the world is presented. This period interesting in that the figures of Russian culture are beginning to feel the crisis of their time. And, above all, this is expressed in poetry as the most subjective form of creativity. It should also be noted that after the death of Pushkin and Lermontov, Russian literature is dominated mainly by prose works. As for poetry, it is presented extremely sparingly, but it was in it that the spirit of the era was reflected, a premonition of an impending catastrophe.
One of the first truly mature works of Tyutchev is the poem "Glimpse", most likely written in 1825.
Have you heard in the deep twilight
Air harp light ringing,
When midnight, inadvertently,
Dormant strings will be disturbed by a dream? ..
Those amazing sounds
That freezing suddenly ...
Like the last murmur of flour,
In them those who responded went out!
Breath every Zephyr
Sorrow explodes in her strings...
You say: angelic lyre
Sad, in the dust, in the sky!
Oh, how then from the earthly circle
We fly with our soul to the immortal!
The past is like the ghost of a friend
We want to press to our chest.
As we believe with living faith,
How joyful, how light!
Like an ethereal stream
The sky has flowed through my veins!
But, ah! it was not for us that he was judged;
We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire.
Barely by the effort of a minute
Let's interrupt the magical dream for an hour
And with a quivering and vague look,
Getting up, let's look at the sky, -
And with a heavy head,
Blinded by one beam
Again we fall not to rest,
But in tedious dreams.
The main idea of "Glimmer" is the involvement of man in two worlds - the spiritual and the physical. It is this duality of man that gives rise to that monstrous gap in his consciousness and being, which is extremely difficult to overcome. The author does not specify who is to blame for this split, but makes it clear that the "culprit" still exists:
But, ah! not to us judged;
We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire.
Someone "did not judge", someone "is not given." Here one can clearly see the idea of the existence of some fatal force that does not allow a person to go beyond the limits of his earthly world. Obviously, in my opinion, the connection this poem with Christian ideology. This is evidenced by the phrases “angelic lyre”, “divine fire”, present in the text, as well as the comparison of a person with “dust”. This is also evidenced by the general pessimistic mood of the poem, which perceives the human world as a vale of suffering and misfortune.
Tyutchev develops the same idea about an unknown, inevitable force that limits the freedom and possibilities of a person in his other work, Fountain, dated 1836.
See how the cloud is alive
The shining fountain swirls;
How it burns, how it crushes
Its in the sun wet smoke.
Rising to the sky with a beam, he
Touched the cherished height -
And again with fire-colored dust
To fall to the ground is condemned.
About the mortal thought of a water cannon,
O inexhaustible water cannon!
What law is incomprehensible
Does it aspire to you, does it bother you?
How greedily you are torn to the sky! ..
But the hand is invisibly fatal
Your refracting stubborn beam,
It overthrows in spray from a height.
All the same "invisibly fatal hand" is present, as we see, here too.
So, it is not given to a person to rise, to rise above his earthly existence. But even more terrible is that here, on earth, he is also completely dependent on some external force. Tyutchev clearly shows this in the poem "From land to land, from city to city ...".
Fate, like a whirlwind, crushes people,
And are you happy or not happy
What does she need? .. Forward, forward!
The wind brought us a familiar sound:
Love the last forgive ...
Behind us are many, many tears,
Fog, obscurity ahead! ..
"Oh, look around, oh wait,
Where to run, why run?
Love is behind you
Where can you find the best in the world?
Love is behind you
In tears, with despair in my chest ...
Oh, take pity on your anguish
Spare your blessings!
The bliss of so many, so many days
Bring to your memory...
All that is dear to your soul
You leave on the way! .. "
It's not the time to call out the shadows:
And this is such a dark hour.
The image of the deceased is the more terrible,
Than in life was sweeter for us.
From edge to edge, from city to city
A mighty whirlwind crushes people,
And are you happy or not happy
He will not ask ... Forward, forward!
The poem was written between 1834 and April 1836. It strikes with a sense of hopelessness and despair. We will no longer find clearly expressed Christian motives in it, but we can find some of its connection with the philosophy of Schopenhauer. We see here a picture of the confrontation of a lonely and powerless person with the powerful force of this cruel world. And the doom of a person is always to obey this force. Even such a seemingly disastrous poem as "The Last Cataclysm" does not make such a heavy impression:
When it strikes last hour nature,
The composition of the parts will collapse earthly:
Everything visible will again be covered by water,
And God's face will be depicted in them!
This poem is directly related to Christian eschatology. The doctrine of the End of the World is presented by the poet in an extremely concise and accessible form. The presence of Christian ideas in some of Tyutchev's poems gave grounds to some researchers to assert that his lyrical pantheism is not an outside, but an intra-Christian stage of ascent to God. With which one can hardly agree. On the other hand, one cannot but agree with Vladimir Kantor that “the image of the end of the world is striking in its epic calm, it is given as a kind of statement of fact, as a kind of knowledge cosmic fate of the Earth.
Other literary scholars argue that the motives of uncertainty, disappointment in life, the fragility of being are decisive in Tyutchev's work. "The idea of the fragility of everything in life is one of the leitmotifs of Tyutchev's poetry." Bukhstab is echoed by L.A. Ozerov: “The foreboding of the “fatal minutes” was so great in Tyutchev that it fills and permeates all his lyrics, from political to landscape ...”. Despite the fact that this opinion was expressed by such authoritative literary critics, I would like to disagree with him. Yes, in creative heritage Tyutchev there are a number of poems similar topics that were given above, but they do not at all determine the general line of the worldview and creativity of the great poet.
It should be noted that in the poetry of Tyutchev Christian motives occur frequently. Here is one example:
Above this dark crowd
unawakened people
Will you rise when, Freedom,
Will your golden beam shine? ..
Your beam will shine and revive,
And the dream will disperse the fogs ...
But old, rotten wounds
Scars of violence and insults,
Corruption of souls and emptiness,
What gnaws the mind and aches in the heart, -
Who will heal them, who will cover them?..
You are the pure robe of Christ..
Another similar poem is "Our Age".
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.
We burn with unbelief and wither,
He endures the unbearable...
And he knows his death
And he longs for faith... but he doesn't ask for it.
Will not say forever, with prayer and tears,
No matter how he mourns in front of a closed door:
"Let me in! - I believe, my God!
Come to the aid of my unbelief!”.
True, most of the works in which there is a connection with the Christian dogma are quite strongly politicized:
Not for the first time the rooster crows;
He screams lively, cheerfully, boldly;
Already a month has gone out in the sky,
The stream in the Bosphorus turned red.
The bells are still silent
And the dawn is blushing in the east;
The endless night has passed
And soon a bright day will come.
Get up, Rus'! The time is near!
Get up for the service of Christ!
Isn't it time, crossing yourself,
Ring the bell in Tsargrad?
Sound the bells and whistles
And the whole East resounds with them!
He calls you and wakes you up, -
Get up, take courage, take up arms!
In the armor of faith, put on your chest,
And with God, the sovereign giant! ..
Oh Rus', great is the coming day,
Ecumenical day and Orthodox!("Dawn") .
At one time, a lot was said about the belonging of Tyutchev's work to the romantic direction. Such an opinion was based not only on the connection of the poet's worldview with the philosophy of Schelling, but also on the image of the two worlds, characteristic of the romantics, occasionally found in his poems. Here is one example:
September cold raged,
A rusty leaf fell from the trees,
The fading day smoked
The night fell, the fog rose.
And all for the heart and for the eyes
It was so cold and colorless
It was so sad, unanswered, -
But someone's song suddenly rang out ...
And with some charm
The fog rolled up and flew away
The vault of heaven turned blue
And again turned into a radiance ...
And everything turned green again
Everything turned to spring ...
And this dream I dreamed
While your bird sang to me.("N.I. Krol").
This opinion does not seem convincing enough to me. In my opinion, Tyutchev's poetry also differs from the works of romantics (Zhukovsky, for example), as well as from the work of avant-garde artists. In addition, one should not always take the author’s memories of the former, better times as an image of the “two worlds”:
Here once, mighty and beautiful,
Noisy and green magical forest -
Not a forest, but a whole diverse world,
Full of visions and miracles.
Rays shone through, shadows trembled;
The din of birds did not drown in the trees;
Fast deer flickered in the thicket,
And the hunting horn called out at times.
At the crossroads, with speech and greetings,
Meet us, from the semi-darkness of the forest,
Enveloped by some wonderful light,
Familiar faces flocked to a whole swarm.
What a life, what a charm
What a sumptuous light feast for the senses!
We fancied otherworldly creatures,
But this wonderful world was close to us.
And here again to mysterious forest
We approached with the same love.
But where is he? Who lowered the veil
He lowered her from heaven to earth?
What is it? Ghost, what kind of spell?
Where are we? And can you believe your eyes?
There is only one smoke, like the fifth element,
Smoke - joyless, endless smoke!
In some places they stick out through the naked
Fire ugly stumps,
And run along the burnt branches
With an ominous crackling white lights ...
No, this is a dream! No, the wind will blow
And the smoky ghost will take with it ...
And here again our forest will turn green,
All the same forest, magical and dear.("Forest")
Some researchers also note the similarity of certain images and even entire works of Tyutchev with the poetry of the Symbolists. Naturally, it means that the Symbolists borrowed from Tyutchev themes close to their worldview. Indeed, such, for example, a poem as "There was still a merry day roaring ..." is very similar to some of Blok's works.
Still noisy fun day
Crowds of the street shone -
And the shadows of the evening clouds
I flew over the bright roofs -
And sometimes they came
All the sounds of a blessed life, -
And all merged into one system,
Hundred-sounding, noisy - and slurred.
Tired of spring bliss,
I fell into involuntary oblivion ...
I don't know how long the dream was
But the awakening was strange ...
Silence everywhere noise and din
And silence reigned -
There were shadows on the walls
And half-asleep flickering...
sneak into my window
The poor luminary looked,
And it seemed to me that it
My drowsiness was guarded.
And it seemed to me that I
Some kind of peace genius
From a lush golden day
Carried away, invisible, into the realm of shadows.
In addition, the images of chaos, abyss, twilight, darkness are the main ones in the work of many symbolists.
(1 option)
The central theme of the work of Fyodor Ivanovich Tyutchev, for the first time in the history of Russian literature, is the "ultimate foundations of being", social issues of the world order. The lyrical hero of his poetry is not considered an exponent of some conditioned philosophical theory, he just asks "damned", questions that do not have answers: what is a person? Why is he thrown into the world? Why was nature created? What is the mystery of natural life? The tragic sense of the hopelessness of the worldview search was reflected in the famous Tyutchev 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.
F. I. Tyutchev, in my opinion, was one of the most insightful poet-philosophers in Russian literature. His poems cannot be called pure lyrics, because they express not just feelings lyrical hero, but, above all, the philosophical system of the author-thinker. The poet "needs to extract from the world everything corresponding to his nature." In the philosophical poetic works of Fyodor Tyutchev, unlike philosophical treatises, there is not a development of thought, not a detailed argument that confirms it, but its designation, the declaration of an idea that is expressed by a word in poetry, that is, a complex of thoughts is given in experience, in emotional, artistic , "sensible" images. The content of being is revealed directly through images.
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...
In a number of Tyutchev's poems, nature is really animated: streams "speak" and "foreshadow", a spring "whispers", the tops of birches "rave", the sea "walks" and "breathes", the field "rests". On the other hand, the author speaks of the deafness of nature to the pleas of her children, of her indifference both to the death of a person and to his sufferings and passions.
Let's compare Tyutchev's poem "From the life that raged here ..." with Pushkin's philosophical elegy "Again I visited ...". Like Tyutchev, Pushkin writes about the inexorable run of the time allotted to man ("... a lot has changed in life for me", "... I myself ... have changed"), about the majestic slowness of nature ("... it seems that the evening I still wandered in these groves") . But in Pushkin, the idea of the continuity of generations is associated with the images of trees and, associated with it, the idea of the immortality of any being - both natural and human: how a tree continues itself in other trees ("young grove", "green family" is crowded near "obsolete" roots pine trees), so a person does not die in his descendants. Hence the philosophical optimism of the final part of the poem:
hello tribe.
Young, unfamiliar! not me
I will see your mighty, late age ...
Tyutchev's trees personify the passionlessness, self-sufficiency of nature, its indifference to the spiritual life of people:
They show off, make noise, - and they don't care,
Whose ashes, whose memory their roots dig.
Nature is not only deprived of a soul, memory, love - according to Tyutchev, it is higher than the soul, and love, and memory, and man, as a creator is higher than his creation:
... in front of her we are vaguely aware
Ourselves - only a dream of nature.
Here, as in a number of other poems, the motive of the abyss (chaos) sounds - one of the key motives of Tyutchev's lyrics. In the poem "From the life that raged here ..." the abyss is conceived as one of the parts or one of the functions physical world. With eerie irony, the poet writes:
Nature does not know about the past ...
All your children in turn
Performing their feat useless,
She welcomes her
All-helping and peaceful abyss.
In the creative heritage of Tyutchev there are many bright and joyful poems that express reverent, enthusiastic feelings caused by the beauty of the world ("Spring", "Summer Evening", "Morning in the Mountains", "No, my addiction to you ...", "Winter pissed off…"). Such is the famous "Spring Thunderstorm", filled with triumphant intonations, the jubilant sound of a symphony of colors and sounds, the energy of life renewal:
The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung,
And the sun gilds the threads.
However, the existence of man in the world, the existence of nature itself is perceived by the poet as a prologue to an inevitable catastrophe. Hence the tragedy of the sound of such poems of the poet as "Vision", "Insomnia", "Like the ocean embraces the globe." In "Insomnia" Tyutchev draws an image of time. At the beginning of the poem, the “monotonous battle of hours” is interpreted as the “deaf moanings” of time, as its language, “equally alien and intelligible to everyone”; at the end - as a "metal funeral voice." A reminder of the inexorable movement of time makes a person see himself (and humanity as a whole) standing "on the edge of the earth", feel his existential loneliness in the world ("... we ... are left on our own").
The real meaning of chaos in the lyrics of F. I. Tyutchev is the danger of destruction, the abyss that must be crossed in order to achieve absolute merging with the universe. The spleen that takes possession when meeting with obscure manifestations of chaos is despondency and fear of death, horror of destruction, but bliss is achieved in overcoming them. In the lyrics of F. I. Tyutchev, the reflection is figuratively formulated that the element of disorder allows us, in contact with it, to comprehend the entire depth of the abyss that fences us off from a truly universal being, the idea that evil and sin are not considered antitheses of good and holiness - this is all -only stages to comprehend the truth. The opposition of chaos and the perfect beginning of the universe, the poet finds not in the images of "day and night", but in the images of silence, tranquility. Heat, rebellion and their clash with silence, tranquility - this is a collision of the enticing and violent beauty of life with the calm and clear beauty of impotence and dying. Consequently, chaos is the embodiment of overcoming everything earthly and perishable. This means that in the lyrics of F. I. Tyutchev, "the very night soul of Russian poetry", the virgin beauty of the divine world is revealed to us, embracing everything that exists - living and dead, disorder and harmony, in the battle between which flows "evil life with its rebellious heat":
Damage, exhaustion, and on everything
That gentle smile of fading,
What in a rational being do we call
The sublime modesty of suffering.
(Option 2)
Tyutchev, like most of Russian society of the 20s. XIX century, showed interest in classical German philosophy, in particular - in the philosophy of Schelling. From this hobby appeared in Tyutchev's lyrics the motives of connecting the particular with the general, the comparison of the soul and the cosmos (in the poem "Shadows of gray mixed ..." you can see the following line: "Everything is in me and I am in everything").
Tyutchev is, first of all, a lyric poet, moreover, of a romantic and philosophical direction. He basically did not allow sociality in his poems, and therefore so much attention is paid to reflections on "eternal questions" in them. The basis of his lyrics can be considered an understanding of the world as a combination of harmony and chaos. From this system (harmony-chaos), one can single out the motive of life and death, in particular, the poet was very interested in the question of immortality. According to Tyutchev, immortality is granted only to the gods, "their immortality is alien to labor and anxiety" ("Two Voices"), while mortals are destined to struggle. Only one of the mortals "who visited this world in its fatal moments", who witnessed "high spectacles", can be admitted to the divine council and become immortal ("Cicero").
What will remain after them, the fighters, on earth? Tyutchev is silent about human memory, but emphasizes that nature is indifferent to absolutely everyone (which is an important motif of Tyutchev's philosophical lyrics).
Nature knows 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.
("From the life that raged here...")
In general, Tyutchev's nature should be said separately. In each of the poems, it is present in one form or another, but, basically, it is not a passive landscape, but a living, active force. Often this force is directed against a person (or, as mentioned above, is indifferent to him). Tyutchev points to the helplessness of man in front of nature:
Before the elemental enemy force
Silently, hands down
The man stands sadly
Helpless child.
("Fires")
For nature, violence is a normal state, but for a person it brings death. It is noteworthy that in the above poem a person stands "silently, hands down" - this proves that he cannot do anything, the elements of nature are beyond his control, and what a person cannot cope with is chaos for him. Therefore, even when nature itself is harmonious, there is "complete consonance in nature" ("There is melodiousness in the sea waves ..."), he is out of tune with nature.
But Tyutchev also considers nature from the other side. In his opinion, its phenomena, the movements occurring in it, like nothing else, are suitable for expressing own feelings(it is impossible not to notice in this understanding of the relationship of man with nature the typical principle of romanticism).
So, in love lyrics it can be noted next feature: Tyutchev sees similarities between some moments in life and some events in nature. For example, a meeting with a former lover, which awakened former feelings, is likened by Tyutchev to days late autumn, "when it suddenly blows in the spring" ("KB"). Typical for Tyutchev is the complete identification of natural phenomena (including the time of day) with one or another feeling or something related to the person as a whole. In the poem "Last Love" the poet equates "last love" with the "evening dawn", in the poem "I knew my eyes ..." he sees in his eyes a "magical, passionate night." In addition, Tyutchevskaya love lyrics is notable for the fact that the motif of harmony and chaos also shines through in it. The first has already been said (feelings, passions give rise to life), and chaos - in the destructiveness of passions, as, for example, in the poem "Oh, how deadly we love ...".
In harmony or chaos, a person is doomed to loneliness, which, however, does not oppress him. Tyutchev has a popular motive "man and society", but this opposition does not take on the usual social meaning. Tyutchev's misunderstanding is due to the fact that "an alien soul is dark", the feelings of another, according to the poet, cannot be seen. There is only one reason: "A thought uttered is a lie" (this idea was paraphrased by many romantic poets, such as Zhukovsky: "And only silence speaks clearly"). This line is from the poem "Silentium!", which has become a kind of hymn to loneliness.
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Tyutchev promotes silence, self-absorption, a kind of egocentrism. In his opinion, a person should be able to "live in himself":
There is a whole world in your soul
Mysterious magical thoughts, -
And this inner world is opposed to the outer, "outer noise". It seems that this poem can be compared, in general, with the peculiarity of Tyutchev's work: the poet, as already noted, in principle did not pay attention in his poems to social topics, firstly, and secondly, he wrote for himself, and it did not matter to him whether they read it or not. This is probably why his poems are so deep and filled with philosophical reasoning.
Philosophical motives
There are many Tyutchev's philosophical poetic motives, but they all sound so strong that they forced readers to always listen and be sure to think about the poet's poetic thoughts. And this Tyutchev feature could always be unmistakably recognized by I. Turgenev, who always admired the works of this poet. He claimed that Tyutchev's lyrics are special, and each of his poetic creations, according to Turgenev's words:
"it began with a thought, which, like a fiery point, flared up under the influence of a deep feeling."
Therefore, in Tyutchev's philosophical poetry there are certain persistent topics that will interest any reader:
The theme of chaos and outer space.
The world is eternal, and the life of man himself is a temporary phenomenon.
Love as part of the whole, part of nature and the universe.
Tyutchev's space theme and the theme of chaos
In F. Tyutchev's lyrics, the poetic and human worlds are closely and inseparably or inextricably linked, the Universe is also connected with the human race. And this can be explained by the fact that the basis of all Tyutchev's poems is the understanding of the world poet himself as something common and world integrity, but it is this very integrity that requires a struggle, intense and cruel, of opposites. Particularly significant in Tyutchev's lyrics are such motifs as:
♦ Chaos motif.
♦ Space motif.
He considers these motives as the basis of any life in general, which allows us to speak about the duality of the entire universe. What else is the poet F. Tyutchev thinking about? First of all, it is day and night, which the poet first called brilliant, a cover, a friend and a person, and the gods. A day in the view of the poet-philosopher will help heal sick souls. But the night in Tyutchev's description is also unusual: an abyss in which all human fears open and manifest. The poet-philosopher reflects both on chaos and on light.
In one of his poems, he turns to the wind and asks him not to sing his terrible songs anymore, in which chaos is heard, because the soul wants to love and dream of love at night. But if all these feelings that sweep through a person’s life like a storm have now subsided, then the wind with its songs can now wake them up again. For example, this is Tyutchev’s poem “What are you howling about, night wind?” very interesting in content and depth:
Oh, do not sing these terrible songs
About ancient chaos, about dear!
How greedily the world of the night soul
Heeds the story of his beloved!
From the mortal it is torn in the chest,
He longs to merge with the infinite!
Oh, do not wake up the sleeping storms -
Chaos stirs beneath them!
But how interestingly the poet-philosopher describes chaos: it is attractive, beautiful, and dear. It is chaos that is part of the universe, on the basis of which everything else will appear: day, night, and space, or rather its bright side. And so on ad infinitum: again a new summer will come, and again there will be leaves, and roses will bloom again.
The world is eternal, but human life is temporary
Such eternal concepts as space, chaos and abyss in Tyutchev's poems are always compared with human life, which has a certain period. But not always the person himself lives out his life to the end, as he violates the laws that nature itself establishes. There are quite a lot of Tyutchev's works devoted to this topic. For example, "There is melodiousness in the waves of the sea." Here the poet-philosopher says that in nature everything is in tune, since there is always order in it, but the lyricist immediately complains that a person begins to feel and understand his dissociation from nature only when he begins to feel at least a little nature. He says that discord with the natural world is manifested in the fact that the human soul and the sea do not sing together, but in different ways.
F. Tyutchev shows in his works that the human soul reflects the order of the universe, since it also has a certain change of day and night, as well as light and obligatory chaos, which acts destructively, but can also create. Consider Tyutchev's poem "Our Age", in which the lyricist reflects that a person strives for the light, since he himself does not understand and does not know anything, but when he receives this light, he continues to grumble and rebel, the person begins to rush about. In the same work, the poet-philosopher regrets that human knowledge has a limit and cannot fully penetrate into all the secrets of being. It is clear that a person in the sky gets tired quickly, and in comparison with the divine fire, a person appears as dust.
But nature does not stop and, not caring about man, moves on, its development continues. Nature turns into an abyss that is ready to swallow anyone. But this natural sound can also be heard in another Tyutchev poetic creation - “Thought after thought, wave after wave ...”, which is small in volume. The thought of a person is like a wave, they are subject to one element, and hearts in Tyutchev's perception are like the sea, where there are no shores. Only the heart is enclosed in human body and has no such freedom as the sea, which is eternally spacious and free. But on the other hand, they have similar surfs and lights out, they are tormented by the same ghost, which carries anxiety and emptiness in itself.
Nature in the lyrics of Tyutchev as part of the whole
All Tyutchev's poetry is permeated by a special cosmic direction, which gradually turns it into a philosophy, which is only then characterized by generality and eternity. The poet-philosopher tried to reflect in his works eternal themes non-existence. But the lyricist describes everything he sees, not in detail, but in their general manifestations, as a single element of nature. Therefore, Tyutchev's landscape lyrics are so interesting, which is also part of the whole, the general.
In Tyutchev's poetic creations, one can see many different looks created by the poet-philosopher. He describes a rainbow, flocks of cranes and the noise that they create, a huge sea that contains a lot, a river that has a golden and scarlet hue, a forest that is already half-dressed, a day and evening of autumn or spring. Tyutchev's description of a thunderstorm is interesting, it is unusual and insane, but this madness is reckless. But everything described by the lyricist in his works is still part of the cosmos, part of the all-encompassing. And again, F. Tyutchev has a chain that he builds in all his poetic creations: the universe and nature and man. About this and his poem with an unusual title "Look how in the open space of the river ...". The reader is given the opportunity to observe how ice floes move along the river.
But the lyricist himself says that they all always swim to one place and someday they, indifferent and soulless, will merge with the abyss, which, according to the poet-philosopher, is always fatal. Through pictures of nature, the lyricist tries to get to the very essence of man. He asks the reader what can be in this and is the purpose and destiny of man. A very simple Tyutchev work "To the Villages" is also devoted to this topic. In it, the poet-philosopher easily describes an ordinary episode that occurs often in real life. The dog decides to go chasing ducks and geese for a bit. But the lyricist sees this event as not accidental, he says that this little prank of the dog disturbed the majestic peace and this is also the fatal onslaught of nature, which the dog showed in the herd where laziness settled. And it turns out that the dog's act is not stupid at all, but he performs the highest duty, trying to develop at least some sense in the bird flock.
Philosophical sounding of Tyutchev's lyrics about love
Philosophical lyrics are reflected in all Tyutchev's poems, and in love too. These thoughts about philosophy give birth in his soul only beautiful and strong feelings. So, in the love lyrics of the poet-philosopher, the main motive is recognition, which lasts beyond Tyutchev's lyrics. His famous creation "Oh, how deadly we love ..." love and space goes either into a state of rest, or it is an eternal struggle. But only this duel, as the lyricist says in the work "Predestination", will always be fatal. The love of the lyrics is different: it looks like a sunbeam, combined with great happiness, and there must be tenderness and at the same time this feeling of passion and suffering, which easily destroys a person’s life and his soul. This is what his entire Denisyev cycle is about, where there are many beautiful Tyutchev creations about love.
Both critics and writers highly appreciated the work of F. Tyutchev. D. Merezhkovsky, who was also considered a philosopher, especially admired the unusual philosophical Tyutchev's lyrics. This critic - a philosopher appreciated the strength poetic word in Tyutchev's lyrics, the ability of the lyricist to speak briefly about world existence. F. Tyutchev's human soul is a combination of earthly and eternal, therefore it is always connected with nature and space. Tyutchev's poetry cannot be limited by time or space.
Coursework on literature on the topic
Philosophical lyrics of Tyutchev
Saint Petersburg
Introduction
Chapter 1 Literature Review
1 Biography of F.I. Tyutchev
2 Periodization of creativity
3 Philosophy in Tyutchev's lyrics
3.1 Tyutchev's thought
3.3 Nature themes
3.4 Chaos theme
3.5 Symbolism of the night
Conclusion
Bibliography
Introduction
"Do you know who my favorite poet is?" - Leo Tolstoy once asked. And he himself called Tyutchev. Contemporaries recalled the "amazement and delight" with which Pushkin spoke of Tyutchev's poems. More than a hundred years ago, N.A. Nekrasov called Tyutchev's lyrics one of the "few brilliant phenomena" of Russian poetry. “Tyutchev can tell himself that he ... created speeches that are not destined to die,” I.S. Turgenev wrote at the same time.
Being in the casemate of the Peter and Paul Fortress, Chernyshevsky asked to send him a number of books, including Tyutchev. Mendeleev liked to repeat Tyutchev's poems that he especially remembered. M. Gorky said that in hard years stay "in people" of Tyutchev's poem, along with some other works of Russian writers he read for the first time, "washed his soul, cleaning it from the husk of impressions of impoverished and bitter reality, and taught him to understand what a good book is."
Fedor Ivanovich Tyutchev is the first poet in the history of Russian literature, whose central theme of creativity is the “ultimate foundations of being”, general questions of the world order. Romantic in its aspirations and ideals, tragic in its worldview, Tyutchev's work became a necessary link between classical poetry first half of XIX in. (E. A. Baratynsky, A. S. Pushkin, M. Yu. Lermontov) and poetry of the 20th century. Tyutchev's many-sided poetry includes philosophical, landscape and love lyrics, political poems, epigrams, translations.
L. Tolstoy, who highly appreciated Tyutchev, put notes before his poems: Depth, Beauty, Feeling. These characteristics reflect the prevailing beginning in the poem. They can serve as a kind of classification of Tyutchev's lyrics. Depth prevails in philosophical lyrics, beauty - in the lyrics of nature, and passionate feeling is most strongly expressed in poems about love. The strength and sharpness of thought were combined in Tyutchev with a secret poetic intuition. Tyutchev expressed deep insights into the essence of the world, the hidden life of nature and the tragic fate of man in aphoristically honed thoughts, which were clothed in a clear, concise and poetic perfect shape.
A fairly large number of philologists, literary critics turned to the poetry of F.I. Tyutchev in order to analyze his work, his art style. However, philosophical lyrics F.I. Tyutcheva has not yet been studied well enough. This explains the relevance of this work.
The purpose of this course work is to analyze the philosophical layer of F.I. Tyutchev, in identifying the fundamental motives of his lyrics on the example of some of his poems.
The course work sets the following tasks:
1.Consider the biography of the writer, focusing on the formation of his philosophical views;
2.To explore the philosophical lyrics of F.I. Tyutchev and to identify some patterns of his work.
The object of study in the course work are the poems of F.I. Tyutchev, in which the philosophical position poet.
The work consists of an introduction, two chapters, a conclusion and a bibliography.
Chapter 1 Literature Review
When writing this term paper, materials from many researchers were used, such as: Berkovsky N., Bryusov V.Ya., Bukhshtab B.Ya., Kozhinov V.V., Solovyov V.S., Chagin G.V. and others.
An important work for the analysis of Tyutchev's philosophical lyrics was the book of N. Berkovsky. The author notes that "despite the once established world outlook, F.I. Tyutchev creates poems that he has never written before, new in topics, meaning." This work reveals the worldview of Tyutchev, his philosophical views.
The work of V.Ya. Bryusov was also studied. who is considered one of the best connoisseurs literary activity Tyutchev. His book is the result of Bryusov's many years of studying the life and work of Tyutchev. Also in the book in question about the poetic activity of Tyutchev, which helped in writing this term paper.
Particularly noteworthy is the work of B.Ya. Bukhshtab, a historian of Russian literature. Enough is given in his book detailed biography F.I. Tyutchev, but in addition to this, detailed analysis his lyrics. This book has become theoretical basis for this coursework.
The book of Kozhinov V.V. talks about the main stages of the life and work of Tyutchev. Since Tyutchev's literary work is inseparably linked with his political activities, his biography is of paramount and truly necessary importance for understanding his poetry. In revealing this deep connection between the history of Russia and the work of F.I. Tyutchev and is one of the main tasks of the book.
Also, to study the biography of the poet, a monograph entitled “F.I. Tyutchev. Biography of the writer” Chagina G.V. It contains biographical facts from the life of this outstanding Russian artist of the word. First of all, the monograph is special in that "this book is the first experience in Soviet literary criticism of a monograph on the life and work of the brilliant Russian poet Fyodor Ivanovich Tyutchev."
This paper presents the statements of other critics and writers. It should be noted that a lot of space in the work is given to the analysis of the poet's poems, in particular poems about nature.
The studied literature served as a good basis for the course work.
Chapter 2. Tyutchev's philosophical lyrics
1 Biography F.I. Tyutchev
Fyodor Ivanovich Tyutchev was born on November 23, 1803 in a cultural noble family of an old family and middle class. He spent his childhood in the Ovstug family estate, Bryansk district, Oryol province, and in Moscow. The poet S.E. Raich was invited as an educator to him, who awakened in Tyutchev a love of poetry and widely introduced him to the works of world literature.
From 1819 to 1821, Tyutchev studied at Moscow University, in the verbal department. In 1822 he began his service in the Ministry of Foreign Affairs. Family ties in the same year they delivered him a place at the Russian diplomatic mission in Munich - a place, however, a very modest one, for a long time above the staff, and only since 1828 did he rise in rank - only to junior secretary. Neither then nor after did Tyutchev strive for a service career, although he was not rich and the state salary was by no means superfluous in his budget.
Tyutchev spent twenty-two years abroad, twenty of them in Munich. He was married twice, both times to foreign women, women from well-born families. His everyday language both abroad and later, upon his return to Russia, was the language of international diplomacy - French, which he mastered to the point. Tyutchev, with few exceptions, always conducted his extensive correspondence in the same language. He even wrote his journalistic articles in French. It cannot be concluded from this that Tyutchev was losing his spiritual connection with Russia. Russian speech became something cherished for him, he did not spend it on the little things of everyday communication, but a shore untouched for his poetry.
Munich during Tyutchev's stay there was one of the spiritual centers of Germany and even more so - Europe. In academic Munich, the leadership belonged to the aging Schelling and natural philosophers of a related trend. Tyutchev met with Schelling, and these meetings probably introduced Tyutchev to German philosophy in a more intimate way.
Tyutchev, according to a contemporary, "zealously studies German philosophy", plunges into the atmosphere of the ideas and poetry of German romanticism. Undoubtedly, the impact German poetry and philosophy on his poetic development. This does not mean that it went in a direction completely alien to Russian poetry of that time. Tyutchev is close to the aspirations of the emerging Russian philosophical romanticism, which were especially reflected in the circle of young Moscow writers who called themselves "wise men." Lyubomudry poets - Venevitinov, Khomyakov, Shevyrev - sought to create philosophical lyrics based on romantic metaphysics and aesthetics, mainly on the basis of Schelling's philosophy.
During his life in Munich (1822-1837), Tyutchev wrote dozens of poems, many of which can rightfully be considered masterpieces of his lyrics.
As a poet, Tyutchev developed at the turn of the 1820-1830s. first fame in literary world brought him a selection of twenty-four "Poems sent from Germany", placed in Pushkin's "Contemporary" (1836). The second discovery of Tyutchev the poet belongs to N.A. Nekrasov, who in 1850 devoted an article to Tyutchev’s poetry, putting his name next to M.Yu. Lermontov and ranking Tyutchev’s talent “among the Russian primary poetic talents.”
Tyutchev's first book - "Poems", which was prepared for publication by I.S. Turgenev, N.A. Nekrasov and I.I. Panaev, was published in 1854. It was noticed by critics of various literary movements and brought the poet a well-deserved universal confession.
Already in adulthood, being married a second time after the death of his first wife, Tyutchev experienced a deep, mutual and dramatic love for a young girl - Elena Aleksandrovna Denisyeva, who became the mother of his three children, rejected for this by her family and society.
Their relationship lasted 14 years. Denisyeva died in 1864. The late Tyutchev love lyrics are one of the pinnacles of not only Russian, but also world psychological poetry. "Denisiev cycle" became the poet's tragic diary. Tyutchev served all his life: he was a diplomat, a high-ranking official - from 1858 he headed the Foreign Censorship Committee. At the same time, he led a scattered social life.
January 1873 Tyutchev was defeated by a blow (brain hemorrhage). Lying with a paralyzed half of his body, with a speech that was difficult to exert, Tyutchev demanded that acquaintances be allowed to see him, with whom he could talk about political, literary and other interesting questions and news. He dictated letters and poetry. Poems were no longer successful, Tyutchev's sense of rhythm changed, but the letters were still full of thought and original wit. By spring, Tyutchev was feeling better; he started to go out.
June was followed by a new blow, a few days later he repeated. Tyutchev lived for another month. July 15, 1873 Tyutchev died.
2 Periodization of creativity
Tyutchev's work can be divided into three periods:
The th period is the initial, 20s. Tyutchev's poems are conditional, speculative. But already in the 1820s. these signs began to disappear, already here his poetry is imbued with deep philosophical thought. Merging everything together: love, philosophy, and nature. Tyutchev's poetry never develops in the form of a rational, speculative thought.
Oh period - 30s - 40s. Tyutchev continues to be a poet of thought. The themes of love and nature are still relevant, but something disturbing is woven into them. This disturbing beginning with different accents and coloring is expressed, in particular, in poems about wandering (for example, “From land to land, from city to city ...”).
1st period - 50s - 60s. Anxious motives deepen and develop into a gloomy, hopeless perception of life.
Tyutchev's poetry is usually defined as "the poetry of thought", " philosophical poetry". But this is not at all idiosyncrasy Tyutchev: this is the most characteristic property of the poetry of the 30s as a whole. And the point here is not only and even not so much that the poetry of the era actively sought to absorb philosophical content - the very being of this generation of figures of Russian culture is embodied mainly in the world of thought. It is quite natural that the lyrical hero of the poetry of the 1930s - and, of course, Tyutchev's poetry - appears, in fact, as a thinker.
In his youth, the poet and diplomat Fyodor Ivanovich Tyutchev developed a historiosophical approach to the problem of relations between Russia and Western Europe. He was associated with the Moscow circle of "wise men", but then for a long time (from 1822 to 1844) he was abroad in the diplomatic service. Main building poetry Tyutchev is about two hundred verses. Among them there are poems of historiosophical and political content, written mainly in the second half of the 60s - early 70s. From 1840 to 1848, Tyutchev did not write poetry, but he published a number of political articles: "Russia and Germany", "Russia and the Revolution", "The Papacy and the Roman Question". Historiosophical provisions brought Tyutchev's position closer to the Slavophiles. At the same time, he has much in common with the Russian conservatives and with Uvarov.
3 Philosophy in Tyutchev's lyrics
Turgenev wrote: “If we are not mistaken, each of his poems began with a thought, but with a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression”
The connection of Tyutchev's poetry with philosophical thought does not, of course, give the right to interpret his poems as links in a certain philosophical system. Something else is needed: to understand what impressions and feelings are behind his sometimes "thesis-like" poetic thoughts.
Tyutchev developed as a poet by the end of the 20s - the beginning of the 30s of the XIX century. By this time he had become a man for whom Europe was familiar. The then day of Europe was experienced by him with extraordinary intensity. His spiritual connections with European thought and with the literature of that time are undoubted. But Tyutchev did not imitate anyone, did not compose auxiliary illustrations for any of the authors. He has his own attitude to the subject that gave rise to Western poets and philosophical writers, to the real life of European peoples. He experienced for himself the Europe of that period, which had recently emerged from the French Revolution and was creating a new, bourgeois order. This order was oppressed by the Restoration, but it was also oppressed by it. The subject of the then European thought and poetry was also the subject of Tyutchev, was in his spiritual possession. Therefore, none of the European writers could influence Tyutchev arbitrarily. These writers are accomplices, advisers under Tyutchev, who is completely spiritually independent. Tyutchev came from a backward country, but this did not prevent him from appreciating and understanding the progress that was being made in the West, which showed him what Russia's tomorrow would be like. The European experience was half alien, half our own. The course of history suggested that the new civilization was already becoming for Russia the same relevance as for the West. Tyutchev, in the 20s, and in the 30s, and in the 40s, was occupied with a topic as Western as it was national Russian. Tyutchev was worried about what was coming to Russia in Europe. Tyutchev in many of his poems, as a lyrical poet, anticipated great themes, social and personal crises, about which a quarter of a century later, not earlier than that, the Russian psychological novel of Dostoevsky and L. Tolstoy told the world.
But Tyutchev in Russian poetry, in Russian literature, not only anticipated, he also inherited a lot. His connections with the Russian poetic tradition often go deep into the depths of time - he is associated with Derzhavin as a poet of an elevated style, who devoted himself to great philosophical topics. In doing so, a characteristic change occurs. The sublime of Derzhavin and his contemporaries is predominantly officially sublime, having received its sanctions from the church and the state. Russian high poetry of the 18th century was philosophical poetry in its own way, and in this respect Tyutchev continues it, with the important difference that his philosophical thought is free, prompted directly by the subject itself, while the former poets obeyed the provisions and truths prescribed in advance and well-known . Only in his political poetry did Tyutchev often return to official dogmas, and this was precisely what harmed her.
3.1 Tyutchev's thought
For Tyutchev, as I.S. Aksakov, "to live meant to think." It is not surprising, therefore, that his poems are always full of thought. In each of his poems, one can feel not only the sharp eye and sensitive ear of the artist, but also the mind of the thinker. In a number of Tyutchev's poems, thought even comes first. These are his poems in which he sets out his favorite Political Views. In parallel, he developed them in his articles. These views form a coherent system of beliefs about the providential role of the Slavs and Russia in the destinies of the world and are approaching the teachings of the Slavophils of the 40s and 50s. More or less, these views of Tyutchev are exhausted by the certainty that Russia will have to gather together the “native generations of the Slavs” and form a great Orthodox state, soldered together by a single faith and “love”. The fulfillment of this expectation is connected with a dark “prophecy” that “renewed Byzantium” should become the capital of the Slavic world, and its shrine should be the Christian altar, again placed in St. Sophia.
Fall before him, O Tsar of Russia,
And rise like a pan-Slavic king! -
exclaimed Tyutchev in 1850, shortly before the Crimean War.
Sometimes Tyutchev’s thought is simply expressed in poetic form, and these are undoubtedly the weakest of his creations (“Then only in full triumph”, “Vatican anniversary”, “Though she had left the face of the earth”, “Slavs”). More often with Tyutchev, the thought is clothed in an image, becomes a symbol (“Look how the West caught fire”, “Sea and cliff”, “Dawn”, “A terrible dream burdened us”). Some of these poems say even more than the poet himself wanted to say. So, for example, in the images of the "sea" and "cliff" Tyutchev thought to represent the impotence of the revolutionary forces in the face of the might of the Russian world. But we have the right to substitute a different, broader content for this poem, and the verses will not lose their charm for us. Separately, there are Tyutchev's poetic reflections, not connected with any political events. These are, for the most part, reflections on the age-old mysteries of the world and human life (“I passed through the Livonian fields”, “Gemini”, “Two voices”, “There are two forces, two fatal forces”, “Nature is a sphinx”, “ On the way to Vshchizh). Their stanzas, couplets, and individual verses form brilliant aphorisms that have long been part of the everyday life of Russian speech. Who, for example, does not know such expressions as: “A thought uttered is a lie”, “One can only believe in Russia”, “The day has survived, and thank God”, love is “a fatal duel”, nature “is silent about the days of bygone” etc. The same aphorisms are sometimes interspersed with Tyutchev in those poems in which, on the whole, feeling prevails over thought.
Tyutchev also has two or three poems, which, as is usual with French poets of the 18th century, are based solely on wit, and among them is such a significant one as “I love worship Lutherans” ...
However, no matter how interesting, no matter how wonderful the thoughts that Tyutchev directly expresses in his poems, the thoughts thought out by him, conscious - much more remarkable is the innermost content of his poetry, which he put into his poems "unconsciously", i.e. in the power of secret creative intuition. These are the subterranean keys that feed his poetry, which give it its indestructible strength and its incomparable beauty. Tyutchev, in his articles, in his rational poems, is a witty, though somewhat paradoxical, dialectician; in the metaphysical basis of his poetry, Tyutchev is a deep thinker, independently, from his own point of view, illuminating the secrets of the world.
3.2 The main motifs of Tyutchev's poetry
One of the main motifs of Tyutchev's poetry is the motif of fragility, the illusiveness of being. The ghostly past, everything that was and what is no longer. “Ghost” is Tyutchev’s usual image of the past: “The past, like the ghost of a friend, We want to press it to our chest”, “Oh poor ghost, weak and vague, Forgotten, mysterious happiness”, “ghosts of past better days”. From "living life" only memories remain, but they inevitably fade and disappear: the soul is condemned to "watch how all the best memories die out in it." "All without a trace."
But the present, since it ceaselessly, inexorably and completely disappears, is also only a ghost. The symbol of the illusiveness of life is a rainbow. She is beautiful, but this is only a "vision":
Look, it's faded
Another minute, two - and what?
Gone, as it will go away entirely,
What do you breathe and live.
("How unexpected and bright...")
This feeling is sharply expressed in such poems as "Day and Night", where the whole external world is perceived as a ghostly "veil thrown over the abyss":
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!
This image is repeated even in details. The day moves away like a veil, leaves, “like a vision”, “like a ghost”, and the person remains in true reality, in boundless loneliness: “He will leave himself on himself”, “I am immersed in his soul, as in the abyss, And there is no outside support, no limit. The element of the “night soul”, the element of primordial chaos, is exposed, and the person finds himself “Face to face before the dark abyss”, “And in the alien, unsolved, night He recognizes the heritage of the family”.
To understand Tyutchev's poetry, it is essential that behind such poems there is a feeling of loneliness, isolation from the world in which the poet lives, a deep disbelief in the forces of this world, a consciousness of the inevitability of his death.
The motive of loneliness also sounds in Tyutchev's poems about a homeless wanderer alien to the world (the poems "Wanderer", "Send, Lord, your joy ..."), about life in the past and the rejection of the present (especially "My soul, the Elysium of shadows .. ."), about a generation forced out of life and "carried into oblivion" (these are not senile lamentations; cf. the poem of the 20s "Insomnia", the poem of the 30s "Like a bird, early dawn ..."), about aversion to noise, to the crowd, about the thirst for solitude, silence, darkness, silence.
Behind Tyutchev's "philosophical" thoughts is a feeling of deep loneliness, and the desire to escape from it, to find a way to the world around him, to believe in its value and strength, and despair from the consciousness of the futility of trying to overcome one's rejection, one's isolation in one's own self.
The feeling of the illusory nature of the world and one's isolation from the world is opposed in Tyutchev's poetry by an ardent "addiction" to the earth with its pleasures, sins, evil and suffering, and, above all, a passionate love for nature:
No, my passion for you
I can't hide, Mother Earth!
Spirits of incorporeal voluptuousness,
Your faithful son I don't crave.
What is the joy of paradise before you,
It's time for love, it's time for spring
Blooming bliss of May,
Ruddy light, golden dreams?..
3.3 Nature themes
The starting point of Tyutchev's worldview, it seems to us, can be found in his significant poems, written "On the road to Vshchizh"
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Ourselves - only a dream of nature.
All your children in turn
Performing their feat useless,
She welcomes her
An all-consuming and peaceful abyss.
Only nature as a whole has true being. Man is only a "dream of nature". His life, his activity is only a "useless feat." Here is the philosophy of Tyutchev, his innermost worldview. Almost all of his poetry is explained by this broad pantheism.
It is quite understandable that such a world outlook, first of all, leads to a reverent admiration for the life of nature.
It has a soul, it has freedom,
It has love, it has a language! -
Tyutchev says about nature. Tyutchev seeks to capture, understand and explain this soul of nature, this language and this freedom in all its manifestations. With amazing penetration into the secrets of elemental life, Tyutchev depicts both “The First Meeting of Spring”, and “ spring waters”, and “Summer Evening”, and “The Meekness of Autumn Evenings”, and “The Enchanted Forest in the Enchanted Winter”, and “Morning in the Mountains”, and “Misty Noon”, and “Night Voices”, and “The Luminous Month”, and “The First thunderstorm", and "The roar of summer storms", and "Rainbow", and "Rain", and "lightning lightning" ... Everything in nature is alive for Tyutchev, everything speaks to him "in a language understandable to the heart", and he pities those who whom the forests are silent, before whom the night is silent, with whom the storm does not confer in friendly conversation.
Tyutchev's poems about nature are almost always a passionate declaration of love, Tyutchev seems to be the highest bliss available to man - to admire the diverse manifestations of nature's life. His cherished desire is “in deep inactivity”, all day long “to drink spring warm air» yes » watch out for high sky clouds". He claims that before the "blooming bliss of May" the very joys of paradise are nothing. He speaks of the “touching charm” of autumn evenings, of the “charming mystery” of a June night, of the “dazzling beauty” of a snow-covered forest. He exclaims about spring: “what can resist the breath and the first meeting of spring!”, about the rainbow - “what a bliss for the eyes!”, about the thunderstorm - “I love the thunderstorm in early May!”, about the sea - “how good you are, oh night!" .
3.4 Chaos theme
From the opposition of the impotence of the individual and the omnipotence of nature arises a passionate desire, although for a brief moment, to look into the secret depths of cosmic life, into that soul for which all of humanity is only a momentary dream. Tyutchev calls this desire a thirst “to merge with the boundless” (“What are you howling about, night wind”).
Hence - Tyutchev's attraction to "ancient native chaos." This chaos appears to him as the primordial beginning of all being, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those moments in the life of nature, when “behind the visible shell” one can see “her very self”, her dark essence, are dear and desirable to Tyutchev.
Such moments most often come in the dark of the night. During the day, the element of chaos is invisible, since between a person and it is thrown a “golden cover”, a “golden carpet”, - all manifestations of the life of nature.
At night this carpet falls and a man stands -
Tyutchev adds: "That's why we are afraid of the night." But for himself, the night was rather seductive. He was sure that at night, "in the stillness of the world's silence",
Living chariot of the universe
Rolling openly into the sanctuary of heaven.
At night, you can peep the mysterious life of chaos, because at night the "magic boat" of dreams, dreams comes to life in the pier and takes us - Into the immensity of dark waves.
But chaos can be seen not only in external nature: it is hidden in man himself. Just like the night, like a thunderstorm, like a storm, like a night wind, Tyutchev was attracted to everything chaotic that sometimes reveals itself in our souls, in our life. In all the main manifestations of our life, in love and in death, in sleep and in madness, Tyutchev discovered the sacred beginning of chaos for him.
Love for Tyutchev is not a bright, saving feeling, not “the union of the soul with the soul of the native”, as “the legend says”, but “the fatal duel”, in which -
We are the most likely to destroy
What is dear to our heart.
Love for Tyutchev is always a passion, since it is passion that brings us closer to chaos. Tyutchev preferred the “gloomy, dull fire of desire” to the “fiery-wonderful game”; he found in him "a stronger charm." Tyutchev calls passion itself "violent blindness" and thus, as it were, identifies it with night. Just as a person goes blind in the darkness of night, so does he go blind in the darkness of passion, because here and there he enters the realm of chaos.
At the same time, death for Tyutchev, although he was inclined to see in it a complete and hopeless disappearance, was full of secret temptation. In the wonderful poem "Gemini", he puts death and love on the same level, saying that both of them "bewitch the hearts with their insoluble mystery."
And in the world there is no more beautiful couple,
And there is no worse charm
Her betraying heart.
Chaos, i.e. negative infinity, the gaping abyss of all madness and ugliness, demonic impulses that rise up against everything positive and proper - this is the deepest essence of the world soul and the basis of the entire universe. space process introduces this chaotic element within the limits of the general system, subordinates it to rational laws, gradually embodying in it the ideal content of being, giving meaning and beauty to this wild life. But even introduced into the limits of the world order, chaos makes itself felt by rebellious movements and impulses. This presence of a chaotic, irrational principle in the depths of being imparts to various natural phenomena that freedom and strength, without which there would be no life and beauty itself. Life and beauty in nature are the struggle and triumph of light over darkness, but this necessarily assumes that darkness is a real force. And for beauty it is not at all necessary that the dark force be destroyed in the triumph of world harmony: it is enough that the light principle take possession of it, subjugate it to itself, to a certain extent be embodied in it, limiting, but not abolishing its freedom and confrontation. So the boundless sea in its stormy agitation is beautiful, as a manifestation and image of a rebellious life, a gigantic outburst of elemental forces, introduced, however, into immutable limits, unable to dissolve general connection of the universe and break its order, but only filling it with movement, brilliance and thunder:
How good are you, oh night sea,
Here it is radiant, there it is gray-black!
In the moonlight, as if alive,
It walks and breathes and shines.
In the endless, in the free space
Shine and movement, roar and thunder...
The sea drenched in a dull radiance,
How good are you in the wilderness of the night!
You are a great swell, you are a sea swell!
Whose holiday are you celebrating like this?
Waves are rushing, thundering and sparkling,
Sensitive stars look from above.
3.5 Symbolism of the night
About F.I. Tyutchev had an idea of \u200b\u200bthe very nocturnal soul of Russian poetry. “... he never forgets,” writes S. Solovyov, “that all this bright, daytime appearance of wildlife, which he is so able to feel and depict, is still only a “golden cover”, a colored and gilded top, and not a base universe". Night is the central symbol of F.I. Tyutchev, concentrating in himself the disconnected levels of being, the world and man.
Night in the work of Tyutchev goes back to the ancient Greek tradition. She is the daughter of Chaos, who gave birth to Day and Ether. In relation to the day, it is primary matter, the source of everything that exists, the reality of some initial unity of opposite principles: light and darkness, sky and earth, “visible” and “invisible”, material and non-material. Night, going back to the ancient tradition, is not an exclusively ancient mythological understanding of it, but appears in an individual Tyutchev style refraction. Here is one example:
The holy night has risen into the sky,
And a pleasant day, a kind day,
Like a golden veil she twisted,
A veil thrown over the abyss.
And like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now and is weak and naked,
Face to face before the dark abyss.
He will leave for himself -
Abolished mind and thought orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...
And it feels like a long gone dream
He is now all bright, alive ...
And in the alien, unsolved, night
He recognizes the heritage of the family.
The basis of the universe, stirring chaos, are terrible for a person because he is “homeless”, “weak”, “goal” at night, his “mind is abolished”, “the thought is orphaned” ... The attributes of the external world are illusory and untrue. A person is defenseless in the face of chaos, in front of what is hidden in his soul. The little things of the material world will not save a person in the face of the elements. Night reveals to him the true face of the universe, contemplating the terrible moving chaos, he discovers the latter inside himself. Chaos, the basis of the universe - in the soul of man, in his mind.
lyrics tyutchev night
Conclusion
Tyutchev lived for almost seventy years. He was a contemporary of the largest historical events, starting with the Patriotic War of 1812 and ending with the Paris Commune. His first poetic experiments saw the light at a time when romanticism was winning the dominant positions in Russian literature; his mature and later works were created when realism was firmly established in it. The complexity and inconsistency of Tyutchev's poetry were due to both the complexity and inconsistency of the historical reality that he witnessed, and his difficult attitude to this reality, the complexity of his very human and poetic personality.
F.I. Tyutchev was one of the most insightful poets-philosophers in Russian literature. His poems cannot be called pure lyrics, because they express not just the feelings of the lyrical hero, but, above all, the philosophical system of the author-thinker.
Tyutchev's poetry belongs to the most significant, most remarkable creations of the Russian spirit.
Tyutchev's poetry can be approached from three different points of view: one can pay attention to the thoughts expressed in it, one can try to reveal its philosophical content, one can finally dwell on its purely artistic merits. From all three points of view, Tyutchev's poetry deserves the greatest attention. .
In this work, we dwelled in detail on the philosophical lyrics of F.I. Tyutchev, tracing the development of the philosophical thought of the poet.
Tyutchev was one of the most remarkable Russian people. But, like many Russian people, he did not realize his true calling and place. He pursued something for which he was not born, and not only did he not appreciate his true gift at all, but he did not appreciate it and not for what was most amazing in it.
Bibliography
1.Aksakov I.S. Biography of Fedor Ivanovich Tyutchev. M., 1886.
2.Berkovsky N. Tyutchev F.I. complete collection poems. - L., 1987.
.Bryusov V.Ya. F.I. Tyutchev. The meaning of his work Bryusov V.Ya. Collected works: In 7 vols. - Vol. 6. - M .: Khudozh. lit., 1975.
.Bukhshtab B.Ya. Russian poets: Tyutchev. Fet. Kozma Prutkov. Dobrolyubov. - L., 1970.
.Davydova O. Symbol and symbolic reality as a basis poetic world F.I. Tyutcheva. 2006.
.Kovtunova I.I. Fedor Tyutchev Kovtunova I.I. Essays on the language of Russian poets. - M.: Azbukovnik, 2003.
.Kozhinov V.V. Tyutchev History of world literature: In 9 volumes. - M.: Nauka, 1989. - T. 6.
.Lotman Yu. “Russian Philosophical Lyrics. Creativity Tyutchev. Lecture course.
.Malinov A.V. Philosophy of history in Russia. - St. Petersburg: Publishing and trading house "Summer Garden", 2001.
.Pigarev K. F. I. Tyutchev. Sobr. op. in 2 volumes. - M.: Pravda, 1980.
.Solovyov V.S. Poetry F.I. Tyutchev // Solovyov V.S. Literary criticism. - M.: Sovremennik, 1990.
.Turgenev I.S. Complete Works and Letters. Works, vol. 5, publishing house of the Academy of Sciences of the USSR, M-L. 1963.
.Tyutchev F.I. Full coll. poems. L., 1987.
.Khodasevich V.F. About Tyutchev // Khodasevich V.F. Oscillating tripod: Favorites. - M.: Soviet writer, 1991.
.Tsarkova T.S. Russian poetic epitaph of the 19th-20th centuries: sources, evolution, poetics.
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* * *
Don't argue, don't bother!
Madness seeks, stupidity judges;
Treat daytime wounds with sleep,
And tomorrow to be something, it will be.
Living, be able to survive everything:
Sorrow, and joy, and anxiety.
What to wish? What to worry about?
The day survived - and thank God!
1850?
Silentium! *
Be silent, hide and hide
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Admire them - and be silent.
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.
Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..
* Silence! (lat.).
<1829>, early 1830s
Twins
There are twins - for terrestrial
Two deities, then Death and Sleep,
Like a brother and sister wonderfully similar -
She is gloomier, he is meeker ...
But there are other two twins -
And in the world there is no more beautiful couple,
And there is no worse charm
Her betraying heart...
Their union is blood, not accidental,
And only in fateful days
With its unsolvable secret
They are beguiling us.
And who is in excess of sensations,
When the blood boils and freezes,
I did not know your temptations -
Suicide and Love!
<1852>
* * *
So, in life there are moments -
They are hard to convey
They are self-forgetfulness
Earthly grace.
Woody tops rustle
High above me
And the birds are only heavenly
They talk to me.
Everything is vulgar and false
Gone so far
All the cute-impossible
So close and easy.
And I love it, and it's sweet for me,
And peace in my chest
I am wrapped in drowsiness -
Oh time, wait!
1855 (?)
* * *
Not everything painful dreams of the soul:
Spring has come - and the sky will clear up.
* * *
We can't predict
How our word will respond, -
And sympathy is given to us,
How do we get grace...
* * *
There are two forces - two fatal forces,
All our lives we are at their fingertips,
From lullaby days to the grave, -
One is Death, the other is the Human Judgment.
And she and he are equally irresistible,
And both are irresponsible
No mercy, protests are intolerable
Their verdict closes everyone's mouth...
But Death is more honest - alien to personalities,
Not touched by anything, not embarrassed
Humble il grumbling brother -
She equalizes everyone with her scythe.
And woe to her - alas, double grief -
That proud strength, proudly young,
Entering with determination in her eyes,
With a smile on his lips - in an unequal battle.
When she, with a fatal consciousness
All their rights, with the courage of beauty,
Fearlessly, in some kind of charm
She goes towards slander herself,
The face does not cover the brow,
And does not allow the chela to stoop,
And from young curls, like dust, shines
Threats, abuse and passionate blasphemy, -
Yes, woe to her - and the more simple-hearted,
That makes her seem more guilty...
Such is the light: it is more inhuman there,
Where is human-sincere guilt.
March 1869
* * *
What a wild gorge!
The key runs towards me -
He is in a hurry for a housewarming ...
I climb up where the spruce stands.
<1836>
* * *
You do not know what is more flattering for human wisdom:
Or the Babylonian pillar of German unity,
Or French outrage
Republican cunning system.
1848
glimpse
Have you heard in the deep twilight
Air harp light ringing,
When midnight, inadvertently,
Dormant strings will be disturbed by a dream? ..
Those amazing sounds
That freezing suddenly ...
Like the last murmur of flour,
Responding to them, went out!
Breath every Zephyr
Sorrow explodes in her strings...
You say: angelic lyre
Sad, in the dust, in the sky!
Oh, how then from the earthly circle
We fly with our soul to the immortal!
The past is like the ghost of a friend
We want to press to our chest.
As we believe with living faith,
How joyful, how light!
Like an ethereal stream
The sky has flowed through my veins!
But, ah! it was not for us that he was judged;
We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire.
Barely by the effort of a minute
Let's interrupt the magical dream for an hour
And with a quivering and vague look,
Rising up, let's look at the sky, -
And with a heavy head,
Blinded by one beam
Again we fall not to rest,
But in tedious dreams.
<1825>
Insomnia
Hours of monotonous fight,
A tormenting night story!
The language is foreign to everyone
And intelligible to everyone, like conscience!
Who without longing listened from us,
In the middle of the world's silence
Silent groans of time
A prophetic farewell voice?
We imagine: the world is an orphan
Irresistible Rock overtook -
And we, in the struggle, the whole nature
Abandoned on ourselves.
And our life is before us
Like a ghost at the end of the earth
And with our age and friends
Fading in the gloomy distance...
And a new, young tribe
Meanwhile, the sun bloomed
And us, friends, and our time
It has long been forgotten!
Only occasionally, the rite is sad
Coming in the midnight hour
Metal voice funeral
Sometimes mourns us!
<1829>
The last cataclysm
When the last hour of nature strikes,
The composition of the parts will collapse earthly:
Everything visible will again be covered by water,
And God's face will be depicted in them!
<1829>
* * *
Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces? ..
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
They don't see or hear
They live in this world, as in the dark,
For them, the suns, to know, do not breathe,
And there is no life in the sea waves.
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak
And there was no night in the stars!
And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!
Not their fault: understand, if you can,
The body is the life of a deaf-mute!
Soul it, ah! won't alarm
And the voice of the mother herself! ..
<1836>
* * *
My soul is Elysium of shadows,
Shadows silent, bright and beautiful,
Nor the thoughts of this violent year,
Not involved in joys or sorrows.
My soul, Elysium of shadows,
What is common between life and you!
Between you, ghosts of past, better days,
And this insensitive crowd? ..
<1836>
* * *
When in the circle of murderous worries
Everything freezes us - and life is like a pile of stones,
Lies on us - suddenly, God knows where,
We breathe comfort into our souls,
The past will wrap around and hug us
And a terrible load will instantly lift.
So sometimes autumn sometimes,
When the fields are already empty, the groves are bare,
Pale sky, cloudy valleys,
Suddenly the wind will blow, warm and damp,
A fallen leaf will drive before it
And it will pour over our souls, as if in spring ...
Sea and cliff
And rebels, and bubbles,
Whistling, whistling, and roaring,
And wants to reach the stars
To unshakable heights...
Is it hell, is it infernal power
Under the roaring cauldron
The fire of Gehenna laid out -
And turned up the abyss
And put it upside down?
Waves of violent surf
Continuous shaft marine
With a roar, a whistle, a squeal, a howl
Beats in the coastal cliff, -
But, calm and arrogant,
I'm not overwhelmed by the foolishness of the waves,
motionless, unchanging,
The universe is modern,
You stand, our giant!
And, embittered by the battle,
As if on a fatal attack,
Again the waves climb with a howl
On your huge granite.
But, O unchanging stone
Breaking the stormy pressure
Shaft spattered crushed,
And swirling with muddy foam
Relentless impulse...
Stay, you mighty rock!
Just wait an hour or two
Tired of the thundering wave
Fight with your heel...
Tired of evil fun,
She will calm down again -
And without a howl, and without a fight
Under the giant heel
The wave will rise again...
1848
* * *
The holy night has risen into the sky,
And a pleasant day, a kind day,
Like a golden veil, she twisted,
A veil thrown over the abyss.
And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now and is weak and naked,
Face to face before the dark abyss.
He will leave for himself -
The mind is abolished, and the thought is orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...
And it feels like a long gone dream
He is now all bright, alive ...
And in the alien, unsolved night
He recognizes the heritage of the family.
* * *
Like hot ashes
The scroll smokes and burns
And the fire is hidden and deaf
Devours words and lines -
So sadly my life is smoldering
And every day the smoke goes away
So gradually I go out
In unbearable monotony! ..
Oh heaven, if only once
This flame developed at will -
And, without languishing, without tormenting the share,
I would shine - and went out!
<1829>, early 1830s
Loneliness
(From A. Lamartine)
How often, casting a glance from a rocky top,
I sit down thoughtful in the shade of thick trees,
And develop before me
Various evening pictures!
Through the dark green of the trees
The last ray of dawn is still perceptibly wandering,
The moon slowly rises from midnight
On a chariot of clouds
And from the lonely bell tower
The blagovest lingered and deaf;
The passer-by listens, and the bell is far away
With the last noise of the day merges his voice.
Beautiful world! But admiration
There is no place in a dry heart!
In a land alien to me I wander like an orphan shadow,
And the light of the sun is powerless to warm the dead.
From hill to hill my sad gaze glides
And it goes out slowly in a terrible emptiness;
But, oh, where will I meet something that would stop my eyes?
And there is no happiness, with all the beauty of nature! ..
And you, my fields, and groves, and valleys,
You are dead! And the spirit of life has flown away from you!
And what do I need in you now, soulless pictures! ..
There is not one in the world - and the whole world is empty.
Does the day rise, do the shadows of the night fall, -
Both darkness and light are disgusting to me...
My destiny knows no change -
And eternal sorrow in the depths of the soul!
But how long will the wanderer languish in confinement.
When I leave the ashes for a better world,
That world where there are no orphans, where faith is fulfilled,
Where are the suns true in the incorruptible skies?..
How brightly the hosts of stars are burning above me,
Living thoughts of the Divine!
What night has fallen upon the earth,
And how the earth, in view of heaven, is dead! ..
A thunderstorm rises, and a whirlwind, and a desert leaf twist!
And me, and me, like a dead leaf,
It's time to leave the valley of life -
Dash away, stormy ones, drive away the orphan!..
Between 1820 and the first half of March 1822;<1823>
In the village
What desperate cries
And din, and flutter of wings?
Who is this hubbub insanely wild
So inappropriately aroused?
Flock of hand geese and ducks
Suddenly wild and flying.
It flies - where, without knowing itself,
And how crazy she sounds.
What sudden anxiety
All these voices!
Not a dog, but a four-legged demon,
Bes turned into a dog
In a fit of rage, for fun,
Self-confident bastard
Confused by their majestic peace
And they opened, dispersed!
And as if he himself, following them,
To complete the grievances
With your nerves of steel
Soaring into the air, it will fly!
What is the meaning of this movement?
Why all this waste of energy?
Why fear such a flight
Geese and ducks inspired?
Yes, there is a purpose! In the lazy herd
A terrible stagnation was noticed,
And I needed it, for the sake of progress,
The sudden onslaught is fatal.
And here is a good providence
The tomboy was let loose from the chain,
To cover your destiny
Don't forget them completely.
So contemporary manifestations
The meaning is sometimes stupid, -
But the same modern genius
Always ready to find out.
Another, you say, just barks,
And he accomplishes the highest duty -
He, contemplating, develops
Duck and goose sense.
* * *
Est in arundineis modulatio musica ripis*
There is melodiousness in the waves of the sea,
Harmony in natural disputes,
And a slender Musiki rustle
It flows in unsteady reeds.
An imperturbable system in everything,
Consonance is complete in nature, -
Only in our ghostly freedom
We are aware of our discord.
Where, how did the discord arise?
And why in the general choir
The soul does not sing like the sea,
And the thinking reed grumbles?
* There is a musical harmony
in coastal reeds (lat.)
May 11, 1865
When decrepit forces
We are starting to change
And we must, as old-timers,
Give newcomers a place, -
Save us then, good genius,
From cowardly reproaches,
From slander, from anger
On a life-changing;
From a feeling of hidden anger
To a world that is renewing
Where new guests sit down
For the feast prepared for them;
From the bile of bitter consciousness,
That the stream no longer carries us
And that others have vocations,
Others are called ahead;
From everything that is more fervent,
The deeper it winged for a long time, -
And senile love is more disgraceful
Grumpy old man.
Early September 1866
1856
We stand blindly before Fate,
It's not for us to tear off the cover from her ...
I won't reveal mine to you
But the delirium of the prophetic spirits...
We are still far from the goal
The storm is roaring, the storm is growing,
And now - in an iron cradle,
New Year will be born in the thunders...
His features are terribly strict,
Blood on hands and forehead...
But not only wars of anxiety
He brought it to people on earth.
Not only will he be a warrior,
But the performer of God's punishments -
He will do, like a late avenger,
Long overdue blow...
For battles he was sent and reprisals,
He brought with him two swords:
One - bloody sword battles,
The other is the executioner's axe.
But for whom?
Is the whole people doomed?
Fatal words are unclear
And the sepulchral dream is confused...
So heavy on my chest
And the heart languishes
And darkness is just ahead;
Without strength and without movement
We're so downcast
What even consolation
Friends are not funny to us, -
Suddenly a ray of sunshine
Will stealthily come to us
And sprinkles fiery
I jet along the walls;
And with a supportive firmament,
From azure heights
Suddenly the air is fragrant
The window smells on us...
Lessons and tips
They don't bring us
And from the fate of slander
They won't save us.
But we feel their strength,
We hear them grace
And we grieve less
And it's easier for us to breathe ...
So sweet, thank you
Airy and light
my soul a hundredfold
Your love was
[FROM MICELANGELO]
Shut up, please don't you dare wake me up.
Oh, in this age of crime and shame
Not to live, not to feel - an enviable lot ...
It is gratifying to sleep, it is more gratifying to be a stone.
From the life that raged here
From the blood that flowed like a river here,
What has survived, what has come down to us?
Two or three mounds, visible lift ...
Yes, two or three oaks grew on them,
Stretched out and wide and bold.
They show off, make noise, - and they don’t care,
Whose ashes, whose memory their roots dig.
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Ourselves - only a dream of nature.
All your children in turn
Performing their feat useless,
She welcomes her
An all-consuming and peaceful abyss.
I am omnipotent and weak at the same time,
I am the ruler and at the same time the slave,
I do good or evil - I don’t argue about that,
I give a lot but receive little
And in my name I command myself,
And if I want to beat someone,
Then I beat myself.
1810s
Like a bird, early dawn
The world has woken up...
Ah, just one chapter of mine
The blessed dream did not touch!
Though the freshness of the morning blows
In my tousled hair,
On me, I feel, gravitates
Yesterday's heat, yesterday's dust!
Oh how piercing and wild
How hateful to me
This noise, movement, talk, screams
Young, fiery day! ..
Oh, how crimson its rays,
How they burn my eyes!
O night, night, where are your veils,
Your quiet dusk and dew!
The wreckage of the old generations,
You who have outlived your age!
Like your complaints, your penalties
Wrong righteous reproach! ..
How sad half asleep shadow
With exhaustion in the bones
Towards the sun and movement
Follow the new tribe! ..
Submissive to the command of the highest,
At the thought standing on the clock,
We were not very fervent,
Even with a gun in hand.
We owned it reluctantly,
Rarely threatened - and sooner
Not prisoner, but honorary
They kept a guard with her.
I sit thoughtful and alone
On a dying fireplace
I look through my tears...
I mournfully think about the past
And words in my despondency
I don't find it.
The past - was there when?
What is now - will it always be? ..
It will pass
It will pass, as it all went,
And sink into the dark muzzle
Year after year.
Year after year, century after century...
Why is the person angry?
This cereal of the earth! ..
He quickly, quickly withers - so,
But with a new summer, a new cereal
And a different sheet.
And everything that is will be again
And the roses will bloom again
And thorns too...
But you, my poor, pale color,
You don't have a rebirth
Don't bloom!
You were torn off by my hand
With what bliss and longing,
That God knows!
Stay on my chest
Until love froze in her
Last breath.
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