A few words about the poems of F. Tyutchev. The poetic heritage of F. I. Tyutchev in literature and the collections of the Pushkin Library

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

“The return to poetry became noticeable, if not in literature, then in magazines.” These words were heard quite often in Lately. The opinion they expressed is fair, and we are ready to agree with it, only with the following reservation: we do not think that poetry is absent from our current literature, despite all the reproaches of prosaicity and vulgarity to which it is often subjected; but we understand the desire of readers to enjoy the harmony of verse, the charm of measured lyrical speech; we understand this desire, sympathize with it and share it completely. That is why we could not help but be sincerely rejoiced at the collection together of the hitherto scattered poems of one of our most remarkable poets, as if bequeathed to us by the greetings and approval of Pushkin - F. I. Tyutchev. 1
That is why we could not ~ bequeathed to us the greetings and approval of Pushkin - F. I. Tyutchev.– In the appendix to the March book of Sovremennik for 1854, 92 poems by Tyutchev were published. For the first time, Tyutchev's poetry received recognition back in 1836, when copies of his poems, through the mediation of P. A. Vyazemsky and V. A. Zhukovsky, were transferred to Pushkin. “Witnesses of the amazement and delight with which Pushkin greeted the unexpected appearance of these poems, filled with depth of thought, brightness of colors, news and power of language, are still alive,” recalled P. A. Pletnev (Teacher of the Second Branch of the Imperial Academy of Sciences. St. Petersburg, 1859. Book V, p. LVII). Yu. F. Samarin also wrote about this: “Eyewitnesses told me how delighted Pushkin was when he saw his handwritten collection for the first time<Тютчева>poems. He rushed around with them for a whole week...” (Links, M.; L., 1933. Book 2, p. 259). In Sovremennik (1836, vols. III and IV) 24 poems by Tyutchev were placed under general title: “Poems sent from Germany”, signed “F. T." After Pushkin’s death and until 1840, Tyutchev’s poems continued to be published in Sovremennik, and “with a few exceptions, these were poems selected, apparently, by Pushkin himself” (see article by K. V. Pigarev in the book. : Tyutchev F. I. Letters. M., 1957, p.

We said now that Mr. Tyutchev is one of the most remarkable Russian poets; we will say more: in our eyes, no matter how offensive it may be to the pride of his contemporaries, Mr. Tyutchev, who belongs to the previous generation, stands decisively above all his brothers in Apollo. It's easy to point out those individual qualities in which the more gifted of our current poets surpass him: the captivating, although somewhat monotonous, grace of Fet, 2
...to the captivating, although somewhat monotonous, grace of Fet...– Fet became close to a number of St. Petersburg writers, especially Turgenev, in 1853. From then on, for many years, Fet’s poems, before they appeared in print, were submitted to the court of Turgenev, who was the first literary adviser and leader of the poet. Since 1854, Fet’s poems began to systematically appear in Sovremennik, and in 1855, with the participation of Turgenev and other employees of this magazine, a collection of Fet’s poems was prepared for publication, published in 1856.< Никольский Ю. Материалы по Фету. 1. Исправления Тургеневым фетовских «Стихотворений», 1850 г. (Русская мысль, София, 1921, август-сентябрь, с. 211–227, октябрь – декабрь, с. 245–263); Благой Д. Из прошлого русской литературы. Тургенев – редактор Фета (Печать и революция, 1923, кн. 3, с. 45–64); Бухштаб Б. Судьба литературного наследства А. А. Фета (Lit Nasl, vol. 22–24, p. 561–600).>
During these years, Turgenev highly valued Fet's poetry. In the article “Notes of a rifle hunter of the Orenburg province. S. A - va "the name of Fet was named by him next to the name of Tyutchev (present, volume, p. 521). Lines from Fet's poems were quoted by Turgenev and in works of art(“Hamlet of Shchigrovsky district”, 1849; “Correspondence”, 1854).

To the energetic, often dry and harsh passion of Nekrasov, 3
...the energetic ~ passion of Nekrasov...– Nekrasov’s poems at the end of the 1840s and throughout the 1850s aroused Turgenev’s interest not only for their inherent purely poetic merits, but also due to their clearly expressed social orientation. This is confirmed by Turgenev’s letters to Nekrasov himself. “Your poems to *** are simply Pushkin-like good - I immediately memorized them,” Turgenev writes to the author on July 10 (22), 1855 about the poem “Long Rejected by You.” Comparisons of Nekrasov's poems with Pushkin's (the highest praise from Turgenev) are also found in his other letters. Thus, on November 18 and 23 (November 30 and December 6), 1852, analyzing the original text of Nekrasov’s poem “Muse,” Turgenev wrote to the author (and I. I. Panaev): “... the first 12 verses are different and resemble Pushkin’s texture.” When a collection of the poet’s poems was published, Turgenev again emphasized in a letter to E. Ya. Kolbasin dated December 14 (26), 1856 social significance of his work: “And Nekrasov’s poems, collected into one focus, are burned”< Об отношении Тургенева к поэзии Некрасова см. Скворцов Б. И. С. Тургенев о современных ему поэтах. – Уч. зап. Казанского гос. ун-та им. В. И. Ульянова-Ленина. 1929, кн. 2, с. 389–392; Евгеньев-Максимов В. Жизнь и деятельность Н. А. Некрасова. М.; Л., 1950. Т. II, с. 329.>.

To Maykov’s correct, sometimes cold painting; 4
...to the correct, sometimes cold painting of Maykov...– The poetry of A. N. Maikov, whose first collection of poems was published in St. Petersburg in 1842, apparently left Turgenev rather indifferent. Neither quotations from Maykov’s poems nor reviews of his work can be found in Turgenev’s letters of the 1850s. The opinion about Maikov’s poetry expressed in Turgenev’s article is close to what V. G. Belinsky wrote about him (see: Belinsky, vol. 10, p. 83).

But Mr. Tyutchev alone bears the stamp of that great era, to which he belongs and which was expressed so clearly and strongly in Pushkin; in him alone one notices the proportionality of the talent with itself, that correspondence with the life of the author - in a word, although part of what in its full development constitutes features great talents. Mr. Tyutchev's circle is not extensive - that's true, but he is at home in it. His talent does not consist of incoherently scattered parts: he is closed and in control of himself; there are no other elements in it except purely lyrical elements; but these elements are definitely clear and have grown together with the very personality of the author; his poems do not smell like composition; they all seem to be written in famous case as Goethe wanted, 5
...they all seem to be written ~ Goethe wanted...– Turgenev has in mind the following thought of Goethe, given in the book of I.-P. Eckerman "Conversations with Goethe in last years his life" (recorded on September 18, 1823): "All my poems are “poems about” (on occasion), they are inspired by reality, they have soil and foundation in it.”

That is, they were not invented, but grew on their own, like fruit on a tree, and by this precious quality we recognize, among other things, the influence of Pushkin on them, we see in them a reflection of his time.

They will tell us that we are rebelling in vain composition in poetry, that without conscious participation creative imagination it is impossible to imagine a single work of art, except perhaps some primitive folk songs that every talent has its own outer side, is a side of craft, without which no art can do; all this is true, and we do not reject it at all: we rebel only against the separation of talent from that soil, which alone can give it both juice and strength - against its separation from the life of the person to whom it was given as a gift, from common life the people to which that person himself belongs as a particular individual. Such a separation of talent can have its benefits: it can contribute to its easiest processing, to the development of virtuosity in it; but this development always takes place at the expense of his vitality. You can carve any figurine from a chopped, dried piece of wood; but no fresh leaf will grow on that branch, no fragrant flower will open on it, no matter how much the spring sun warms it. Woe to the writer who wants to make a dead toy out of his living talent, who is seduced by the cheap triumph of a virtuoso, his cheap power over his vulgarized inspiration. No, the poet’s work should not come easily to him, and he should not accelerate its development in himself by extraneous means. It has long been said beautifully that he must bear it close to his heart, like a mother with a child in her womb; his own blood must flow in his work, and this life-giving stream cannot be replaced by anything brought from outside: neither intelligent reasoning and so-called sincere convictions, nor even great thoughts, if such were in stock... And they, and these very great thoughts , if they are truly great, they come not from the head alone, but from the heart, as Vauvenargues beautifully puts it: 6
...in the beautiful expression of Vauvenargues... – Vauvenargues(Vauvenargues) Luc Clapier (1715–1747) is a famous French moralist, author of Paradoxes, mélés de Réflexions et de Maximes (1746). Turgenev cites saying XXV from the second book of this work.

"Les grandes pensées viennent du coeur" 1
"Great thoughts come from the heart" (French).

A person who wants to create something whole must use his whole being to do it.

The beginning of “composition”, or, more correctly, writing, rhetoric, so strongly developed in our literature about fifteen years ago, has now, of course, significantly weakened: it would not occur to anyone now, suddenly, for some unknown reason, to construct a five-act fantasy about some some Italian painter of the tenth hand, who left behind two or three bad paintings, hidden in the dark corners of third-rate galleries; 7
...to construct a five-act fantasy about some Italian painter ~ third-rate galleries...– We mean “Giulio Mosti”, a dramatic fantasy in verse by N.V. Kukolnik, in four parts with an interlude, written in 1832–1833, and his dramatic fantasy in verse “Domenichino”, in two parts. In both works the main characters are Italian artists. For Turgenev’s sharply negative attitude towards the dramaturgy of the Puppeteer, see also his article “Lieutenant General Patkul” (current ed., Works, vol. 1, pp. 251–276).

No one now, suddenly plunged into exaggerated delight, will sing about the supernatural curls of some maiden, 8
...no one will sing now about the supernatural curls of some maiden...- An allusion to V. G. Benediktov and his poem “Curls” (1836).

Which, perhaps, never even existed in the world; but still, writing has not disappeared in our literature. Traces of it, and quite strong ones, can be seen in the works of many of our writers; but in the city of Tyutchev it is not. Mr. Tyutchev's shortcomings are of a different kind: he often comes across outdated expressions, pale and sluggish poems, he sometimes seems to not speak the language; the external side of his talent, the side that we mentioned above, is perhaps not quite developed; but all this is redeemed by the genuineness of his inspiration, by the poetic breath that emanates from his pages; under the inspiration of this inspiration, Mr. Tyutchev’s very language often amazes the reader with the happy courage and almost Pushkin-like beauty of its turns. It is also interesting to observe how those essentially few poems (there are no more than a hundred) with which he marked the path he had traveled were born in the author’s soul. If we are not mistaken, each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a deep feeling or strong impression; As a result of this, so to speak, the nature of its origin, Mr. Tyutchev’s thought never appears to the reader naked and abstract, but always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inextricably. Exceptionally, almost instantly lyrical mood Mr. Tyutchev's poetry forces him to express himself concisely and concisely, as if to surround himself with a bashfully cramped and graceful line; the poet needs to express one thought, one feeling, fused together, and he for the most part expresses them in a single way, precisely because he needs to speak out, because he does not think of either flaunting his feelings in front of others, or playing with them in front of himself. In this sense, his poetry deserves the name practical, that is, sincere, serious. The shortest poems by Mr. Tyutchev are almost always the most successful. His sense of nature is unusually subtle, alive and true; but he, to use a language not entirely accepted in good society, Not leaves on it, he does not begin to compose and paint his figures. Comparisons human world with the world of nature that is related to him, Mr. Tyutchev is never tense and cold, they do not respond in a didactic tone, they do not try to serve as an explanation of some ordinary thought that appeared in the author’s head and was accepted by him as his own discovery. In addition to all this, a subtle taste is noticeable in Tyutchev - the fruit of multifaceted education, reading and rich life experience. Language of passion, language woman's heart it is familiar to him and given to him. We like Mr. Tyutchev’s poems, which he did not draw from his own source, such as “Napoleon” and others. 9
Mr. Tyutchev's poems, which he did not draw from his own source, are somehow less liked by Napoleon.– Turgenev is referring to lines 6–13 of this poem, inspired by the characterization of Napoleon in G. Heine’s journalistic essays “Französische Zustände” (“French Affairs”), which says that Bonaparte was a genius who “had eagles of inspiration nesting in his head, between as the snakes of calculation writhed in his heart.” (Article two, dated January 19, 1832)

There are no dramatic or epic principles in Mr. Tyutchev’s talent, although his mind, undoubtedly, penetrated into all the depths contemporary issues stories.

For all that, we do not predict popularity for Mr. Tyutchev - that noisy, dubious popularity that Mr. Tyutchev probably does not achieve at all. His talent, by its very nature, is not addressed to the crowd and does not expect feedback and approval from it; In order to fully appreciate Mr. Tyutchev, the reader himself must be gifted with some subtlety of understanding, some flexibility of thought that does not remain idle for too long. The violet’s scent does not reek twenty paces around: you have to get close to it to feel its fragrance. We, we repeat, do not predict the popularity of Mr. Tyutchev; but we predict for him the deep and warm sympathy of all those who value Russian poetry, and such poems as -

God send your joy... 10
...poems like these - God send your joy... -It's about about Tyutchev’s poem “In July 1850,” first published in Sovremennik (1854, No. 3, pp. 33–34).

and others, will go from end to end of Russia and will experience a lot in modern literature, which now seems to have longevity and is a resounding success. Mr. Tyutchev can tell himself that he, in the words of one poet, 11
...as one poet put it...– Who owns the above words has not been established.

Created speeches that are not destined to die; and for a true artist there is no reward higher than such consciousness.

Notes

Text sources

Sovr, 1854, No. 4, dept. III, p. 23–26.

T, Soch, 1880, vol. 1, p. 328–332.

Printed according to the text: T, Soch, 1880.

“They don’t argue about Tyutchev; whoever does not feel it, thereby proves that he does not feel poetry,” Turgenev stated in a letter to A. A. Fet on December 27, 1858 (January 8, 1859). These words determine his attitude towards Tyutchev’s poetry throughout his life and creative path writer. For Turgenev, Tyutchev was always a poet of not only feelings, but also thoughts, a “sage” (letter to Fet dated July 16 (28), 1860), a poet with a “bright and sensitive mind” (letter to Ya. P. Polonsky dated 21 February (5 March) 1873). Having a negative attitude towards Slavophilism, Turgenev, in a letter to Fet dated August 21 (September 2), 1873, deeply regretting the death of Tyutchev, noted that the poet “was a Slavophile - but not in his poems.” According to Turgenev, a convinced Westerner, in Tyutchev “his most essential essence<…>– it’s Western, akin to Goethe...” ( Fet, Part II, p. 278).

Both in the works of Turgenev (“Faust”, 1856; “Memories of Belinsky”, 1869), and in his letters, lines from Tyutchev’s poems, which the writer knew and loved well, are often quoted (see, for example, letters to Fet dated 16( July 28) and October 3(15), 1860, letter to V.V. Stasov dated August 6(18), 1875; letter to Zh. A. Polonskaya dated December 2(14), 1882).

Turgenev's article about Tyutchev's poems reflected the general attitude of the Sovremennik editors towards the poet's work. Back in 1850, Nekrasov published an extensive article “Russian minor poets” ( Sovr, 1850, No. 1), dedicated mainly to Tyutchev’s poetry and containing very highly appreciated her. In 1854, 92 poems by the poet were published in the third book of the magazine; in the fifth, 19 more poems appeared. In May 1854, the first separate edition of Tyutchev’s poems was published, the initiator and editor of which was Turgenev 12
About Turgenev’s work as an editor of Tyutchev’s poems, see: Blagoy D. D. Turgenev is Tyutchev’s editor. - In the book: T and its time, With. 142–163. Compare: Pigarev K.V. The fate of the literary legacy of F.I. Tyutchev. – Lit Nasl, vol. 19–21, p. 371–418.

In connection with the publication of Tyutchev’s poems in Sovremennik, Fet testifies that they were greeted “in our circle with all the enthusiasm that this capital phenomenon deserved” ( Fet, ch. 1, p. 134). Fet’s testimony that writers close to Sovremennik were keen on Tyutchev’s poetry is confirmed by the following words of L.N. Tolstoy, recorded by A.V. Zhirkevich: “Once Turgenev, Nekrasov and the company could hardly persuade me to read Tyutchev . But when I read it, I was simply dumbfounded by the magnitude of his creative talent” (L.N. Tolstoy in the memoirs of his contemporaries. M., 1960. T. 1, p. 484).

The appearance of ninety-two poems by Tyutchev in the appendix to the third book of Sovremennik for 1854 caused a number of responses in the press. Tyutchev’s work was assessed very critically by a reviewer of “Pantheon”, who wrote that among the poet’s poems published in “Sovremennik” there are “two dozen good, two dozen mediocre, the rest are very bad” (Pantheon, 1854, vol. XIV, book 3, dep. . IV, p. 17). According to the assumption of K.V. Pigarev, the appearance of this “unfavorable review” may have prompted Turgenev to come up with an article (see: Pigarev K. Life and creativity of Tyutchev. M., 1962, p. 140). In the next book of the "Pantheon" it was given negative feedback about Turgenev’s article, which, according to an anonymous reviewer, “contains a lot of strange, erroneous and sophisticated things.” Dissatisfied with the topic that Turgenev evaluates Tyutchev too “highly”, the reviewer argued that “criticism was not given to I.S.T., and he in vain left for her the type of works in which he is so great” (Pantheon, 1854, vol. XIV, book 4, section V, p. 31).

Conditional abbreviations

Grigoriev - Grigoriev Ap. Essays. St. Petersburg: Publishing house N. Strakhov, 1876. T. I.

Dobrolyubov - Dobrolyubov N. A. Full. collection op. / Under general edition P. I. Lebedev-Polyansky. T. I–VI. M.; L.: Goslitizdat, 1934–1941<1945>.

Druzhinin– Druzhinin A.V. Collection. op. St. Petersburg, 1865. T. VII.

Ivanov - Prof. Ivanov Iv. Ivan Sergeevich Turgenev. Life. Personality. Creation. Nizhyn, 1914.

Istomin - Istomin K.K. “Old manner” of Turgenev (1834–1855) St. Petersburg, 1913.

Clément, Chronicle– Clement M. K. Chronicle of the life and work of I. S. Turgenev / Pod. ed. N.K. Piksanova. M.; L.: Academia, 1934.

Nazarova– Nazarova L. N. On the issue of assessing the literary critical activity of I. S. Turgenev by his contemporaries (1851–1853). – Issues in the study of Russian literature of the 11th–20th centuries. M.; L.: Publishing House of the USSR Academy of Sciences, 1958, p. 162–167.

Pisarev– Pisarev D.I. Works: In 4 volumes. M.: Goslitizdat, 1955–1956.

Rus arch– “Russian Archive” (magazine).

Russian conversation– “Russian Conversation” (magazine).

Rus Obozr – « Russian Review" (magazine).

Sat GBL- "AND. S. Turgenev,” collection / Ed. N. L. Brodsky. M., 1940 (State Library of the USSR named after V.I. Lenin).

Sat PD 1923- “Collection of the Pushkin House for 1923.” Pgr., 1922.

T, Soch, 1860–1861 - Works by I. S. Turgenev. Corrected and supplemented. M.: Publishing house. N. A. Osnovsky. 1861. T. II, III.

T, Soch, 1865– Works of I. S. Turgenev (1844–1864). Karlsruhe: Ed. br. Salaev, 1865. Parts II, III.

T, Soch, 1868–1871– Works of I. S. Turgenev (1844–1868). M.: Publishing house. br. Salaev, 1868. Parts 2, 3.

T, Soch, 1874– Works of I. S. Turgenev (1844–1868). M.: Ed. br. Salaev, 1874. Parts 2, 3.

Fet– Fet A. A. My memories (1848–1889). M., 1890. Parts I and II.

1858, Scenes, I– Scènes de la vie russe, par M. J. Tourguéneff. Nouvelles russes, traduites avec l'autorisation de l'auteur par M. X. Marmier. Paris, 1858.

1858, Scenes, II– Scènes de la vie russe, par M. J. Tourguéneff. Deuxième série, traduite avec la collaboration de l'auteur par Louis Viardot. Paris, 1858.

YEAR OF THE TIGER They say that those born this year are characterized by ardor, passion, enthusiasm, and recklessness

FORM AND CONTENT CHANGE

In order to strengthen the officer corps, the length of service in non-commissioned officer ranks for promotion to officers has been halved for all categories of volunteers.
It is allowed to accept young nobles into regiments as volunteers (with the rights of cadets), who, after training directly in the regiment, receive officer ranks. This procedure is established only for wartime.
For the first time, officer braided shoulder straps appeared on a field overcoat with one gap for senior officers, two for staff officers and zigzags for generals with stars according to rank.
The recruitment set is divided into three types: ordinary (age 22-35, height not less than 2 arshins 4 inches), reinforced (age not determined, height not less than 2 arshins 3.5 inches), extraordinary (height not less than 2 arshins 3 inches).

TELEGRAPHS ARE MULTIPLE

Electromagnetic telegraphs were installed between St. Petersburg on the one hand and Kronstadt, Warsaw and Moscow on the other.

LIGHT FINANCIAL STRAIN

Measures have been taken to limit the exchange of credit notes for silver.

THEY DON'T FORGET ABOUT FAITH

On the right bull of the Annunciation Bridge in St. Petersburg, in the gap between the wings of the drawbridge, the chapel of St. Nicholas the Wonderworker was built according to the design of the architect A. I. STAKSHNEIDER. Next year the bridge will be renamed Nikolaevsky.

The Holy Cross community of sisters of mercy was founded to care for the wounded on the battlefield. Grand Duchess ELENA PAVLOVNA, Baroness E. F. RADEN and N. I. PIROGOV actively contributed to its creation. He will stand at the head of the community during the Sevastopol defense. Maid of honor Grand Duchess Elena Pavlovna EDITA FEDOROVNA RADEN, born in 1825, led the entire organizational work. She would die in 1885.

RUSSIAN FLEET

A.I. BUTAKOV moved the Aral shipyard to fort No. 1 (Kazalinsk).

SEX LIFE OF STATE STALLIONS

Over the course of 10 years, 225,295 mares were bred to state-owned stallions, of which 81,769 belonged to landowners, 40,208 to people of various ranks, and 102,718 to peasants.

WALK THROUGH MOSCOW

In front of the Bolshoy Kamenny Bridge in Moscow there is a booth with a guard pacing around it. As night falls, the watchman calls out to passers-by with the words: “Who’s coming?” To this you must answer: “Everyman!” If there is no answer, the peace officer has the right to stop the silent person and question him about who he is and where he is heading. Such cases usually end well - with the award of five or two kopecks from the offender. IN special days the guard is dressing dress uniform- a semi-tailcoat made of gray soldier's cloth and the same trousers, a huge shako - and picks up a halberd.

ON THE WORLD ARENA...

GREAT BRITAIN. In March, the Manchester Chartist Convention (Labor Parliament) was opened.

SPAIN. The revolution has begun. It will last until 1856.

INTERNATIONAL TREATIES. Treaties between Japan and Western powers are concluded. This process will continue for four years.

Having achieved the conclusion of the Shimoda Treaty, Japan entered into joint ownership of Sakhalin with Russia.

WARS. In March, England and France, having sent their squadrons into the Black Sea, declared war on Russia and openly sided with Turkey.

In August, the superior forces of the Anglo-French fleet twice tried to land troops in Petropavlovsk, but were repelled by big losses.

In September, the Allied army of more than 60,000, including British, French and Turkish troops, landed near Evpatoria. The commander-in-chief of the Russian army, the elderly Prince A.S. MENSHIKOV, concentrated his troops in the Bakhchisarai region in order to maintain contact with the internal provinces of the country. Only the garrison of the fortress remained in Sevastopol (about 45 thousand soldiers and officers). The defense was led by admirals VLADIMIR ALEXEEVICH KORNILOV, PAVEL STEPANOVICH NAKHIMOV, VLADIMIR IVANOVICH ISTOMINA, who died on the Sevastopol bastions. The construction of the fortifications was carried out by military engineer E.I. TOTLEBEN. Part of the Russian fleet was sunk at the entrance to the Sevastopol Bay, naval guns were removed and placed on fortifications, sailors joined the garrison of the fortress. The siege began in October.

USA. Two new states were formed - Kansas and Nebraska. The question of the spread of slavery in them is left to the discretion of the inhabitants of the states. Started Civil War under the leadership of J. Brown, J. Montgomery, that is, the Missouri Compromise was abolished. Created for this purpose republican party.

UPRISING. Eureka Rebellion - gold miners rebelled at the gold mines in Ballarat (Colony of Victoria).

MEANWHILE...

ANUCHIN DMITRY entered the second grade of the Larinsky gymnasium.
BUKHAREV ALEXANDER MATVEEVICH, born in 1824, was born into the family of a deacon in Tver province, after graduating from Tver Seminary he entered the Moscow Theological Academy, which he graduated from at the age of 22. Shortly before graduating from the Academy, Bukharev became a monk - not without hesitation. At the Moscow Theological Academy, Bukharev was a professor (in the department of Holy Scripture), but from this year he took the department of dogmatics at the Kazan Academy and at the same time became an inspector of the Academy.
BER. The BERA expedition visited Sarepta, Kamyshin, Astrakhan, Novopetrovsky, on the islands and at the mouth of the Ural River, went again to Astrakhan, then to west bank Caspian Sea, Black market at the mouth of the Terek and Astrakhan salt lakes.
VASILCHIKOV V.I., born in 1820 Since October, he has been acting as chief of staff of the Sevastopol garrison.
DOBROLYUBOV N. A., born in 1836, at the end of the year he became the head of a circle of students, where they read foreign publications, subscribe to newspapers and magazines, and publish a handwritten newspaper “Rumors”. Next year he will write in his diary: “It’s as if I was deliberately called by fate to the great cause of a revolution!..”
KERN FEDOR SERGEEVICH, captain 2nd rank, commands the frigate "Kulevcha".
KROPOTKIN. The wife's two sisters moved into the KROPOTKIN family. They had a house and a vineyard in Sevastopol, due to Crimean War they were left homeless and propertyless. When the Allies landed in Crimea, the residents of Sevastopol were told that there was nothing to fear, but after the defeat at Chernaya Rechka they were ordered to leave as soon as possible. There were not enough horses, and the roads were clogged with troops moving south. The youngest of the sisters, a thirty-year-old girl, smokes cigarettes one after another and picturesquely talks about the horrors of the road.
MAKSIMOVICH K.I. has been studying the scientifically unknown Amur region and the Ussuri region since July. This year he took an excursion along the coast Tatar Strait to the mouth of the Amur (Nikolaevsk) - Mariinsk - Lake Kizi.
SMIRNOV N.P. graduated from the university as the second candidate (the first was B.N. CHICHERIN, who would become a professor at Moscow University) and entered the Civil Chamber as a scribe for seven rubles a month.
L.N. TOLSTOY writes in his diary on June 15: “Exactly three months of idleness and a life with which I cannot be satisfied... last time I tell myself: if three days pass during which I do nothing to benefit people, I will kill myself.”
TYUTCHEV. Poems by F. I. TYUTCHEV, previously published (in 1826) and remaining almost unnoticed, were published as an addition to Sovremennik and aroused enthusiastic praise from critics. In the future, Tyutchev will enjoy fame as a poet of the predominantly Slavophile camp.
USHINSKY KONSTANTIN DMITRIEVICH, born in 1824, from this year got the opportunity to return to pedagogical activity as a teacher at the Gatchina Orphan Institute. In 1859 he was appointed inspector of the Smolny Institute.
KHRULEV S. A., born in 1807, has been at the disposal of Prince A. S. MENSHIKOV since December. He will be the chairman of the committee for testing new bullets.
CHEKHOV P. E. married EVGENIYA YAKOVLEVNA MOROZOVA. He will have six children: ALEXANDER, NIKOLAY, ANTON, IVAN, MARIA AND MICHAEL.

THIS YEAR WILL BE BORN:

DOROVATOVSKY SERGEY PAVLOVICH, future agronomist-social activist, publisher. He would die in 1921;
ELPATIEVSKY SERGEY YAKOVLEVICH, future writer and doctor. He would die in 1933;
IGNATOV VASILY NIKOLAEVICH, future populist. He would die in 1885;
LAUR ALEXANDER ALEKSEEVICH, future homeopathic doctor, playwright and journalist. He would die in 1901;
MATTERN EMILY EMILIEVICH, future Moscow magistrate and translator dramatic works. He would die in 1938;
future novelist, humorist and playwright MYASNITSKY. He would die in 1911;
PAVLOV ALEXEY PETROVICH, in Moscow, in the family of second lieutenant P. A. Pavlov, future geologist, academician, professor at Moscow University, founder of the Moscow school of geologists. He would die in 1929;
PREOBRAZHENSKY ALEXANDER LAVRENTIEVICH, in the Tula province in the family of a priest, future Metropolitan of Yarolavsk and Rostov Agafangel. He would die in 1928;
SAVINA MARIA GAVRILOVNA, future actress. She would perform on stage from the age of eight, become one of the organizers and chairmen of the Russian Theater Society and die in 1915;
SERGEENKO PETER ALEXEEVICH, future fiction writer and publicist. He would die in 1930;
CHERTKOV VLADIMIR GRIGORIEVICH. He would die in 1936.

WHO WILL DIE THIS YEAR:

GOLUBINSKY FEDOR ALEXANDROVICH, born in 1797, teacher of philosophy at the Moscow Theological Academy, priest;
KARAMZIN ANDREY NIKOLAEVICH, born in 1814 A cavalry detachment under his command fell into a Turkish outpost and was completely exterminated;
KORNILOV VLADIMIR ALEXEEVICH, born in 1806, vice admiral who led the defense of Sevastopol. On October 5, he was mortally wounded by a cannonball on the Malakhov Kurgan in a battery of nine guns.
LAVAL EKATERINA IVANOVNA, born 1800, in Siberia, wife of Prince Sergei Petrovich Trubetskoy, sentenced to hard labor, countess, who followed her husband;
PROKHOROV TIMOFEY, manufacturer who brought Trekhgorka worldwide fame, one of the calico kings of Russia.

they could hardly persuade me to read Tyutchev. But when I read it, I was simply dumbfounded by the magnitude of his creative talent” (L.N. Tolstoy in the memoirs of his contemporaries. M., 1960. T. 1, p. 484).

The appearance of ninety-two poems by Tyutchev in the appendix to the third book of Sovremennik for 1854 caused a number of responses in the press. Tyutchev’s work was assessed very critically by a reviewer of “Pantheon”, who wrote that among the poet’s poems published in “Sovremennik” there are “two dozen good, two dozen mediocre, the rest are very bad” (Pantheon, 1854, vol. XIV, book 3, dep. . IV, p. 17). According to the assumption of K.V. Pigarev, the appearance of this “unfavorable review” may have prompted Turgenev to come up with an article (see: Pigarev K. Life and creativity of Tyutchev. M., 1962, p. 140). The next book of “Pantheon” gave a negative review of Turgenev’s article, which, according to the anonymous reviewer, “contains a lot of strange, erroneous and sophisticated things.” Dissatisfied with the fact that Turgenev rated Tyutchev too “highly,” the reviewer argued that “criticism was not successful for I.S.T., and he in vain left for her the type of works in which he is so great” (Pantheon, 1854, vol. XIV , book 4, section V, p. 31).

Page 524. That’s why we couldn’t ~ Pushkin’s greetings and approval bequeathed to us- F. I. Tyutcheva.- In the appendix to the March book of Sovremennik for 1854, 92 poems by Tyutchev were published. For the first time, Tyutchev's poetry received recognition back in 1836, when copies of his poems, through the mediation of P. A. Vyazemsky and V. A. Zhukovsky, were transferred to Pushkin. “Witnesses of the amazement and delight with which Pushkin greeted the unexpected appearance of these poems, filled with depth of thought, brightness of colors, news and power of language, are still alive,” recalled P. A. Pletnev (Teacher of the Second Branch of the Imperial Academy of Sciences. St. Petersburg, 1859. Book V, p. LVII). Yu. F. Samarin also wrote about this: “Eyewitnesses told me how delighted Pushkin was when he saw his handwritten collection for the first time<Тютчева>poems. He rushed around with them for a whole week...” (Links, M.; L., 1933. Book 2, p. 259). In Sovremennik (1836, vols. III and IV) 24 poems by Tyutchev were published under the general title: “Poems sent from Germany,” with the signature “F. T." After Pushkin’s death and until 1840, Tyutchev’s poems continued to be published in Sovremennik, and “with a few exceptions, these were poems selected, apparently, by Pushkin himself” (see article by K. V. Pigarev in the book. : Tyutchev F. I. Letters. M., 1957, p.

...to the captivating, although somewhat monotonous, grace of Fet...- Fet became close to a number of St. Petersburg writers, especially Turgenev, in 1853. From then on, for many years, Fet’s poems, before they appeared in print, were submitted to the court of Turgenev, who was the first literary adviser and leader of the poet. Since 1854, Fet's poems began to systematically appear in Sovremennik, and in 1855, with the participation of Turgenev and other employees of this magazine,

A collection of Fet's poems was prepared for publication, published in 1856. 2

During these years, Turgenev highly valued Fet's poetry. In the article “Notes of a rifle hunter of the Orenburg province. S. A-va" the name of Fet was named by him next to the name of Tyutchev (present, volume, p. 521). Lines from Fet’s poems were also quoted by Turgenev in works of art (“Hamlet of the Shchigrovsky district”, 1849; “Correspondence”, 1854).

...energetic ~ passion of Nekrasov...- Nekrasov’s poems at the end of the 1840s and throughout the 1850s aroused Turgenev’s interest not only for their inherent purely poetic merits, but also due to their clearly expressed social orientation. This is confirmed by Turgenev’s letters to Nekrasov himself. “Your poems to *** are simply Pushkin-like good - I immediately memorized them,” Turgenev writes to the author on July 10 (22), 1855 about the poem “Long Rejected by You.” Comparisons of Nekrasov's poems with Pushkin's (the highest praise from Turgenev) are also found in his other letters. Thus, on November 18 and 23 (November 30 and December 6), 1852, analyzing the original text of Nekrasov’s poem “Muse,” Turgenev wrote to the author (and I. I. Panaev): “... the first 12 verses are different and resemble Pushkin’s texture " When a collection of the poet’s poems was published, Turgenev, in a letter to E. Ya. Kolbasin dated December 14 (26), 1856, again emphasized the social significance of his work: “And Nekrasov’s poems, collected in one focus, are burned” 3.

...to the correct, sometimes cold painting of Maykov...- The poetry of A. N. Maikov, whose first collection of poems was published in St. Petersburg in 1842, apparently left Turgenev rather indifferent. Neither quotations from Maykov’s poems nor reviews of his work can be found in Turgenev’s letters of the 1850s. The opinion about Maikov’s poetry expressed in Turgenev’s article is close to what V. G. Belinsky wrote about him (see: Belinsky, vol. 10, p. 83).

Page 525. ...they all seem to be written ~ Goethe wanted...- Turgenev has in mind the following thought of Goethe, given in the book of I.-P. Eckermann “Conversations with Goethe in the last years of his life” (recorded on September 18, 1823): “All my poems are “poems about” (on occasion), they are inspired by reality, they have soil and foundation in it.”

2 Nikolsky Yu. Materials on Fet. 1. Corrections by Turgenev of Fetov’s “Poems”, 1850 (Russian Thought, Sofia, 1921, August-September, pp. 211 - 227, October - December, pp. 245 - 263); Blagoy D. From the past of Russian literature. Turgenev - editor of Fet (Print and Revolution, 1923, book 3, pp. 45 - 64); Bukhshtab B. The fate of the literary legacy of A. A. Fet (Lit Nasl, vol. 22 - 24, p. 561 - 600).

3 On Turgenev’s attitude to Nekrasov’s poetry, see B. I. S. Skvortsov. Turgenev on contemporary poets. - Teacher zap. Kazan State University named after V. I. Ulyanov-Lenin. 1929, book. 2, p. 389 - 392; Evgeniev-Maksimov V. Life and work of N. A. Nekrasov. M.; L., 1950. T. II, p. 329.

Page 526. ...in the beautiful expression of Vauvenargues...- Vauvenargues(Vauvenargues) Luc Clapier (1715 - 1747) - famous French moralist, author of the work “Paradoxes, mélés de Réflexions et de Maximes” (1746). Turgenev cites saying XXV from the second book of this work.

...to construct a five-act fantasy about some Italian painter ~ third-rate galleries...- This refers to “Giulio Mosti”, a dramatic fantasy in verse by N.V. Kukolnik, in four parts with an interlude, written in 1832 - 1833, and his dramatic fantasy in verse “Domenichino”, in two parts. In both works the main characters are Italian artists. For Turgenev’s sharply negative attitude towards the Puppeteer’s dramaturgy, see also his article “Lieutenant General Patkul” (current ed., Works, vol. 1, pp. 251 - 276).

Chapter from a new literature textbook for 10th grade

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

Fyodor Tyutchev. 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 Nikolai Alekseevich Nekrasov’s article “Russian modern poets” (1850) appeared in the most authoritative literary magazine of that time, Sovremennik, that it was as if a veil fell from the readers’ eyes.

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"...

It was the mid-1850s. But Fyodor Ivanovich Tyutchev was only four years younger than Pushkin and began his journey in literature very early. For the Horatian ode "For the New Year 1816" young poet 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.

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 rise and set in the depths of your soul // Silently, like stars in the night - // Admire them - and be silent...” (“Silentium! ", around 1830).

And yet Tyutchev did not become a poet of Pushkin’s or at least Lermontov’s 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.

Why did this happen? Because each literary era has its own stylistic habits, “standards” of taste; creative deviation from these standards sometimes seems like an artistic victory, and sometimes like an 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.

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. Anyone familiar with the “norms” of poetry of the late 19th and 20th centuries will not 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.

Landscape poems early Tyutchev they did not simply metaphorically depict the life of the 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.

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:

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 way

Fyodor Ivanovich came from an old noble family; his early childhood took place at the Ovstug estate 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 grand future 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 another landscape poem by 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 Heine, 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 reread the long-familiar poem “Spring Storm,” in which the real landscape becomes a reflection of the mysterious life of the gods. And in the poem “Dreams” (“How the ocean embraces globe..."), written in the early 1830s, the starry sky is 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 of the most terrible cataclysm, nature is filled with 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 is fleeting in Tyutchev’s artistic world, 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)

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, the Slavic peoples, enslaved by the Turks and Austrians - Bulgarians, Serbs, Czechs, Slovaks - began to awaken from political slumber, their national self-awareness grew. 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”, tough domestic policy should “freeze” Russia. And the whole world follows her.

But the colder Tyutchev’s political views on modernity were, 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 a special place in Tyutchev’s poetic reflections. “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 with particular drama the news of Russia’s defeat in the Crimean War of 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 a novel, was written in 1516 by the English humanist Thomas More. 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 the development of European civilization, as More imagined it. 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 different, even mutually exclusive, ideas. He created a socialist utopia in his novel “What is to be done?” Nikolai Gavrilovich Chernyshevsky; as you remember, Vera Pavlovna’s four dreams present an image of future life in communes, a kingdom of universal justice, equality and brotherhood. 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 the old world and 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 monastic behavior; until his later years he retained a 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 a sea voyage with her 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 present sadness, is turned into a lyrical plot of a 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 beloved woman, – and at the same time, 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 stanzas from the early poem “I remember the golden time...” again. And now compare it key images, conveying the idea of ​​the “fragility” of earthly happiness (“flying wind”, “fleeting life”), with the figurative structure of the poem “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, short-termism 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 the very tone of the lyrical statement changes! 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 feelings, 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; this will not be easy - we will have to use complex literary terms. But there is no other way to analyze the poems; they themselves are quite complex (that’s 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 were not 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 order– 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 is 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 “correct” 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 is how an iambic should sound (a foot consists of an unstressed and stressed syllable), 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 the last line does the rhythm shift 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

1. Why is Tyutchev, who made his debut in the 1820s, rightfully considered a poet of the second half of the 19th century?
2. How would you define the pathos of Tyutchev's lyrics, its cross-cutting theme, the dominant mood?
3. What was the main thing in landscape lyrics Tyutchev - a detailed depiction of nature or mythological subtext?
4. 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?
5. Analyze Tyutchev’s poem on your own according to the teacher’s choice.

Questions and tasks of increased complexity

1. How did German natural philosophers influence Tyutchev?
2. 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.
3. Read poetic translation Tyutchev from the poetic heritage of 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

1. Philosophical lyrics of Tyutchev.
2. Fyodor Tyutchev and Russian landscape poetry.
3. Political lyrics Tyutchev and Slavophile ideas.

* Aksakov I.S. Biography of F.I. Tyutcheva. 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 of the Slavophile camp, Ivan Sergeevich Aksakov, wrote about Tyutchev short essay and a small monograph “Biography of F.I. Tyutchev", which laid the foundation 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 the Russian literary language. HELL. 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.

* Full name Tyutchev: Bibliographic index of works of Russian literature about life and work. 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 that speak in an accessible form 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.

I. S. Turgenev

A few words about the poems of F. I. Tyutchev

God send your joy...

And others will travel from end to end of Russia and experience much in modern literature that now seems durable and enjoys resounding success. Mr. Tyutchev can tell himself that he, in the words of one poet, has created speeches that are not destined to die; and for a true artist there is no reward higher than such consciousness.

NOTES

CONVENTIONAL ABBREVIATIONS 1

1 Abbreviations introduced in this volume for the first time are taken into account.

A FEW WORDS ABOUT THE POEMS OF F. I. TYUTCHEV

SOURCES OF TEXT