main topic Tyutchev's poetry- man and the world, man and Nature. Tyutchev’s researchers speak of the poet as a “singer of nature” and see the originality of his work in the fact that “for Tyutchev alone, the philosophical perception of nature constitutes to such a strong degree the very basis of the vision of the world.” Moreover, as noted by B.Ya. Bukhshtab, “in Russian literature before Tyutchev there was no author in whose poetry nature would play such a role. Nature is included in Tyutchev’s poetry as the main object of artistic experiences.”
The world in Tyutchev’s view is a single whole, but not frozen in “solemn peace,” but ever-changing and at the same time subject to eternal repetition in all its changes. Researchers talk about the “non-randomness” of the poet’s “predilection for transitional phenomena in nature, for everything that brings change with it, which is ultimately associated with the concept of “movement.”
The originality of Tyutchev's landscapes is clearly visible in the poem created on the Ovstug family estate in 1846:
Quiet night, late summer,
How the stars glow in the sky,
As if under their gloomy light
The dormant fields are ripening...
Soporificly silent
How they sparkle in the silence of the night
Their golden waves
Whitened by the moon...
Analyzing this poem, N. Berkovsky accurately noticed that it “is based on verbs: they blush - they ripen - they shine. It seems like a motionless picture of a field July night, and in it, however, verbal words beat with a measured pulse, and they are the main ones. The quiet action of life is conveyed... From peasant labor grain in the fields, Tyutchev ascends to the sky, to the moon and stars, he connects their light into one with the ripening fields... The life of the grain, the daily life of the world, takes place in deep silence. For the description, we took the hour of the night, when this life is completely left to itself and when only it can be heard. Night hour It also expresses how great this life is - it never stops, it goes on during the day, it goes on at night, continuously...”
And at the same time, the eternal variability of nature is subject to another law - the eternal repeatability of these changes.
It is interesting that Tyutchev more than once calls himself “an enemy of space” in his letters. Unlike Fetov's landscapes, his landscapes are open not so much into the distance, into space, but into time - into the past, present, future. A poet, painting a moment in the life of nature, always presents it as a link connecting the past and the future. This feature of Tyutchev’s landscapes is clearly visible in poem "Spring Waters":
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
“Spring is coming, spring is coming!
We are the messengers of young Spring,
She sent us ahead!”
Spring is coming, spring is coming,
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her!..
This poem gives the whole picture of spring - from the early, March ice drift - to the warm, cheerful May. Everything here is full of movement, and it is no coincidence that the verbs of movement dominate: they are running, going, sent, crowding. By persistently repeating these verbs, the author creates a dynamic picture of the spring life of the world. The feeling of joyful renewal, cheerful, festive movement is brought about not only by the image of running water-messengers, but also by the image of a “ruddy, bright round dance.”
Often in the picture of the world that Tyutchev paints, the ancient appearance of the world, the pristine pictures of nature, clearly emerges behind the present. The eternal in the present, the eternal repetition of natural phenomena - this is what the poet is trying to see and show:
How sweetly the dark green garden slumbers,
Embraced by the bliss of the blue night!
Through the apple trees, whitened with flowers,
How sweetly the golden month shines!..
Mysterious as on the first day of creation,
In the bottomless sky the starry host burns,
Exclamations are heard from distant music,
The neighboring key speaks louder...
A curtain has fallen on the world of day,
Movement has become exhausted, labor has fallen asleep...
Above the sleeping city, as in the tops of the forest,
A nightly rumble woke up...
Where does it come from, this incomprehensible hum?..
Or mortal thoughts freed by sleep,
The world is incorporeal, audible but invisible,
Now swarming in the chaos of the night?..
The feeling of the unity of world history, the “first day of creation” and the present, arises not only because the images of “eternal” stars, a month, and a key dominate the picture of the world. The main experience of the lyrical hero is connected with the mysterious “hum” he heard in the silence of the night - the “voiced” secret thoughts of humanity. The true, secret, hidden essence of the world in everyday life is revealed to the lyrical hero, revealing the inseparability of the fundamental principle of the universe - ancient and eternal chaos - and the instant thoughts of people. It is important to note that the description of the beauty and harmony of the world in the first stanza appears as a “veil” over the true essence of the Universe - the chaos hidden behind the “veil”.
Tyutchev's understanding of the world is in many ways close to the ideas of ancient philosophers. It was no coincidence that A. Bely called Tyutchev an “archaic Hellene.” The Russian poet, in his understanding of the world, man, and nature, is “miraculously, strangely closely related” to the ancient ancient philosophers - Thales, Anaximander, Plato. His famous poem 1836 “Nature is not what you think” clearly reveals this kinship of worldviews:
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
Presenting nature as a single, breathing, feeling living being, Tyutchev turns out to be close to ancient thinkers, for example, Plato, who called the world in its entirety one visible animal.
Sharply speaking out against his opponents who do not recognize a living being in nature, Tyutchev creates the image of a breathing, living, thinking, speaking living being:
They don't see or hear
They live in this world as if in the dark,
For them, even the suns, you know, do not breathe,
And there is no life in the sea waves.
The image of nature in these verses is indeed “wonderfully close” to the ideas of ancient philosophers about the breathing world (the idea of Anaximenes), to the ideas of Heraclitus about the multitude of suns, which ancient philosopher identified with the day, believing that every day a new sun rises.
Confirming his idea of nature, Tyutchev speaks both about the “voice” of nature and about the inseparability of man from this world. This inseparability of the human “I” and the natural world also unites the poet with ancient philosophers and sharply separates him from those contemporaries who are not able to feel their merging with nature:
The rays did not descend into their souls,
Spring did not bloom in their chests,
The forests didn’t speak in front of them,
And the night in the stars was silent!
And in unearthly tongues,
Wavering rivers and forests,
I didn’t consult with them at night
There is a thunderstorm in a friendly conversation!
In Tyutchev’s poems one can also see other ideas that make it possible to call the 19th century poet an “archaic Hellene.” Like Plato, he perceives the world as a grandiose ball and at the same time as “one visible animal,” containing all other animals, to which the ancient philosopher included the stars, which he called “divine and eternal animals.” This idea makes Tyutchev’s images understandable: “wet heads of the stars”, “head of the earth” - in the 1828 poem “Summer Evening”:
Already a hot ball of the sun
The earth rolled off its head,
And peaceful evening fire
The sea wave swallowed me up.
The bright stars have already risen
And gravitating over us
The vault of heaven has been lifted
With your wet heads.
At the same time, it is important to note that not only nature and man are full of life in Tyutchev’s poetry. Tyutchev’s living thing is time (“Insomnia”, 1829), living things are dreams (this is the element that rules over a person at night), Madness appears as a living and terrible creature, endowed with a “sensitive ear”, brow, “greedy hearing” (“Madness” , 1830). Russia will later appear as a living, special creature - a giant - in Tyutchev's poems.
Researchers of Tyutchev's work have already noted the similarity of the ideas about the world of Tyutchev and Thales: first of all, the idea of water as the fundamental principle of existence. And indeed: the basic elements that Tyutchev, like the ancient philosophers, recognize as the primary elements of the universe: air, earth, water, fire, not only oppose each other, but are also capable of turning into water, revealing their aquatic nature. This idea was clearly manifested in the poem “Summer Evening”:
The river of air is fuller
Flows between heaven and earth,
The chest breathes easier and more freely,
Freed from the heat.
And a sweet thrill, like a stream,
Nature ran through my veins,
How hot are her legs?
The spring waters have touched.
Here water appears as the primary element of existence; it also forms the basis air element, and fills the “veins” of nature, and, flowing underground, washes the “feet” of nature. Tyutchev strives to convey the feeling of a living stream, water jets, describing all the elements that make up the Universe:
Though I have built a nest in the valley,
But sometimes I also feel
How life-giving it is at the top
An air stream runs<...>
To inaccessible communities
I look at the whole clock, -
What dew and coolness
From there they pour noisily towards us.
In Tyutchev’s poems, moonlight flows (“Again I’m standing over the Neva...”), the air moves like a wave (“The biza has calmed down... It breathes easier...”, 1864), and streams of sun flow (“Look how the grove turns green. ..”, 1854, “In the hours when it happens...”, 1858), darkness pours into the depths of the soul (“The gray shadows mixed...”, 1851). The metaphor of existence itself also has a watery nature - it is the “key of life” (“K N.”, 1824; “Summer Evening”, 1828).
Natural phenomena are almost always humanized in Tyutchev’s poems. The sun looks from under its brows (“Reluctantly and timidly”, 1849), the evening tears off the wreath (“Under the breath of bad weather...”, 1850), “in the bunch of grapes / Blood sparkles through the thick greenery.” Among Tyutchev’s metaphors are not only the already noted “wet heads of the stars”, the head of the earth, the veins and legs of nature, but also the dead eyes of the Alps (“Alps”). The azure of the sky can laugh (“Morning in the Mountains”), noon, like the sun, can breathe (“Noon”, 1829), the sea can breathe and walk (“How good are you, O night sea...”, 1865). The natural world is endowed with its own voice, its own language, accessible to the understanding of the human heart. One of Tyutchev’s motifs is a conversation, a conversation between natural phenomena among themselves or with a person (“Where the mountains are, running away...”, 1835; “Not what you think, nature...”, 1836; “How cheerful is the roar summer storms...", 1851).
And at the same time, nature is not an ordinary creature. Among the constant epithets in Tyutchev’s landscape poems are the words “magical” (“Smoke”, 1867, etc.) and “mysterious” (“How sweetly the dark green garden slumbers...”, etc.). And almost always natural phenomena are endowed with witchcraft power - the Enchantress Winter (“Enchantress Winter...”, 1852), the sorceress winter (“To Countess E.P. Rastopchina”), the cold sorcerer (“Long time ago, long time ago, oh blessed South ...", 1837), the sorcerer of the north (“I looked, standing over the Neva ...”, 1844). Thus, in one of Tyutchev’s most famous poems, the Enchantress Winter endows the forest with fabulous beauty, plunges him into a “magical sleep”:
Enchantress in Winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute,
He shines with a wonderful life.
And he stands, bewitched, -
Not dead and not alive -
Enchanted by a magical dream,
All entangled, all shackled
Light chain down<...>
The poet explains the beauty of sunny summer days with witchcraft (“Summer 1854”):
What a summer, what a summer!
Yes, it's just witchcraft -
And how, please, did we get this?
So out of nowhere?..
The witchcraft power of nature is also evidenced by its ability to charm a person. Tyutchev writes specifically about the “charm” of nature, its “charm”, moreover, the words “charm” and “charm” reveal their original meaning: to seduce, to bewitch. Ancient word“Obavnik” (charmer) meant “sorcerer”, a projecter of “charm”. Nature has charm, that beauty that subdues a person’s heart, attracts him to natural world, bewitches him. So, remembering the “magic” forest, Tyutchev exclaims:
What a life, what a charm
What a luxurious, bright feast for the senses!
The same word conveys all the beauty of the Neva at night:
There are no sparks in the blue sky,
Everything fell silent in pale charm,
Only along the pensive Neva
Moonlight flows.
But, in turn, nature itself is capable of experiencing the charms of higher powers, also endowed with the ability to “cast charm”:
Through the azure darkness of the night
The Alps look snowy;
Their eyes are dead
They reek of icy horror.
They are fascinated by some power,
Before the dawn rises,
Dormant, menacing and foggy,
Like fallen kings!..
But the East will only turn red,
The disastrous spell ends -
The first one in the sky will brighten
The elder brother's crown.
The amazing beauty of nature can appear as the influence of witchcraft powers: “At night, / Multi-colored lights burn quietly. / Enchanted nights, / Enchanted days.”
The life of the world and nature in Tyutchev’s poetry is subject not only to mysterious witchcraft, but also to a game of higher powers incomprehensible to humans. “Game” is another typically Tyutchev word in his landscapes. The verb “play” almost invariably accompanies Tyutchev’s descriptions of both natural phenomena and humans. In this case, “game” is understood as completeness vitality, and not as acting (or “acting”). A star plays (“On the Neva”, 1850), nature (“Snowy Mountains”, 1829), life (“Quietly flows in the lake...”, 1866), a young girl full of strength plays with life and people (“Play, while above you...", 1861). Thunder plays (in probably the most famous Tyutchev poem):
I love the storm in early May,
When the first thunder of spring
As if frolicking and playing,
Rumbling in the blue sky.
Young peals thunder,
The rain is splashing, the dust is flying,
Rain pearls hung,
And the sun gilds the threads.
A swift stream runs down the mountain,
The noise of birds in the forest is not silent,
And the noise of the forest, and the noise of the mountains -
Everything cheerfully echoes the thunder.
You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky,
Laughing, she spilled it on the ground.
In this poem, “game” is the central image: heavenly forces, thunder and the sun play, birds and a mountain spring cheerfully echo them. And all this joyful play of earthly and heavenly forces appears as a consequence of the play of the goddess Hebe, the goddess of eternal youth. It is characteristic that in the early edition there was no image of “game”: thunder only “rumbled” cheerfully, although the poet expressed the feeling of the fullness of life, the fullness of natural forces in the original version of the text:
I love the storm in early May,
How fun is spring thunder
From one end to another
Rumbling in the blue sky.
But it is the image of the “game” that brings completeness and integrity to this picture of the spring riot of forces, uniting the earthly and heavenly, natural and divine worlds into a single whole.
Playing nature is a motif that is also based on the representation of nature as a living creature. But, it is important to note that “game” is a property of only higher powers. The antithesis of the “game” of nature, the fullness of its vital forces, is “sleep” - a property of a more primitive world. The mountains and the sky are playing - the earth is dozing:
It's already midday
Shoots with sheer rays, -
And the mountain began to smoke
With your black forests.
<...>And meanwhile, half asleep
Our low world, devoid of strength,
Imbued with fragrant bliss,
In the midday darkness he rested, -
Grief, like dear deities,
Over the dying earth,
The icy heights are playing
With the azure sky of fire.
As researchers of Tyutchev’s work rightly noted, the poet paints a thunderstorm more than once. Perhaps because a thunderstorm embodies that state of natural life when “a certain excess of life” is visible (“There is silence in the stuffy air...”). Tyutchev is especially attracted - both in the life of nature and in human life - by the feeling of the fullness of being, when life is full of passions and “fire”, “flame”. That is why the ideal of human existence for Tyutchev correlates with combustion. But in Tyutchev’s later lyrics, the thunderstorm is perceived not as a play of gods and elements, but as the awakening of demonic natural forces:
The night sky is so gloomy
It was clouded on all sides.
It's not a threat or a thought,
It’s a lethargic, joyless dream.
Just lightning fires,
Igniting in succession,
Like demons are deaf and dumb,
They are having a conversation with each other.
It is no coincidence that in this poem there are no images of playing nature and playing gods. The thunderstorm is likened to its antithesis - sleep, sluggish, joyless. It is also no coincidence that nature loses its voice: a thunderstorm is a conversation between deaf and dumb demons - fire signs and ominous silence.
Tyutchev, like the ancient philosophers, considers Enmity and Love to be the main elements of existence. Higher power most often hostile to humans. And natural phenomena are in open and hidden hostility among themselves. Tyutchev’s worldview can be conveyed with the help of his own images: the poet strives to show the “unification, combination, fatal fusion and fatal duel” of all the forces of existence. Winter and Spring are at enmity with each other (“It’s not for nothing that Winter is angry...”), West and East. But at the same time, they are inseparable, they are parts of a single whole:
Look how the west has flared up
Evening glow of rays,
The faded East has dressed
Cold, gray scales!
Are they at enmity with each other?
Or the sun is not the same for them
And, in a motionless environment
Sharing doesn't unite them?
Enmity does not cancel the feeling of the unity of existence, its unity: the Sun unites the world, the beauty of the world has its source - Love:
The sun is shining, the waters are sparkling,
Smile in everything, life in everything,
The trees tremble joyfully
Bathing in the blue sky.
The trees sing, the waters glisten,
The air is dissolved with love,
And the world, the blooming world of nature s,
Intoxicated with the abundance of life<...>
This poem clearly reveals one of the features of Tyutchev’s landscapes: constant verbs, participating in the description of nature, become “shine” or “shine”. These verbs in Tyutchev carry a special semantic load: they affirm the idea of unity - fusion, unity of water and light, nature and the sun, every natural phenomenon and the sun:
All day long, like in summer, the sun warms,
The trees shine with diversity,
And the air is a gentle wave,
Their splendor cherishes the old.
And there, in solemn peace,
Unmasked in the morning
The White Mountain is shining,
Like an unearthly revelation.
The same meaning and the same ideal meanings are contained in the epithet “rainbow” or its synonym “fire-colored”. They mean the absolute fusion of earth and sky, sun and earthly nature.
Clearly sensing nature as some kind of eternal, living force, Tyutchev strives to look behind the curtain that hides it. Every natural phenomenon reveals this being full of life:
Not cooled down by the heat,
The July night shone...
And above the dim earth
Sky, full of thunder,
Everything was trembling in the lightning...
Like heavy eyelashes
Rising above the ground
And through the fugitive lightning
Someone's menacing eyes
Sometimes they caught fire...
Addressing A.A. Fet, Tyutchev wrote in 1862: “Beloved by the Great Mother, / Your destiny is a hundred times more enviable - / More than once under the visible shell / You have seen her in person...” But he himself was fully characterized by this ability to “see” the Great Mother - Nature, her secret essence under the visible shell.
That invisible force that stands behind every natural phenomenon can be called Chaos. Like the ancient Greeks, Tyutchev perceives him as a living being. This is the fundamental principle of existence, hidden in daytime by the thinnest veil and awakening at night and in bad weather in nature and in man. But Tyutchev himself does not wax poetic about Chaos; he correlates the ideal of the world order with another concept - “system”, i.e. with harmony:
There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the shifting reeds.
Equanimity in everything,
Consonance is complete in nature<...>
It is the absence of this “system” in the life of a person - a “thinking reed” that causes the poet’s bitter reflection. By calling a person a “thinking reed,” the poet emphasizes his kinship with nature, his belonging to it, and at the same time his special place in the natural world:
Only in our illusory freedom
We are aware of the discord with her.
Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed grumbles.
“Musical” images (melody, choir, musical rustle, consonance) convey the essence of the mysterious life of the world. Nature is not only a living, breathing, feeling, unified being, but internally harmonious. Each natural phenomenon is not only subject to the same laws for all, but also to a single structure, a single harmony, a single melody.
However, Tyutchev also poetizes the violation of the “eternal order”, when the “spirit of life and freedom”, “inspiration of love” bursts into the “strict order” of nature. Describing the “unprecedented September” - the return, the invasion of summer, the hot sun into the autumn world, Tyutchev writes:
Like a strict order of nature
Gave up his rights
Spirit of life and freedom,
Inspirations of love.
As if forever inviolable,
The eternal order was broken
And loved and beloved
The human soul.
Among the constant images used by the poet in his description of natural phenomena is “smile.” For the poet, a smile becomes the embodiment of the greatest intensity of life - both man and nature. A smile, like consciousness, are signs of life, soul in nature:
In this gentle radiance,
In this blue sky
There is a smile, there is consciousness,
There is a sympathetic reception.
It is interesting to note that Tyutchev strives to show the world, as a rule, at the two highest moments of his life. Conventionally, these moments can be designated as a “smile of ecstasy” and a “smile of exhaustion”: the smile of nature at a moment of overabundance of strength and the smile of exhausted nature, the smile of farewell.
The smile of nature is the true essence of nature. Researchers note that in Tyutchev’s lyrics one can find different images of the world: a harmonious world, permeated with the sun, a dead, frozen world, a menacing, stormy world in which chaos awakens. But another observation seems equally accurate: Tyutchev strives to capture the world in its highest moments. Such highest moments are represented by blossoming and withering - birth, the rebirth of the world in spring and autumn withering. Both worlds are filled with “charm”: exhaustion, fatigue of nature is as constant a theme of Tyutchev’s poetry as spring revival. But, important detail, Tyutchev, trying to convey the charm of nature, speaks of her smile - triumphant or tired, farewell:
I look with tender sympathy,
When, breaking through from behind the clouds,
Suddenly through the dotted trees,
With their old and weary leaves,
A lightning beam will burst forth!
How fadingly cute!
What a delight it is for us,
When, what bloomed and lived like this,
Now, so weak and frail,
Smile for the last time!..
Equally significant for Tyutchev is nature’s ability to cry. Tears are as much a sign of true life for Tyutchev as a smile:
And holy tenderness
With the grace of pure tears
It came to us like a revelation
And it resonated throughout.
Man and nature in the lyrics of F.I. Tyutcheva.
The poet, whose voice did not stop for many decades and without whom, in the words of L.N. Tolstoy, “one cannot live,” was Fyodor Ivanovich Tyutchev. He came to literature as a contemporary of Pushkin, and ended with him creative path at the time when L. Tolstoy, Dostoevsky and Saltykov-Shchedrin reached the heights of their fame. His creative activity lasted for almost fifty years.
The true greatness of Tyutchev is revealed in his lyrics. A brilliant artist, a deep thinker, a subtle psychologist - this is how he appears in poems whose themes are eternal: the meaning of human existence, the life of nature, the connection of man with this life, love. The emotional coloring of most of Tyutchev's poems is determined by his restless, tragic worldview.
IN general series phenomena of nature, man in Tyutchev’s poetry occupies the incomprehensible, ambiguous position of a “thinking reed”. Painful anxiety, vain attempts to understand his purpose, terrifying suspicions about the very existence of the riddle of “sphinx nature” and the presence of a “creator in creation” relentlessly haunt the poet. He is oppressed by the consciousness of limitation, the powerlessness of thought, which stubbornly strives to comprehend the eternal mystery of existence - the “invisibly fatal hand” steadily suppresses its vain and doomed attempts.
In relation to nature, Tyutchev shows, as it were, two hypostases: existential, contemplative, perceiving the world“with the help of the five senses,” and the spiritual, thinking, striving to guess behind the visible veil great secret nature.
It is noteworthy that in Tyutchev’s landscape lyrics we feel, first of all, Russian nature - intimate and modest, soft and ordinary. National color is sometimes created by the rhythm of the verse, sometimes by individual details.
The poet’s poems, created during the days of short meetings with his native places, are filled with reverent and tender love for his homeland and hidden pain for it. Tyutchev does not describe either the Russian village or the hard labor of the Russian peasant, but behind the pictures of nature Russia opens up, numb in a deep, “iron” sleep, Russia is poor and tired - and yet beautiful.
In Tyutchev’s nature, everything moves, everything changes; it exists in elusive, infinitely varied transitions and overflows. Even when nature is calm before us, this peace also becomes only a moment in the ongoing flow of life. And winter, and spring, and summer, and autumn, and day, and night - one thing gives way to another, and nothing ever stops.
Tyutchev’s poems about autumn are filled with true love for nature: “There is in the lightness of autumn evenings...”, “Is covered in prophetic drowsiness...”, “There is in the primordial autumn...”. One poem combines early autumn, the recently departed summer, and the coming winter. The ability to convey the constant flow of time, the flow of life is one of distinctive features Tyutchev's poetry.
Tyutchev the poet is intoxicated by the thunderstorm. In his poetry, a thunderstorm brings purification and awakening; it is a source of joy and fullness of life. We remember Tyutchev’s spring thunder, which “as if frolicking and playing, rumbles in the blue sky,” the “forest din,” echoing the “merrily thunder.” “How joyful is the roar of summer storms,” the poet will say in another poem. Thunderstorm and life are fused in Tyutchev’s mind. Greenery is a symbol of life and youth.
Tyutchev’s lyrical landscapes bear a special stamp, reflecting the properties of his own mental and physical nature - fragile and painful. His images and epithets are often unexpected, unusual and extremely impressive. Its branches are boring, the earth is frowning, its leaves are emaciated and decrepit, the day is growing thin...
Tyutchev is concerned with thoughts about man, about the fate of humanity. He simultaneously conveys the confusion of his contemporary, who does not know where and in what to look for support, and his faith in the possible harmony of life. In poems about nature and love, one can also hear “deaf groans of time.” That is why Tyutchev’s landscape and intimate lyrics are also philosophical lyrics.
Tyutchev's poetry is not serenely calm, not peaceful - it is internally anxious, deeply dramatic. “The sky, full of thunderstorms, everything was trembling in the lightning...” is not only a sketch of nature, but also a poetic expression of the poet’s state of mind, who is full of anticipation of a storm and possible disasters. Nature and human life as if they had grown together in Tyutchev’s consciousness, and here and there he senses eternal confusion, eternal anxiety.
In the poem “Insomnia,” the poet creates a tragic image of a man of his era: he is alone, he stands “at the edge of the earth,” abandoned “to himself,” surrounded by “worldwide silence.” The thirst for human intimacy and responsiveness can be heard in Tyutchev’s famous poem “Silence.” It seems to say a lot about the extreme individualism of the poet. For example, these are the lines:
Be silent, hide and hide
And your feelings and dreams...
Just know how to live within yourself -
There is a whole world in your soul...
However, the main thing in the poem is the expression of the melancholy of a person who wants to be understood by others, for whom loneliness is a terrible lot.
Tyutchev looks at man as a particle of nature, and in nature he captures the spiritualizing principle; man, as it were, absorbs nature into himself, and dissolves himself in nature.
Tyutchev’s nature is alive, spiritual, infinitely diverse in its manifestations, in its sound. For him, “the azure of heaven laughs,” “the trees sing,” “the rocks sound,” “the hazy afternoon lazily breathes.” Often in Tyutchev’s poetry it is difficult to discern where the landscape ends and where thinking about a person begins. This is, for example, the ending of the poem “The earth still looks sad...”:
Blocks of snow shine and melt,
The azure glitters, the blood plays...
Or is it spring bliss?..
Or is it female love?..
Tyutchev’s poetry is a living heritage, serving people and in our days. Tyutchev stands out for his belief in the endless possibilities of man - both as an individual, concealing “the whole world” in his soul, and as all of humanity, capable of creating a new nature.
Tyutchev is a poet so versatile and deep that each new generation finds in his lyrics something that excites him.
The plots of the poems are different. Pushkinsky - the formation of a prophet. Lermontovsky is the life of a poet who became a prophet. Pushkin's prophet is based on the book of the prophet Isaiah; Lermontov turned to the Book of the Prophet Jeremiah and the Lamentations of Jeremiah. Lermontov chose a tragic plot: a misunderstanding in the relationship between the prophet and those whom he wanted to serve. Pushkin's prophet is transformed spiritually, Lermontov has a portrait of the prophet. They see him from the outside. And this portrait evokes sympathy. Pushkin's prophet is solemn. Lermontovsky is harsh. The harmony of the world was revealed to the lyrical hero in Pushkin’s poem. He is ready to meet people, ready to “burn people’s hearts with his words.” Lermontov’s prophet saw “Pages of Malice and Vice”: he was not accepted by people, he was expelled. In Nekrasov's poem, the mission of the prophet is fulfilled by the ideal public figure. Times have changed - “You may not be a poet, but you must be a citizen” (“The Poet and the Citizen”). The very fact that Nekrasov’s thoughts about Chernyshevsky are reflected in the poem is indisputable. Researchers of Nekrasov’s work (V.E. Cheshikhin-Vetrinsky) note the generality and typicality of the image of Nekrasov’s prophet, applied to any person of the 70s who combined the revolutionary democratic ideal with the charm of moral purity and beauty. In the poems of Pushkin and Lermontov, the narration is told from the perspective of the prophet. Nekrasov’s work is from the perspective of the lyrical hero. In addition to the point of view of the lyrical hero himself, Nekrasov’s “Prophet” accurately (with the help of direct speech) conveys the points of view of the unknown, reproaching prophet (“He forgot to be careful! It will be his own fault!” and the prophet (“It is possible to live for oneself only in world, but it is possible for others to die." Nekrasov in his poem shows the story of the prophet not from the inside, but from the outside, extremely (maximum) objectifying it. Lermontov's prophet, the most "willful", himself explains the content of his "verbs" and evaluates what is being done At the same time, his mission is twofold, it comes down to correcting the human race - exposing "malice and vice" and teaching in love and truth. In Nekrasov's poem, the fate of the prophet is assessed by people - the "reproachful" and the lyrical hero, to whom, in the literal sense, belongs the last word. The Purpose of a Prophet this time - “not to proclaim pure teachings of love and truth” (Lermontov). Remind those immersed in vanity and “life for oneself” to people about God, he owes it differently - not in word, but in deed, his godfather sacrifice.Composition
Tyutchev's lyrics occupy a special place in Russian poetry. In Tyutchev's fresh and excitingly attractive poems, the beauty of poetic images is combined with the depth of thought and the sharpness of philosophical generalizations. His lyrics are a small particle of a large whole, but this small one is not perceived separately, but as being in relationship with the whole world and at the same time carrying within itself independent idea.
A special place in the poet’s lyrics is occupied by the theme of man and nature, often even the contradictory unity of man and nature. Pisarev noted: “Tyutchev entered the consciousness of the reader primarily as a singer of nature...”
Tyutchev revives certain features of the ancient worldview, and at the same time, his position is represented by an independent personality, which in itself is a whole world. Tyutchev affirms in his lyrics the image of a person worthy of the Universe. He affirms the potential divinity of the human person.
Tyutchev's nature is poetic and spiritual. She is alive, she can feel, be happy and sad:
The sun is shining, the waters are sparkling,
Smile in everything, life in everything,
The trees tremble joyfully
Bathing in the blue sky.
The spiritualization of nature, endowing it with human feelings and spirituality gives rise to the perception of nature as a huge human being. This is especially evident in the poem “Summer Evening”. The poet associates sunset with a “hot ball” that the earth rolled off its head; Tyutchev’s “bright stars” lift the vault of heaven.
And a sweet thrill, like a stream,
Nature ran through my veins,
How hot are her legs?
The spring waters have touched.
The poem “Autumn Evening” is similar in theme. In it one can hear the same spirituality of nature, the perception of it in the form of a living organism:
There are in the brightness of autumn evenings
Touching, mysterious charm:
The ominous shine and diversity of trees,
A languid, light rustle of crimson leaves...
The picture of an autumn evening is full of living, quivering breath. Evening nature not only resembles a living creature in some individual signs: “... on everything there is that gentle smile of withering, which in a rational being we call the divine modesty of suffering,” it is all alive and humanized. That's why there's a rustle leaf light and the languid, luminous evening are full of inexplicable attractive charm, and the earth is not only sad, but also humanly orphaned.
Depicting nature as a living being, Tyutchev endows it not only with a variety of colors, but also with movement. The poet does not paint just one state of nature, but shows it in a variety of shades and states. This is what can be called being, the being of nature. In the poem "Yesterday" Tyutchev depicts Sunbeam. We not only see the movement of the beam, how it gradually made its way into the room, “grabbed the blanket,” “climbed onto the bed,” but we also feel its touch.
The living wealth of Tyutchev's nature is limited. Yes, nature is alive and sublime, but not everything that is objectively alive touches the poet. The prosaic appearance of poetry, its ordinariness and objective simplicity are alien to him. Tyutchev’s nature is universal, it manifests itself not only on earth, but also through space. In the poem “Morning in the Mountains,” the beginning reads simply as a landscape sketch:
The azure of heaven laughs,
Washed by the night thunderstorm,
And it winds dewy between the mountains
Only higher mountains up to half
The fogs cover the slope,
Like air ruins
The magic of created chambers.
Tyutchev always strives upward, as if in order to know eternity, to join the beauty of an unearthly revelation: “And there, in solemn peace, exposed in the morning, the White Mountain shines like an unearthly revelation.” Maybe that’s why Tyutchev’s symbol of purity and truth is the sky. In the poem “The feast is over, the choirs have fallen silent...”, a generalized image of the world is first given:
The feast is over, we got up late -
The stars in the sky were shining
The night has reached halfway...
The second part, as it were, lifts the curtain. The theme of the sky, only slightly outlined at the beginning, now sounds strong and confident:
Like over a restless city,
Above palaces, above houses,
Noisy traffic
With dim red lighting
And sleepless crowds, -
Like over this child of the valley,
In the lofty mountainous region
The stars were shining brightly,
Answering mortal glances
Immaculate rays...
One of the main themes of Tyutchev’s nature lyrics is the theme of night. Many of Tyutchev's poems are dedicated to nature not only different times year, but also at different times of the day, in particular at night. Here nature carries a philosophical meaning. It helps to penetrate into the “secret secrets” of a person. Tyutchev's night is not just beautiful, its beauty is majestic:
But the day fades - night has come;
She came - and from the world of fate
Fabric of blessed cover,
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
The night for Tyutchev is, first of all, holy: “The holy night has risen on the horizon...” There are so many secrets and mysteries in it:
...A curtain fell on the world of day;
Movement has become exhausted, labor has fallen asleep...
Above the sleeping city, as in the tops of the forest,
A wonderful nightly hum woke up...
Where does it come from, this incomprehensible hum?..
Or mortal thoughts freed by sleep,
The world is incorporeal, audible but invisible,
Now swarming in the chaos of the night?..
Tyutchev's skill is amazing. He knows how to find in the most ordinary natural phenomena that which serves as the most accurate mirror image of beauty, and describe it in simple language:
Lil warm, summer rain- his jets
The leaves sounded cheerful...
Tyutchev's poetry can be sublime and earthly, joyful and sad, lively and cosmically cold, but always unique, one that cannot be forgotten if you at least once touch its beauty. “He who does not feel him does not think about Tyutchev, thereby proving that he does not feel poetry.” These words of Turgenev perfectly show the magnificence of Tyutchev’s poetry.
- Landscape lyrics of the poet.
Tyutchev's lyrics are a timeless phenomenon
In spirit, in relation to life - Fyodor Tyutchev is a modern poet, the questions of the eternity of the world sound so piercingly and timely today, reflections on the place of man in the Universe, on the joy and happiness bestowed by love and nature, on human experiences and suffering that cannot be avoided in life. Man and nature occupy a special place in Tyutchev’s lyrics: they always seem to be outside the era, outside a specific time. Important and interesting for him inner world and development, because in Tyutchev’s view, nature and man are parts of a single whole.
The theme of man and nature in Tyutchev’s lyrics
Landscape lyrics of the poet.
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
For the poet, nature is always alive, thinking and feeling, and this is poetically expressed in diverse metaphors: “the azure of the sky is laughing,” “the sun ... glanced from under its brows at the fields,” “the thunderclaps are getting angrier and bolder,” “the trees tremble joyfully, bathing in the blue sky "
The epithets are always varied and accurate, and sometimes unexpected: “soporific-silent” fields, the evening is “...infant-carefree”, sometimes “madly playful”, autumn evenings are “touching, mysterious charm”, “boundless darkness” of autumn.
The comparisons used by Tyutchev are often unconventional, and therefore give the poems a special artistic charm: the radiance of the White Mountain, “like an unearthly revelation,” the stars burn, “as on the first day of creation,” and the gloomy night, “like a steadfast beast, looks out from every bush.” "
The landscapes and descriptions of nature are so capacious, multifaceted and deep that they paint in the reader’s imagination full-fledged pictures, as if they had seen them themselves. One has only to read, for example, the lines:
Already a hot ball of the sun
The earth rolled off its head,
And peaceful evening fire
The sea wave swallowed
or familiar from childhood:
Enchantress in Winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute,
He shines with a wonderful life
And now, from the category of readers, we imperceptibly and somehow instantly become participants, grateful contemplators of what is happening in nature
But no matter how accurate and vivid Tyutchev’s description is, there is always something else in it that makes you think about what you heard, some deeper meaning.
Nature in Tyutchev’s lyrics as part of the universe
For such a master as Tyutchev, a simple description, a statement of the fact of the existence of living nature, its beauty would be too simple. Yes, the poet always admires, admires and reveres nature, but the most important thing, starting from the early poems, is thinking about the world, the opportunity to penetrate into the secrets of existence.
The poet thinks and feels much more voluminously, deeply, the world of nature and man in Tyutchev’s lyrics is part of the universe, the Cosmos, the eternity of which is undoubted. That is why his poems always have a philosophical meaning. “Everything is in me, and I am in everything!
“- this is how the poet feels and speaks about it publicly.
Wonderful day! Centuries will pass -
They will also be in the eternal order,
The river flows and sparkles
And the fields to breathe in the heat.The past - did it ever happen?
What is now - will it always be?..
It will pass -
It will pass, as it all passed,
And sinks into a dark crater -
Year after year.
Year after year, century after century...
...But with a new summer - a new cereal
And a different leaf.
And again everything that is will be
And the roses will bloom again,
And thorns too...
The world of nature and man in Tyutchev’s lyrics is a single whole
The world of nature and man in Tyutchev’s lyrics dissolve into each other. Experiences state of mind The poet conveys the complex and contradictory inner world of man using images of nature, and the history of man in Tyutchev’s work is viewed precisely through the prism of his connection with nature, through an understanding of the transience of earthly life and the eternity of universal life.
Nature is always impartial - this is the poet’s belief, from which the lines appear:
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Ourselves are just a dream of nature.
One by one all your children,
Those who accomplish their useless feat,
She equally greets her
An all-consuming and peaceful abyss.
Therefore, the poet himself, as a rule, looks at the course of history dispassionately, detachedly, realizing that they cannot change the balance of nature and the entire universe.
Addressing, for example, the Decembrists, he says:
Maybe you hoped
That your blood will become scarce,
To melt the eternal pole!
Barely, smoking, she sparkled
On the centuries-old mass of ice,
The iron winter has died -
And there were no traces left.
On the other hand, becoming a witness to historical collisions means for a seeker who knows about the eternity of the Universe to become involved in the process of peacemaking. “Blessed is he who visited this world in its fatal moments!”
So, as Tyutchev shows the changing world of nature: not standing still, with its storms and calms, orderliness and chaos - this is how he sees and strives to convey the restless world human soul. The poet pays tribute to the value of human life, his ability to think and create, but clearly sees the helplessness before the elements in his own soul.
Equanimity in everything,
Consonance is complete in nature, -
Only in our illusory freedom
We are aware of the discord with her.Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?
In Tyutchev's poetry there are many contrasts and opposing forces: chaos - harmony, day - night, earth - sky, but these concepts are not identified with good - evil. They are opposed and interconnected at the same time, flow into one another, are reflected in each other, without existing separately. So, for example, “there is melodiousness in the waves of the sea, harmony in spontaneous disputes.”
The light and dark sides of the soul, located in an eternal struggle, are equivalent for Tyutchev, like day and night, they are a manifestation of human nature, but it is in the struggle that a person can find his way. “Two voices” always sound within us, and choosing whether to simply go with the flow, or to overcome circumstances in a struggle and improve, without striving for peace, to seek the meaning of existence on Earth is the destiny of only man.
Take courage, O friends, fight diligently,
Although the battle is unequal, the fight is hopeless!
…
Take courage, fight, O brave friends,
No matter how cruel the battle, no how stubborn the struggle!
Silent circles of stars above you,
Below you are mute, deaf coffins.
Let the Olympians have an envious eye
They watch the struggle of unyielding hearts.
Who fell, defeated only by Fate,
He snatched the victorious crown from their hands.
The poet is not always optimistic; philosophical thoughts about the mysteries of the universe disturb him, and over time, depress him. Sometimes, in search of the meaning of life, in moments of despair, he begins to doubt the need for the search.
Everything is without a trace - and it’s so easy not to be!
With me or without me - what is the need?
Everything will be the same - and the blizzard will howl the same,
And the same darkness, and the same steppe all around.
But even in these moments, assuming that in reality there are no mysteries, Tyutchev still considers nature a sphinx, whose secret can be approached, but not comprehended.
Nature - sphinx. And the more faithful she is
His temptation destroys a person,
What may happen, no longer
There is no riddle and she never had one.
And yet the desire to know the true secrets of the existence of the world, confidence in the integrity of the world, in the fact that man is one with nature, the acuity of feelings and perception of the environment do not leave Tyutchev:
Whatever life teaches us,
But the heart believes in miracles:
There is endless strength
There is also imperishable beauty.And the withering of the earth
He will not touch unearthly flowers,
And from the midday heat
The dew will not dry on them.And this faith will not deceive
The one who only lives by it,
Not everything that bloomed here will fade,
Not everything that was here will pass!
Life lessons from Tyutchev's lyrics
The legacy of Fyodor Tyutchev is small in volume, but his contemporaries appreciated it. In one of his letters, I. Turgenev sincerely shared his attitude towards the poet’s work with A. Fet: “He who does not feel him does not think about Tyutchev, thereby proving that he does not feel poetry.” L. Tolstoy wrote emotionally in a letter to his children’s teacher: “So don’t forget to get Tyutchev. You can't live without him." And the philosopher P. Florensky wrote the following: “It’s time, finally, to understand that praise for Tyutchev is not a non-binding word, but, when said sincerely, it implies innumerable world-class consequences.” He wrote insightfully about the poems of Tyutchev and A. Fet: “Each of them is the sun, that is, an original, shining world...”.