1854 in the world. A few words about the poems of F. I. Tyutchev. Tyutchev's political lyrics

Poems by F. Tyutchev. St. Petersburg, printing house of Eduard Pratz, 1854. 58, 1-14. Supplement to the magazine "Contemporary", 1854, t. 44-45. Extraction. On pp. 1-14 of the second pagination - “Poems by F.I. Tyutchev (serving as a supplement to those published in Sovremennik, vol. 44, no. 3, 58, pp.).” Bound in a printed edition of the era. Big eight format: 24x16 cm.

The North received the western border of Texas, and then further east than the desired south; but in return they gave Texas ten million dollars to pay off their old debts. This is a compromise. During this long period For a time, Nebraska remained essentially an uninhabited country, but now emigration to it and settlement within it began to take place. That's about a third larger than the current United States, and its importance, so long ignored, is beginning to emerge. The limitation on slavery in the Missouri Compromise directly refers to it; in fact, was first made, and since then it has been preserved, right for him.

This is not the first publication of Fyodor Ivanovich Tyutchev (1803-1873), it is just the forerunner of his first book as a poet, published in the same 1854 in the same printing house of Eduard Pratz. Tyutchev was not prolific as a poet (his legacy is about 300 poems, but what kind!). Having started publishing very early: from the age of 16, he published rarely, in little-known almanacs, in the period 1837-1847 he wrote almost no poetry at all and, in general, cared little about his reputation as a poet. The first significant attempt to acquaint readers with the work of Fyodor Ivanovich was made by A.S. Pushkin back in 1836. In his magazine Sovremennik in the second half of 1836, he published under the signature “F.T.” 24 “Poems sent from Germany.” These same poems, together with the laudatory and enthusiastic article “Russian minor poets” and an assessment of the poet’s work in 1850, also in Sovremennik, were once again reprinted by N.A. Nekrasov. In 1854 N.A. Nekrasov publishes Fyodor Ivanovich’s poems as a separate book (the poet’s first book), edited by I.S. Turgenev. The poet himself does not take any part in the publication. I.S. Turgenev, who considered it his great merit that he was able to persuade F. Tyutchev to publish the book, wrote in a playful impromptu: “I forced Tyutchev to unbutton...”.

This bill did not repeal the Missouri Compromise. Indeed, when attacked because it contained no such digression, Judge Douglas defended it in his existing form. He annexes this bill to the report in which he last time strongly recommends disapproval and repeal of the Missouri Compromise.

Soon the bill is so modified as to make two territories instead of one; naming Southern Kansas. Moreover, about a month after the introduction of the bill, by the judge's own motion, it is so amended as to declare the Missouri Compromise void and void, and, in effect, the people who go and settle there may establish slavery, or exclude it as they consider it necessary. In this form, the bill passed through both branches of Congress and became law.

Bibliographic description:

1. Books and manuscripts in the collection of M.S. Lesmana. Moscow, 1989, No. 2312.

2. Library of Russian poetry I.N. Rozanova. Bibliographic description. Moscow, 1975, No. 1664.

You can't understand Russia with your mind,

A common arshin cannot be measured,

This is the reversal of the Missouri Compromise. This is exactly what we would do in their situation. If slavery had not existed among them, they would not have introduced it. If this existed between us, we should not immediately abandon him. Doubtless there are men on both sides who will under no circumstances own slaves; and others who would gladly reintroduce slavery if it were real. We know that some Southern men freed their slaves, went north, and became abolitionists at the top; while some of the north go south and become the most cruel slave-owners.

She will become special -

You can only believe in Russia.

I met you - and everything is gone

In an obsolete heart came to life,

I remembered the golden time -

And my heart felt so warm...

There's more than one memory here

Here life spoke again, -

My first impulse would be to free all the slaves and send them to Liberia, to my native land. But a momentary reflection will convince me that, despite the high hope, it is possible and ultimately that her sudden execution is impossible. If they all landed there in a day, they would all die in the next ten days, and there is no excess daily allowance and excess money in the world to carry them there many times ten days. Free them all and keep them among us as subordinates? Is it quite certain that it improves their condition?

And you have the same charm,

And that love is in my soul!..

Tyutchev, Fedor Ivanovich(1803-1873) - Russian poet, corresponding member of the St. Petersburg Academy of Sciences (1857). Tyutchev's spiritually intense philosophical poetry conveys a tragic sense of the cosmic contradictions of existence, symbolic parallelism in poems about the life of nature, and cosmic motifs. Love lyrics (including poems from the “Denisevsky cycle”). In his journalistic articles he gravitated towards Pan-Slavism. Born on November 23 (December 5, n.s.) 1803 in the Ovstug estate Oryol province in an old noble family. My childhood years were spent in Ovstug, my youth were connected with Moscow. Home education was supervised by the young poet-translator S. Raich, who introduced the student to the works of poets and encouraged his first poetic experiments. At the age of 12, Tyutchev was already successfully translating Horace. In 1819 he entered the literature department of Moscow University and immediately took an active part in its literary life. After graduating from the university in 1821 with a candidate's degree in literary sciences, at the beginning of 1822 Tyutchev entered the service of the State Collegium of Foreign Affairs. A few months later he was appointed an official under the Russian diplomatic mission in Munich. From that time on, his connection with the Russian literary life is interrupted for a long time. Tyutchev spent twenty-two years abroad, twenty of them in Munich. Here he got married, here he met the philosopher Schelling and became friends with G. Heine, becoming the first translator of his poems into Russian. In 1829 - 1830, Tyutchev’s poems were published in Raich’s magazine “Galatea”, testifying to the maturity of his poetic talent (“ Summer evening", "Vision", "Insomnia", "Dreams"), but did not bring fame to the author. Tyutchev's poetry first received real recognition in 1836, when a cycle of his poems sent from Germany appeared in Pushkin's Sovremennik. In 1837 Tyutchev was appointed first secretary of the Russian mission in Turin, where he experienced his first bereavement: his wife died. In 1839 he entered into a new marriage. Tyutchev's official misconduct (unauthorized departure to Switzerland to marry E. Dernberg) put an end to his diplomatic service. He resigned and settled in Munich, where he spent another five years without any official position. He persistently looked for ways to return to service. In 1844 he moved with his family to Russia, and six months later he was again hired to serve in the Ministry of Foreign Affairs. In 1843 - 1850 he published political articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, concluding that a clash between Russia and the West was inevitable and the final triumph of the “Russia of the future”, which seemed to him “all-Slavic” empire. In 1848 - 1849, caught up in events political life, he created such wonderful poems, like “Reluctantly and timidly...”, “When in the circle of murderous worries...”, “Russian woman”, etc., but did not seek to publish them. The beginning of Tyutchev’s poetic fame and the impetus for his active work was Nekrasov’s article “Russian minor poets” in the Sovremennik magazine in 1850, which spoke about the talent of this poet, not noticed by critics, and the publication of 24 poems by Tyutchev. The poet received real recognition. The first collection of poems was published in 1854, and in the same year a series of poems about love dedicated to Elena Denisyeva was published. “Lawless” in the eyes of the world, the relationship of the middle-aged poet with his daughter’s age lasted for fourteen years and was very dramatic (Tyutchev was married). In 1858 he was appointed chairman of the Committee of Foreign Censorship, more than once acting as an advocate for persecuted publications. Since 1864, Tyutchev suffered one loss after another: Denisyev died of consumption, a year later - two of their children, his mother. Tyutchev’s work of the 1860s was dominated by political poems and small dedications - “for occasions” (“When the decrepit forces ...”, 1866, “To the Slavs”, 1867, etc.). Recent years lives are also overshadowed by heavy losses: his eldest son, brother, daughter Maria die. The poet's life is fading. On July 15 (27 n.s.) 1873 in Tsarskoe Selo Tyutchev died.

Liberate them and make them politically and socially our equals? My own feelings will not allow it, and if mine, we know well that those of the great mass of white people will not. Whether this feeling is a just and sound judgment is not the only question, if indeed it is any part of it. or unfounded cannot be safely ignored. So we can't make them equal to ALS. But all this; gives no more justification, in my opinion, for allowing slavery to enter into our free territory, than it would for restoring the African slave trade by law.

We introduce our readers to a chapter from the textbook “Russian Literature. 10th grade. Part 2", which is published by the Drofa publishing house. (The first part of the textbook, written by A. N. Arkhangelsky, was published at the beginning of this year.)

Fedor. Writer of the Pushkin generation, poet of the Nekrasov era

You already know that literary historians consider the 1840s unsuccessful for Russian poetry. But it was precisely in this decade that the gift of two great lyricists began to unfold - Fyodor Tyutchev and Afanasy Fet. Paradoxically, readers did not seem to notice them; their lyric poems did not fit into the common idea of what a “correct” poetic composition should be. And only after the most authoritative literary magazine At that time, an article by Nikolai Alekseevich Nekrasov “Russians” appeared in Sovremennik. modern poets"(1850), it was as if a veil had fallen from the readers' eyes.

A law prohibiting the bringing of slaves from Africa; and what for so long prohibited them from being taken to Nebraska can hardly be distinguished by any moral principle; and the abolition of the former could find quite plausible justifications as for the latter. The arguments for overturning the Missouri Compromise are justified.

First, the land of Nebraska needs a territorial government. Secondly, that in various ways the public rejected it and demanded its repeal; and therefore should not now complain about it. And finally, that the repeal establishes a principle which is essentially correct.

Among others, Nekrasov wrote about the outstanding talent of Fyodor Tyutchev. And he reprinted 24 of his poems, first published in Sovremennik 14 years ago. In 1854, through the efforts of Ivan Sergeevich Turgenev, the first collection of Tyutchev’s poems was published. Shortly before this, 92 poems by Tyutchev were published as an appendix to the third volume of Sovremennik for 1854. And in the fourth volume of the magazine for the same year, Nekrasov published Turgenev’s enthusiastic article “A few words about the poems of F. I. Tyutchev”...

First, then, if this country needed a territorial organization, could it not have it without it, as with abolition? Iowa and Minnesota, which were subject to the Missouri restriction, each provided territorial organizations without their repeal. And even, a year earlier, the Nebraska bill itself was in the clear of passage, without a repeal clause; and it is in the hands of the same men who are now the abolitionists. Why is there no need for cancellation then? But still later, when this bill was first introduced, there was no repeal in it.

It was the mid-1850s. But Fyodor Ivanovich Tyutchev was only for four years younger than Pushkin and began his journey in literature very early. For the Horatian ode “For the New Year 1816,” the young poet was accepted in 1818 as an “employee” in Free Society lovers of Russian literature. Then, in the second half of the 1820s, his poems were sometimes published in magazines and almanacs. With Vladimir Odoevsky, whose romantic prose we talked about in the last six months, Tyutchev simultaneously studied at Moscow University. And in 1836, Pushkin published a large selection of 24 Tyutchev poems in two issues of his Sovremennik magazine. The same one that Nekrasov then reprinted.

Fyodor Tyutchev. Writer of the Pushkin generation, poet of the Nekrasov era

But let's say they, because the public demanded or rather ordered the abolition, the abolition had to accompany the organization whenever it had to happen. They only say that this was done in principle. They are close enough to be viewed together. One of them was to exclude the possibility of slavery from all new acquisitions in a piece; and the other was to renounce his division, by which half were to renounce these chances.

The selection was signed with the initials F. T. and entitled “Poems Sent from Germany”; it included masterpieces that would later be reprinted in all Russian anthologies and anthologies. classical poetry: “Be silent, hide and hide // And your feelings and dreams - // Let them in the depths of your soul // Rise and set // Silently, like stars in the night - // Admire them - and be silent...” (“Silentium! ", around 1830).

Now, whether the Missouri line should be abandoned in principle depends on whether the Missouri law contains any principle requiring the extension of the line over the country acquired from Mexico. It could have no principle except the intention of those who created it. They had no intention of spreading this line to a country they did not own. If they intended to extend it if they acquired additional territory, why didn't they say so? It was also easy to say that "in all the country west of the Mississippi which we now possess, or may hereafter possess, there shall never be slavery," to say what they said; and they would say it if they meant it.

And yet Tyutchev did not become a poet of the Pushkin or at least Lermontov era. Not only because he was indifferent to fame and made almost no effort to publish his works. After all, even if Tyutchev diligently carried his poems to editors, he would still have to stand in the “queue” for a long time for success, for reader response.

Tyutchev's political lyrics

The intention to extend the law is not only not mentioned in the law, but is not mentioned in any modern history. Both the law itself and the history of time are empty of any principle of expansion; and none of the known rules of interpretation of statutes and contracts, nor common sense, no such principle can be derived. If the law contains any forward-looking principle, the entire law must be examined to find out what that principle is. And by this rule the south could justly claim that since they had received one slave state north of the line at the beginning of the law, they had a right to have another give them north of it from time to time - from time to time indefinitely to the west line extension.

Why did this happen? Because each literary era has its own stylistic habits, “standards” of taste; creative deviation from these standards sometimes seems artistic victory, and sometimes - irreparable defeat. (Contemporaries in general are sometimes unfair in their assessments.)

The end of the 1820s–1830s in Russian poetry is the era of late romanticism. Readers expected poetry to depict human passions and insoluble conflicts between the individual and society. And Tyutchev’s poetry, both passionate and rational, was associated with tradition Philosophical ode- a genre that was then revered as dead. Moreover, Tyutchev turned to the Enlightenment times through the head of the romantic era. His complicated style, expressively broken rhythms were equally alien to both the “poetry of reality” of Pushkin and the romantic, intense lyricism of Lermontov.

This demonstrates the absurdity of attempting to derive a promising principle from the Missouri compromise line. When we voted against the extension of the Missouri line, little did we think that we were voting to destroy the old line, and then about thirty years later. To assert that we have thus abandoned the compromises in Missouri is no less absurd than it would be to assert that, since we are still dealing with the acquisition of Cuba, we have thereby in principle abandoned our former acquisitions and decided to throw them out of the Union!

Questions and tasks of increased complexity

It adjoins the original Missouri Compromise line, on its northern boundary; and is therefore a part of the country into which, therefore, slavery was permitted to go by this compromise. There it has opened since then, and there it still lies. And yet no effort was made at any time to wrest it from the south. In all our struggles for the prohibition of slavery within our Mexican acquisitions, we never lifted a single finger to prohibit it, as in this treatise. Is it not entirely convincing that we have always held the Missouri Compromise as sacred; even when against ourselves, and also when for us?

In the poem just quoted, “Silentium!” the sensitive ear of a reader of poetry will easily discern a rhythmic “glitch” - the fourth and fifth lines of the first stanza are converted from bimeter to trimeter, from iambic to amphibrach. One who is familiar with the “norms” of poetry late XIX and the 20th century, you won’t be surprised; this “failure” is actually artistically justified, conveys a feeling of anxiety, we literally physically feel how the poet is struggling with himself, with the inability to express his soul - and the need to communicate with the addressee. And the reader of the 1830s, pampered by Pushkin’s rhythmic harmony and Zhukovsky’s musicality, shuddered as if from a false sound.

Ivan Sergeevich Turgenev A few words about the poems of F.I. Tyutcheva

Senator Douglas sometimes says that the Missouri line itself was, in principle, only an extension of the 87 line, that is, an extension of the Ohio River. I will observe, however, that, as soon as one looks at the map, the Missouri line will be much further south than the Ohio Page, and that if our Senator, in proposing its extension, had been on the principle of running south, it might not have been so easy to vote. But it goes on to say that the “50” compromises and ratification by both political parties set to "52" new principle, demanding the repeal of the Missouri Compromise.

Landscape poems early Tyutchev did not just metaphorically depict life human soul, as was customary in poetry of the first half of the century. No, things were much more serious with him. The most detailed and “life-like” images of nature could at any moment turn into details of an ancient myth and be filled with cosmic meaning.

The special part of these measures, for which the Missouri Compromise is sought to be virtually repealed, is to provide in the laws of Utah and New Mexico, which enables them, when they seek admission into the Union as States, to enter with or without slavery, as they then they will deem it necessary. He didn't have a direct reference to Nebraska than in the lunar territories, but let's say they referred to Nebraska in principle. The North agreed to this provision, not because they thought it was right in itself, but because they were compensated - they paid for it, while at the same time bringing California into the Union as a free state.

This is exactly what happens in a relatively early poem “ Spring thunderstorm"(1828, revised in the early 1850s), the first stanzas of which you all read in junior classes. But in fact the picture spring nature, which serenely rejoices in the young thunderstorm, is not important for Tyutchev in itself. It serves as a transition to the main, final quatrain:

Questions and tasks

This was the best part of everything they fought for in Wilmot Proviso. They also gained an area of slavery, which narrowed somewhat in the Texas frontier settlement. They also gained slave trade in the District of Columbia. For all these desirable objects the North could afford to give something up; and they lost to Southern Utah and New Mexico. Now can it be pretended that the principle of this arrangement requires us to apply the same provision to Nebraska without any equivalent?

Give us another free state; push the Texas border still further, give us one more step towards the abolition of slavery in the county, and you present us with a similar case. But ask us not to repeat anything you paid for in the first place. If you want again, pay again. This is the principle of compromises 50, if they actually have any principles beyond their specific conditions - it was a system of equivalents. Again, if Congress at the time had intended that all future territories, when admitted as states, would come with or without slavery as they chose, why didn't it say so?

You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky,
Laughing, she spilled it on the ground.

Tyutchev looks Through reality and sees life ancient gods: Hebe, goddess of youth, daughter of Zeus and Hera, who on Olympus brought nectar and ambrosia to them during feasts. In his worldview he Pantheist, that is, perceives nature as an animate being. And in every blade of grass, in every leaf he sees the presence of God.

It is not for nothing that Tyutchev was so close to the teachings of the German Natural philosophers(that is, the creators of the philosophy of nature) about the proximity of the kingdom of nature and the kingdom of history; in everything he revealed the struggle of the eternal cosmic origins– harmony and chaos: “Oh, don’t wake up the sleeping storms, // Chaos is stirring underneath them!”

The beginning of the journey

Fyodor Ivanovich came from an old noble family; his early childhood took place in the Ovstug estate in the Oryol province (now Bryansk region). Initial education, as was customary in good families, was home; one of the first mentors of the young Tyutchev was the poet and translator Semyon Egorovich Raich. Thanks to this, Tyutchev was already translating Horace when he was twelve years old. His mother, born Countess Tolstaya, doted on “Fedenka.” In general, he was lucky with his family, he had a truly happy and serene childhood; the luxurious southern Russian landscapes sank into his very heart. Then the Tyutchev family moved to Moscow; Fedor, as a volunteer, attended lectures at the university by the famous professor Alexei Fedorovich Merzlyakov on Russian literature; He lived partly in Moscow, partly on the Troitskoye estate near Moscow.

In 1821, he graduated from Moscow University as a candidate and went to the capital of the empire, St. Petersburg. Here the young poet began official service in the College of Foreign Affairs, but soon, thanks to family patronage, he received the position of a supernumerary official of the Russian diplomatic mission. And in July 1822 he left for Munich, where he was destined to spend 22 years.

It would seem that there is a serious contradiction here between the biography of the poet and his work. In Tyutchev’s numerous poetic responses to modern events, in descriptions of nature, in philosophical elegies, the same motive constantly sounds. This is the motive of love for the Fatherland, admiration for Russia, belief in its special, mystical purpose: “Russia cannot be understood with the mind, // One cannot measure with a common yardstick. // She has a special status: // You can only go to Russia Believe”.

And so it happened that the author of these lines spent the best part of his life almost constantly in “foreign” lands. The example of Gogol, who wrote the poignant Russian chapters of “Dead Souls” in Rome, immediately comes to mind. But the fact of the matter is that for Tyutchev, “real” Russia, “real” Russian landscapes were not as important as the great Idea Russia, its generalized image. Being a convinced Slavophile, he dreamed of a grandiose future for the Slavic peoples with the Russian Empire at its head; that is why in the quoted poem he calls for Russia Believe. In order to Believe, not at all necessary See; rather the opposite. And why believe in what you see around you?..

Read more landscape poem Tyutchev - “Summer Evening” (“The sun is already a hot ball...”). Follow how, at what moment detailed description sunset flows into the image of Nature, likened to a living being.

Tyutchev and German culture

In Germany, Tyutchev communicated with the philosopher Friedrich Schelling, especially closely with Heinrich, whom he first translated into Russian.

In fact, Germany, with its philosophy, with its culture of generalization, with its love for abstract concepts, was extremely close to the convinced Slavophile Tyutchev. He adopted the ideas of the Germans Natural philosophers, convinced that the kingdom of nature and the kingdom of spirit (that is, human history) are related to each other. And that art connects nature and history. We have already re-read the long-familiar poem “Spring Thunderstorm”, in which the real landscape becomes a reflection mysterious life gods. And in the poem “Dreams” (“How the ocean embraces the globe...”), written in the early 1830s, starry sky likened to the ocean of human dreams:

As the ocean envelops the globe,
Earthly life is surrounded by dreams;
Night will come - and with sonorous waves
The elements hit their shore...
.........................................................
The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.

This is the picture of the world created in Tyutchev’s poetry. His lyrical hero faces the whole Universe face to face and discerns in the small details of everyday life, in the lovely details of the landscape, the features of an invisible mystical creature - nature. Her life is full of contradictions, sometimes fraught with a threat to humanity, under the cover of her harmony lies romantic chaos: “Oh! Don’t sing these terrible songs // About ancient chaos, about my dear! // How greedily the world of the night soul // Listens to the story of its beloved! // He bursts from mortal breasts // And longs to merge with the infinite!.. // Oh! Don’t wake up sleeping storms – // Chaos is stirring beneath them!..” (“What are you howling about, night wind?..”, 1830s). But even at the moment terrible cataclysm nature is full of greatness: “When it strikes last hour nature, // The composition of the earthly parts will collapse: // Everything visible will again be covered by waters, // And God’s face will be depicted in them!” (" The Last Cataclysm", 1830).

Schelling’s natural philosophical teachings were also inspired by another classic poem by Tyutchev - “Nature is not what you think...”. Arguing with an invisible interlocutor, the lyrical hero professes faith in all-living nature, just as a believer confesses God:

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...
..........................................................
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...

It is not without reason that in these lines it is easy to discern an echo of Derzhavin’s poem “To Rulers and Judges”: “They will not listen! they see - but don’t know! // Covered with bribes of tow: // Atrocities shake the earth, // Untruth shakes the heavens.” Derzhavin rearranged the 81st Psalm (remember what the Psalter is); he looks at the vices of earthly rulers through the prism of the Bible, from the point of view of eternity. His social denunciation is deeply inspired religious feeling. And Tyutchev denounces his opponents the way a church preacher denounces sinners. For him, anyone who does not share the teaching of natural philosophers about the “divine”, living essence of nature is an apostate, a heretic.

So what? human life? She's in art world Tyutcheva is fleeting, her fragility is especially noticeable against the backdrop of the eternal and never-ending life of nature:

How a pillar of smoke brightens in the heights! –
How the shadow below slides, elusive!..
“This is our life,” you said to me, “
Not light smoke shining in the moonlight,
And this shadow running from the smoke...”
(“Like a pillar of smoke...”, 1848 or 1849)

Tyutchev's political lyrics

In 1841, Tyutchev visited Prague and met one of the leaders of the Czech national movement Vaclav Hanka. Ganka was not only public figure, but also a poet, by the way, he translated into Czech"The Tale of Igor's Campaign." In those years Slavic peoples enslaved by the Turks and Austrians - the Bulgarians, Serbs, Czechs, Slovaks began to awaken from political slumber, their numbers grew national identity. On Russian Empire Many of them looked with hope; only with the support of Russia and in a cultural and political union with it could they count on liberation and independent state life.

The meeting with Ganka completed the process of forming Tyutchev’s worldview. From the very beginning he rejected any possibility of a revolutionary reorganization of the world. Already in his youthful poem “December 14, 1825,” dedicated to the memory of the Decembrists, the poet wrote: “You were corrupted by Autocracy, // And his sword struck you down, - // And in incorruptible impartiality // The Law sealed this sentence. // The people, shunning treachery, // vilify your names - // And your memory from posterity, // Like a corpse in the ground, is buried.”

In these poems there is no sympathy for “autocracy”, for autocratic Russia, but there is also no sympathy for the “rebels”. Tyutchev perceived autocracy as a natural support for Russia in the modern decaying world, which had already entered the first act of a universal catastrophe. It is also a revolution. And just as a swamp freezes only in winter, so the political “cold”, hard domestic politics must “freeze” Russia. And the whole world follows her.

But the colder it was Political Views Tyutchev on modernity, the hotter the utopian dream about the future of Russia flared up in his mind. That same invisible Russia, in which “one can only believe.”

Thus, in his “everyday” life, the poet did not take into account church regulations. But as a political thinker, as an ideologist, he consistently contrasted Orthodoxy with Catholicism and the papacy. Catholicism was for him a symbol of the West with its threats, Orthodoxy was a symbol of Russia, the last island of conservative peace in the stormy sea of European revolutions. The Parisian revolutionary cataclysms of 1848 finally convinced him of this. And therefore the theme of Eastern Slavism naturally occupied Tyutchev’s poetic reflections special place. “Treacherous” Western Europe he finally contrasted Eastern, Slavic Europe:

Should we live forever apart?
Isn't it time for us to wake up?
And shake hands with each other,
To our blood and friends?
(“To Hanka”, 1841)

A union of Slavic lands led by Russia is Tyutchev’s ideal. This union should become global and expand “from the Nile to the Neva, from the Elbe to China” and include three capitals - Moscow, Rome and Constantinople. Therefore, the poet will perceive the news of Russia’s defeat in Crimean War 1853–1856; Until the last moment he hoped that the revolutionary conspirators in Europe would undermine its power from within, but these hopes were not justified.

Tyutchev's worldview can be called utopian. What does it mean? The word utopia comes from the title of a fantasy dialogue about the island of Utopia; this dialogue, similar to, was written by the English humanist Thomas More in 1516. In his "Utopia" he depicted a harmonious society, which is based on the principles of justice, legality and a very strict order; in the subtext it was read that the life of Utopia is an image of the future, the goal of development European civilization, as More imagined her. Since then, people who project the future and rush towards it, as if sacrificing the present, are called utopians.

Utopians can be supporters of a variety of parties and offer society a variety of, even mutually exclusive, ideas. He created a socialist utopia in his novel “What is to be done?” Nikolai Gavrilovich Chernyshevsky; as you remember, in four dreams of Vera Pavlovna the image is presented future life in communes, a kingdom of universal justice, equality and fraternity. Tyutchev was a staunch opponent of communist ideas; discussions about socialism made him tremble. But at the same time own views Tyutchev were also utopian; Just cornerstones his utopias were not socialism, internationalism and equality, but an Orthodox empire, pan-Slavic brotherhood and enmity with the Catholic West.

In everyday conversation, we also sometimes talk about someone's pipe dreams: Well, just a real utopia. But in fact, utopian projects are not always unrealizable. The plans of the revolutionaries of the 19th century who wanted to destroy old world and to build a new, socialist, happy one seemed impracticable to many at that time. However, in the 20th century they were realized - in Russia, China, Kampuchea; For this, millions of lives were sacrificed, half the planet was drenched in blood.

Tyutchev, as you already know, was a staunch enemy of revolutionary utopia. But as often happens with utopians, he reflected dramatically, almost with hatred, on modernity. His political lyrics often contained accusatory notes and caustic characterizations. And in his philosophical lyrics all these reflections rose to a completely different semantic level, sounded piercing and tragic:

It is not the flesh, but the spirit that is corrupted in our days,
And the man is desperately sad...
He is rushing towards the light from the shadows of the night
And, having found the light, he grumbles and rebels.
........................................................
Will not say forever, with prayer and tears,
No matter how he grieves in front of a closed door:
“Let me in! – I believe, my God!
Come to the aid of my unbelief!..”
(“Our Century”, 1851)

Love lyrics

Poetry " Denisievo cycle"Tyutchev was not known for his monastic behavior; he later years retained the taste for social life, to salon shine; his witty words were passed from mouth to mouth; Everyone around him knew about his amorousness.

Immediately after his first arrival in the capital of Bavaria, Munich (1822), he began a whirlwind romance with Amalia Lerchenfeld, married to Baroness Krüdener. But already in 1826 he married Eleanor Paterson, née Countess Bothmer (she was the widow of a Russian diplomat). And in 1833, he again began a new fatal romance - with Ernestina Dörnberg, née Baroness Pfeffel, who was soon widowed.

As a result of all these love affairs (with his wife alive), an international scandal began to brew. And Tyutchev, who was not particularly zealous in his service, it was decided to send to Turin as the senior secretary of the Russian mission - out of harm’s way.

But greedy sin was still hot on his heels. In 1838, Tyutchev’s wife died - she could not bear the shock experienced during sea travel together with three daughters from Russia to Germany. (The steamship “Nicholas I” caught fire and miraculously escaped flooding.) Fyodor Ivanovich, having learned about the death of his wife and children, turned gray overnight, but did not break off contact with Ernestina Dernberg, even temporarily. For his unauthorized absence from the Turin embassy (he went to Switzerland to marry his beloved), the poet-diplomat was eventually expelled from the sovereign's service and deprived of the title of chamberlain.

However, at the same time, love lyrics were in Tyutchev’s poetry rare guest. At least for the time being. Lyric poems about love was difficult to combine with an orientation towards cosmism and philosophy. Therefore, lyrical passion beat in the very depths of Tyutchev’s work, almost without coming out. And when she did break through rational barriers, she took on very calm forms. As in the poem “I remember the golden time...” (1836).

Here the lyrical hero recalls a long-ago meeting on the banks of the Danube, talks about the transience of happiness - but this sadness is devoid of internal breakdown, as is usually the case in elegy:

And the sun hesitated, saying goodbye
With the hill and the castle and you.

And the quiet wind passes by
Played with your clothes
And from the wild apple trees, color after color
There was light on the young shoulders.
................................................
And you with carefree cheerfulness
Happy day spent;
And sweet is fleeting life
A shadow flew over us.

The lyrical plot of the elegy, a sweet memory of joy that has already ended and given way to current sadness, is turned into lyrical plot romance. (Remember what definition we gave to this genre.) That is, softened to the limit, tension and tragedy have been erased from the poem, the wound has long healed, the scratch on the heart has healed. Tyutchev’s favorite thought - about the transience of earthly life, about the unsolved nature of its main secrets - is muffled and blurred here.

Having arrived in Russia for several months (1843), Tyutchev negotiated about his career future; the negotiations ended in success - and in 1844 he returned to his fatherland, receiving the position of senior censor. (In 1858, Tyutchev would become chairman of the foreign censorship committee.) The title of chamberlain was returned to him, Nicholas I spoke favorably of Tyutchev’s journalism; Fyodor Ivanovich hoped for the triumph of the Slavic idea and believed in the imminent establishment of the Great Greek-Russian Eastern Empire.

But in 1850, Tyutchev fell in love again - with 24-year-old Elena Denisyeva; she was cool lady at the Catherine Institute, where the poet’s daughters were raised. By that time, Tyutchev was already 47 years old, but, as contemporaries recall, “he still retained such freshness of heart and integrity of feelings, such a capacity for reckless love, not remembering oneself and blind to everything around him.” Three children were born from the extramarital union of Tyutchev and Deniseva. The ambiguity of the situation, however, depressed the poet’s beloved; she eventually developed consumption, and Denisieva died in August 1864. Having fallen into despair, Tyutchev went abroad and united with his former family (fortunately, the formal divorce from his wife was never formalized). But immediately upon returning from Geneva and Nice, in the spring of 1865, he experienced several terrible shocks one after another: two children he had from Denisyeva, a son and a daughter, died; his mother died soon after; after some time - son Dmitry, daughter Maria, brother Nikolai. The last years of Tyutchev’s life passed under the sign of endless losses...

And yet one of highest achievements Russian love lyrics became Tyutchev's cycle of poems addressed to Deniseva. Thanks to this meeting, which ended so tragically in life, the lyrical element finally broke through into Tyutchev’s poetry, enhanced its drama, and animated it with deep personal feeling.

Love, love - says the legend -
Union of the soul with the dear soul -
Their union, combination,
And their fatal merger,
And... the fatal duel...
("Predestination", 1850 or 1851)

Here Tyutchev remains true to himself; The love drama is translated into a philosophical plane; in the center of the poem is not the image of the beloved herself, but the problem of love. But inside this problem, as if in a thin shell, there is a deeply personal experience. lyrical hero; through abstract, extremely generalized words (“union”, “fatal merger”, “duel”) one can see the insolubility, unbearability of the situation in which he placed his beloved woman - and at the same time, the unexpected happiness given to him by life just before its decline. The same pathos animates the poem “Oh, how murderously we love...” (1850 or 1851), which is rightfully considered one of the masterpieces of Russian love lyrics:

Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
..............................................
Where did the roses go?
The smile of the lips and the sparkle of the eyes?
Everything was scorched, tears burned out
With its flammable moisture...

Re-read the verses from early poem“I remember the golden time...” And now compare it key images, conveying the idea of the “fragility” of earthly happiness (“flying wind”, “fleeting life”), with figurative structure poems “Oh, how murderously we love...”:

So what now? And where is all this?
And how long was the dream?
Alas, like northern summer,
He was a passing guest!

Fate's terrible sentence
Your love was for her
And undeserved shame
She laid down her life!

At the level individual words, abstract images – everything is the same. In the center is the theme of transience, the short-term nature of happy love, the inescapability of suffering: “A life of renunciation, a life of suffering! // In her spiritual depths // She still had memories... // But they changed them too.”

But how does the tone itself change? lyrical statement! From relaxed, refined, it becomes sharp, almost hysterical. The lyrical hero rushes between the feeling of inspiration that love brings and the tragedy of the circumstances in which it puts a person...

After Denisyeva’s death, Tyutchev wrote less and less. And fame, which came to him late, did not last long for his pride. Tyutchev's second collection, 1868, was received much cooler than the first. Old age bothered the poet; During his dying illness, he addressed a repentant and farewell quatrain to his wife Ernestine, who remained faithful to him despite everything:

The executing God took everything from me:
Health, willpower, air, sleep,
He left you alone with me,
So that I can still pray to Him.

Analysis of the work “Last Love” (between 1851 and 1854)

This poem, as you probably guessed, is connected with Tyutchev’s real “last love,” with the middle-aged poet’s feeling for 24-year-old Elena Denisyeva. But this is not (at least, primarily) why it is interesting to readers of subsequent generations. What we have before us is not a diary entry, even if rhymed, but a lyrical generalization; Tyutchev talks about his personal feeling, but in fact he talks about any “last love”, with its sweetness and sadness.

And how contradictory the poet’s feeling was, how displaced, “wrong” the rhythm of the poem turned out to be. Let's try to follow his movement, listen to his intermittent breathing, like a doctor listening to a patient's breathing with a stethoscope; it won't be easy - we'll have to use complex literary terms. But there is no other way to analyze the poems; they themselves are quite complex (which is why they are interesting). To make the work ahead easier, remember in advance some concepts with which you have been familiar for a long time. What is meter, how does it differ from rhythm? What is metrical stress? How do two-syllable meters differ from three-syllable meters? What is iambic, dactyl, amphibrachium? Use dictionaries, encyclopedias, your school notes, and ask your teacher to give you the necessary explanations.

Do you remember? Then let's start reading and analyzing Tyutchev's poem.

Oh, how in our declining years
We love more tenderly and more superstitiously...
Shine, shine, farewell light
Last love, dawn of evening!

“Last Love” begins with the confessional confession of the lyrical hero; he confesses to the reader the tenderness of his feelings - and the fear of possible loss: “We love more tenderly and more superstitiously...” In the first line, the two-syllable meter, iambic, is emphasized and correct. There are no truncated feet here; the line is crowned with a masculine rhyme. (By the way, also remember what a truncated foot is, male and female rhyme.) And suddenly, without warning, in the second line, out of nowhere, an “extra” syllable appears, not provided for by the size, the conjunction “and”. If it weren’t for this “and”, the line would be read as usual, it would sound without any glitches: “We love more tenderly, more superstitiously.” But, therefore, the poet needs this failure for some reason; Let’s not rush to answer the question of why exactly. Moreover, in the third line the meter is again strictly maintained, and in the fourth it is again “knocked down”: “Shine, shine, farewell light // Of last love, of the evening dawn.”

Of course, in all this “disorder” there is a special, higher one - otherwise we would not have before us a masterpiece of Russian lyricism, but an inept poetic craft. Look carefully, because not only the rhythm of the poem is contradictory, but also the system of its images. To convey all the sweet tragedy of the situation of his lyrical hero, all the hopelessness of his sudden happiness, the poet uses antinomic images. Think about what light he compares his last love with? Happy farewell, sunset. But at the same time it addresses the sunset light as one addresses the midday light. bright sun: “Shine, shine!” Usually we talk about the evening light fading, going out. And here - shine!

So the rhythmic pattern of the poem is inextricably linked with its figurative structure, and the figurative structure with the intense experience of the lyrical hero.

But as soon as we have time to tune in to a certain mood, to get used to the sequential alternation of “right” and “wrong” lines, everything changes again in the second stanza:

Half the sky was covered in shadow,
Only there, in the west, does the radiance wander, -
Slow down, slow down, evening day,
Last, last, charm.

The first line of this stanza seems to correspond to its metrical scheme. Iambic he is iambic... But something has already subtly changed in the rhythm; this “something” is a neatly missed rhythmic stress. Try reading the line out loud, chanting and beating the rhythm with your palm, and you will immediately feel that there is something missing in the word “grasped.” This effect is explained simply: the metric stress falls here on the first and third syllables, and the linguistic stress only on the third (“obhvatIla”). The omission of metrical stress is called pyrrhic by poets; pyrrhichis seem to stretch the sound of the verse, lighten it and slightly blur it.

And in the next line the iambic is simply “cancelled”. Immediately after the first – iambic! – feet verse without warning jumps from two-syllable size to trisyllabic, from iambic to dactyl. Read this line, breaking it into two unequal parts. The first part is “Only there”. The second part is “...in the west, a radiance wanders.” Each of these hemistiches in itself sounds smooth and harmonious. One thing is how iambic should sound (the foot consists of an unstressed and stressed syllables), the other is how a dactyl should sound (a foot consists of a stressed and two unstressed syllables). But as soon as we connect the hemistiches into the tight confines of one poetic line, they immediately begin to “spark”, like oppositely charged poles, they repel each other. This is what the poet strives for, because the feelings of his lyrical hero are also overstrained, they also “spark”, they are also filled with internal conflicts!

The third line of this stanza is also written in trisyllabic meter. But no longer a dactyl. Before us is an amphibrachium (the foot consists of an unstressed, stressed, and again unstressed syllables). Moreover, another “glitch” is very noticeable in the line: “Slow down, slow down, evening day.” If Tyutchev wanted to “smooth out” the rhythm, he would have to add a monosyllabic word after the epithet “evening” - “mine”, “you” or any other. Try to mentally insert the “missing” syllable: “Slow down, slow down, it’s evening.” The rhythm has been restored, but the artistic impression has been destroyed. In fact, the poet deliberately skips a syllable, causing his verse to stumble and begin to beat in rhythmic hysteria.

The feeling of anxiety and torment is growing. This is noticeable not only in the rhythmic pattern, but also in the movement of the images: the bright sunset fades, half of the sky is already in shadow; Thus, the time of sudden happiness, given to the poet in the end, gradually expires. And the brighter the feeling flares up, the closer the cold of the inevitable ending. But still -

Let the blood in your veins run low,
But there is no shortage of tenderness in the heart...
O you, last love!
You are both bliss and hopelessness.

And at the same time, as the heart of the lyrical hero calms down, coming to terms with the short-term nature of his bliss, the rhythm of the poem “evens out.” Three iambic lines follow one after the other. Only in last line the rhythm shifts again for a moment, as if a short sigh interrupts the monologue of the lyrical hero.

Remember literary terms: lyrical plot; metric accent; poetic cycle; philosophical ode; Utopia.

Questions and tasks

Why is Tyutchev, who made his debut in the 1820s, rightfully considered the poet of the second half of the 19th century century? How would you define the pathos of Tyutchev's lyrics, its cross-cutting theme, the dominant mood? What was most important in Tyutchev’s landscape lyrics – a detailed depiction of nature or mythological overtones? What is utopian consciousness and how did it manifest itself in Tyutchev’s political lyrics? What is the advantage of utopian consciousness and what is its danger? Analyze Tyutchev’s poem on your own according to the teacher’s choice.

Questions and tasks of increased complexity

How did German natural philosophers influence Tyutchev? Read again Tyutchev’s translation of Heine’s poem “Pine and Palm Tree” (Tyutchev called it “From the Other Side”). Why did Tyutchev replace pine with cedar? Remember how the same poem by Heine was translated by Lermontov (“Two Palm Trees”). Whose translation seems more expressive to you? Which one, in your opinion, is closer to the German original? Try to justify your answer with examples from both translations. Read poetic translation Tyutchev from poetic heritage the great Renaissance artist Michelangelo Buonarroti:

Be quiet, please don't you dare wake me up.
Oh, in this criminal and shameful age
Not living, not feeling is an enviable lot...
It's nice to sleep, it's nicer to be a stone.

You already know how and what Tyutchev wrote in his poems about modernity. Connect this translation of an ancient quatrain with the constant motifs of Tyutchev's lyrics.

Topics of essays and abstracts

Philosophical lyrics of Tyutchev. Fyodor Tyutchev and Russian landscape lyrics. Tyutchev's political lyrics and Slavophile ideas.

Aksakov I. S. Biography of F. I. Tyutchev. M., 1997.

Aksakov I. S. Fedor Ivanovich Tyutchev // Aksakov K. S., Aksakov I. S. Literary criticism. M., 1981.
One of the best publicists and literary critics Slavophile camp Ivan Sergeevich Aksakov wrote about Tyutchev short essay and a small monograph “Biography of F. I. Tyutchev”, which marked the beginning scientific study Tyutchev's creativity.

Grigorieva A.D. The Word in Tyutchev’s Poetry. M., 1980.
The author of the book is not a literary critic, but a linguist, a historian of Russian literary language. A. D. Grigorieva shows how in poetic language Tyutchev connected colloquial expressions and book rhetorical turns.

Tynyanov Yu. N. Pushkin and Tyutchev // Tynyanov Yu. N. Pushkin and his contemporaries. M., 1969.
The outstanding literary critic and writer Yuri Nikolaevich Tynyanov, whose works should already be familiar to you, believed that the generally accepted point of view in science at the beginning of the 20th century on the relationship between Pushkin and Tyutchev is nothing more than a legend. Unlike Ivan Aksakov, Tynyanov was convinced that Tyutchev was not at all a continuer of Pushkin’s line in poetry, that he outlined a completely different line of its development.

Ospovat A.L. “How our word will respond...” M., 1980.
A brief but comprehensive outline of the history of the creation and publication of the first book of Tyutchev’s poems.

F. I. Tyutchev: Bibliographic index of works of Russian literature about life and activity. 1818–1973 / Ed. preparation I. A. Koroleva, A. A. Nikolaev. Ed. K. V. Pigareva. M., 1978.
If you decide to get acquainted with the life and work of Tyutchev in more detail, prepare an essay, write good essay, you will find this book useful - with its help you will be able to select the necessary scientific literature.

Shaitanov I. O. F. I. Tyutchev: poetic discovery of nature. M., 1998.
A small collection of articles in which accessible form talks about Tyutchev’s connection with German natural philosophy, about his poetic dispute with his predecessors. The book will be useful in preparing for final and entrance exams.