It is perhaps difficult to find a Russian person who has never encountered the works of Fyodor Ivanovich Tyutchev. And everyone, of course, perceives them in their own way, but his poems can never leave a person indifferent. After all, all of Tyutchev’s work is necessarily something bright, kind, simple and invariably his own - Russian, penetrating the soul, “grabbing” the heart, giving rise to a high feeling of love in a person. Love for nature, for the homeland, for women, for life, finally. And everyone who has at least once come into contact with Tyutchev’s works carries this feeling throughout his entire life, drawing it, as from a source, from the same Tyutchev’s poems. Their themes are diverse, and, nevertheless, almost all are, in one way or another, related to the theme of nature. And in many poems this is the main subject of the image.

Tyutchev's poems are, first of all, the most complete expression of the poet's inner life, the tireless work of his thought, the complex confrontation of the feelings that worried him. Everything he himself changed his mind and felt was invariably clothed in his poems in an artistic image and rose to the height of philosophical generalization.

Nature is one of the main components of F. I. Tyutchev’s lyrics. For this great poet of the second half of the nineteenth century, the landscape is not only the background of the narrative, but rather a participant in the experiences, hopes, and sufferings of the lyrical hero.

The poet and nature are connected by some deep, internal ties. Tyutchev does not want to agree with the modern philosophy that was dominant at that time in the West, which, endlessly abstracting, separated man and nature, object and subject. The poet strove for integrity, for unity between the natural world, on the one hand, and the “I”, on the other hand. “Everything is in me, and I am in everything,” exclaims Tyutchev.

Nature, in the light of philosophy in the 19th century, suddenly appeared as some kind of accumulation of abstractions, a soulless world, and this rationalistic understanding of the world was hostile to Tyutchev.

Flat positivism, which turned the entire vast spiritual world into emptiness, and German idealism, which turned nature into mental abstraction, found their opponent in him.

Of course, the motives of loneliness and hopelessness, which characterize most of the author’s poetic creations, could not but be reflected in the landscape lyrics. The state of nature largely corresponds to the poet’s mood

Tyutchev's poems about nature are almost always a passionate declaration of love.

His cherished desire is “in deep inaction,” all day long to “drink the warm spring air” and “watch the clouds in the high sky.” He claims that before the “blooming bliss of May” the very joys of paradise are nothing. He exclaims about the sea - “how good you are, oh night sea!”, about the thunderstorm - “I love the thunderstorm at the beginning of May!”

The poet directly confesses his love for nature in enthusiastic poetry.

Tyutchev especially loved spring and autumn nature - regenerating and fading. After it, it is difficult to write about a spring thunderstorm or to translate into poetry the jubilant sound of spring waters. Here again, the picture of the present is combined with a slight hint of the future. The poet describes nature in autumn festive decoration. Her “touching, mysterious charm” left her soft, pacifying imprint on the entire intonation of the poem, and only in separate alarming notes do the words about the “ominous shine” of the trees and the lines about the “gusty, cold wind” that foreshadow the late days of autumn break into it.

And Tyutchev sees not only bliss in natural phenomena, but also something higher than human life, something divine, happiness.

Tyutchev sees special beauty in every manifestation of nature. By endowing the willow with human qualities, the poet strives to show that the ability to live and feel is inherent not only in people, but also in plants.

One of the main themes of Tyutchev's nature lyrics is the theme of night. Many of Tyutchev’s poems are dedicated to nature not just at different times of the year, but also at different times of the day, in particular at night. Here nature carries a philosophical meaning. It helps to penetrate into the “secret secrets” of a person. Tyutchev's night is not just beautiful, its beauty is majestic.

Tyutchev's skill is amazing. He knows how to find in the most ordinary natural phenomena what serves as the most accurate mirror image of beauty, and describe it in simple language:

It was pouring warm, summer rain - its streams.

The leaves sounded cheerful.

And every such phenomenon, be it the arrival of birds or sunset, thunderstorm or snowfall, is revealed by the poet in all its beauty and grandeur - this is a characteristic feature of Tyutchev’s descriptions. It should be noted that in all the pictures of nature depicted by the poet, there is not a drop of fiction, they are always real and vital. And if, for example, we encounter the sun looking “from under its brows at the fields,” or weeping autumn, or jubilant and singing “spring waters,” then it means that this is exactly how Tyutchev saw them and, endowing them with the properties of living beings, only emphasized the discreet beauty and colorfulness. Therefore, we can say that Tyutchev’s nature lives, and he describes this life.

The technique of personifying nature is necessary for the poet to show its inextricable connection with people’s lives. Often his poems about nature are nothing more than an expression of thoughts about man. Thus, Tyutchev compares the gentle smile of withering with the “bashfulness of suffering” of a rational being. In the poem “Human tears, oh human tears. "Raindrops are human tears. Here another side of Tyutchev’s creativity is revealed. The poet touches on a very complex problem of the relationship between man and the world around him.

For Tyutchev, nature is a mysterious interlocutor and a constant companion in life, understanding him better than anyone. “What are you howling about, night wind?” - asks the poet.

Without cluttering the description with an abundance of details, Tyutchev chooses what is most necessary, thanks to which he achieves great artistic expressiveness.

How can you understand this poem? Tyutchev had such a subtle perception of the world that the word could hardly keep up with all the ideas and images and was a pale reflection of the poet’s consciousness.

The poet managed to capture, as Nekrasov said, “precisely those features by which a given picture can arise in the reader’s imagination and be completed by itself.” This can only be done by a person who has seen the “soul” in nature, who has realized that “there is freedom in it, there is love in it.”

Nature in Tyutchev’s poems is humanized and spiritualized. Like a living being, she feels, breathes, rejoices and is sad. The very animation of nature is usually found in poetry. But for Tyutchev this is not just a personification, not just a metaphor: he “accepted and understood the living beauty of nature not as his fantasy, but as the truth.” The poet’s landscapes are imbued with a typically romantic feeling that this is not just a description of nature, but dramatic episodes of some kind of continuous action (“Spring Waters” (1830), “It’s not for nothing that Winter is angry” (1836), “How joyful is the roar of summer storms.”, "The Enchantress in Winter" (1852).

Tyutchev's poetry can be sublime and earthly, joyful and sad, lively and cosmically cold, but always unique, one that cannot be forgotten if you at least once touch its beauty.

“Those who don’t feel him don’t think about Tyutchev, thereby proving that he doesn’t feel poetry.”

These words of Turgenev perfectly show the magnificence of Tyutchev’s poetry.

Lev Ozerov in the book “Tyutchev’s Poetry” said that Tyutchev’s poetry “makes it possible to breathe the air of mountain peaks - transparent, clean, washing away and rejuvenating the soul.”

The works of F. I. Tyutchev, written in the genre of landscape lyrics, have become classics of Russian literature. The poet saw in the works of nature such features that are not always noticeable to the reader.

I think that this is what makes us turn again and again to the poetic works of this author.

“Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
There is love in it, there is language in it...”

Song of nature

Tyutchev is a Russian poet who in his work glorified the image of nature as a living being endowed with human qualities and feelings. The unity of man and nature, inextricable integrity and subordination to the divine being, can be traced throughout the poet’s entire work. His world is a single whole, combining human existence and the existence of nature. “Autumn evening,” described by the poet in the poem of the same name, is full of inexplicable attractive charm, tremulous breathing, and humanly orphaned sadness: “... on everything there is that gentle smile of withering, which in a rational being we call the divine bashfulness of suffering.”

Nature, presented in Tyutchev’s lyrics, is multifaceted and diverse, in constant movement and change of phenomena. By this, the author additionally emphasizes the process inherent in all living things - the flow of life. “The gray shadows changed, the color faded, the sound fell asleep - life, movement resolved into unsteady darkness, into a distant roar...” And the sunbeam described in the poem “Yesterday” is so vividly and colorfully described in its movement that it seems you can feel its touch: “grabbed the blanket,” “climbed onto the bed.” All the pictures of natural life depicted by the poet are completely real and vital, presented in lightness, written in ordinary simple words.

Nature in Tyutchev’s works is a kind of connecting man with the divine essence. This directs the poet’s gaze upward, to the secrets of the mountain peaks, and then further into the cosmic abyss. He is drawn there by the hope of gaining an understanding of the essence of life, he carries him along in his poems, presenting first the image of mountains, then clouds and then the knowledge of the revelation of the mystery of eternity: “and there, in solemn peace, exposed in the morning, the white mountain shines like an unearthly revelation.” . It is the sky that is presented in his poems as a symbol of purity and truth, where “pure stars burned, responding to mortal glances with immaculate rays...” The ellipsis used here by the poet calls for deeper reflection on what was said, to make an effort and to find the deep essence of the words.

The theme of night is one of the most important themes in the description of nature in Tyutchev’s lyrics. It is filled with philosophical meaning and helps to penetrate into the “secret secrets” of the human essence. Here the description of nature is filled with extraordinary beauty and majesty. The poet depicts her as pure and holy: “the holy night has risen on the horizon...”. It is full of invisible secrets and mysteries, incomprehensible to mortal man. “A curtain fell on the world of the day, movement was exhausted, labor fell asleep... Above the sleeping city, as in the tops of a forest, a wonderful nightly roar awoke... Where did it come from, this incomprehensible hum?... Or mortal thoughts, freed by sleep, a disembodied world, audible and invisible , now swarming in the chaos of the night?

In his work, a special place is given to the description of the night. He tried to find the truth of existence, and perhaps came into contact with it, and in his poems he showed ways and reflections so that a person would think not only about earthly concerns, but also open his spiritual eyes to see something greater, pure, eternal and real. The poet sees the human problems with which man has shrouded his eyes as something secondary and completely meaningless. And nature “one by one, she greets all her children, who accomplish their useless feats, with her all-consuming and peaceful abyss.”

Tyutchev very skillfully conveys through the description of nature the depth of his experiences, his mood and feelings. He feels nature very subtly, knows its character and knows how to choose words that will most clearly convey the meaning that the author puts into them. What worries the poet most is man’s isolation from the integrity of the world, from the divine principle, his withdrawal into vanity and meaninglessness in comparison with the majesty of her existence. “And before her we are vaguely aware of ourselves - only a dream of nature.”

Tyutchev lived a life completely devoted to the knowledge of himself, human existence, nature and the invisible thread connecting everything into a single whole. His poetry is multifaceted and varied, sublime and mysterious, gentle earthly and cosmically cold, but always unique and beautiful, attracting with the bright colors of its amazing life.

One by one all your children,

Accomplishing their feat

useless,

She equally greets her

All-consuming and peaceful

F. I. Tyutchev

It is perhaps difficult to find a Russian person who has never encountered the works of Fyodor Ivanovich Tyutchev. And everyone, of course, perceives them in their own way, but his poems can never leave a person indifferent. After all, all of Tyutchev’s work is necessarily something bright, kind, simple and invariably his own - Russian, penetrating the soul, “grabbing” the heart, giving rise to a high feeling of love in a person. Love for nature, for the homeland, for women, for life finally. And everyone who has at least once come into contact with Tyutchev’s works carries this feeling throughout his entire life, drawing it, as from a source, from the same Tyutchev’s poems. Their themes are diverse, and yet almost all are somehow related to the theme of nature. And in many poems this is the main subject of the image.

Nature, glorified by Tyutchev, is close and understandable to every Russian person; it is inextricably linked in his mind with the image of the Motherland. Thus, our great writer L.N. Tolstoy admitted that every spring the lines of Tyutchev’s “Spring” invariably appear in his memory:

No matter how oppressive the hand of fate is,

No matter how much deception torments people,

No matter how the wrinkles roam the brow,

And the heart is no matter how full of wounds;

No matter how severe the tests

You were not subordinate, -

What can resist breathing?

And I will meet the first spring!

Nature never appears before you during any powerful cataclysms that cause fear and helplessness in humans. It is always close to us and easy to understand. And this is its extraordinary charm:

The hazy afternoon lazily breathes,

The river rolls lazily

And in the fiery and pure firmament

The clouds are lazily melting.

With deeper penetration, however, one can see that behind the external simplicity is hidden a majestic world, full of harmony and beauty, which amazes the reader with its perfection. And most importantly, this world is alive. Nature for Tyutchev is a temple. But not dead, created from stone by human hands, but full of life, natural and spiritual:

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...

Tyutchev has no “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, almost eternal. And Tyutchev bows to this movement of life, thanks to which, perhaps, man exists:

Nature does not know about the past,

Our ghostly years are alien to her,

And in front of her we are vaguely aware

Ourselves are just a dream of nature.

Tyutchev makes it clear that no matter how hard a person tries to stand out, he will still remain a “dream of nature,” only its creation, even if it is his “crown.” And at the same time, Tyutchev’s nature most often appears before us as something weak, fragile and defenseless, dependent on man.

Tyutchev's nature is always multifaceted and diverse. We see it in constant movement, a continuous change of phenomena, in transitional states - from winter to spring, from summer to autumn, from day to night:

The gray shadows mixed,

The color faded, the sound fell asleep -

Life and movement resolved

Into the unsteady twilight, into the distant roar...

And every such phenomenon, be it the arrival of birds or sunset, thunderstorm or snowfall, is revealed by the poet in all its beauty and grandeur - this is a characteristic feature of Tyutchev’s descriptions. It should be noted that in all the pictures of nature depicted by the poet, there is not a drop of fiction, they are always real and vital. And if, for example, we encounter the sun looking “from under its brows at the fields,” or weeping autumn, or jubilant and singing “spring waters,” then it means that this is exactly how Tyutchev saw them and, endowing them with the properties of living beings, only emphasized the discreet beauty and colorfulness. Therefore, we can say that Tyutchev’s nature lives, and he describes this life.

The technique of personifying nature is necessary for the poet to show its inextricable connection with people’s lives. Often his poems about nature are nothing more than an expression of thoughts about man. Thus, Tyutchev compares the gentle smile of withering with the “bashfulness of suffering” of a rational being. In the poem “Human Tears, O Human Tears...” raindrops are human tears. Here another side of Tyutchev’s creativity is revealed. The poet touches on a very complex problem of the relationship between man and the world around him.

For Tyutchev, nature is a mysterious interlocutor and a constant companion in life, understanding him better than anyone. “What are you howling about, night wind?” - asks the poet. And then he answers:

In a language understandable to the heart

You talk about incomprehensible torment -

And you dig and explode in it

Sometimes frantic sounds!..

Tyutchev's skill is always amazing. He notices something in the most ordinary natural phenomena that, despite all its inconspicuousness, serves as the most accurate, simply mirror-like, reflection of unearthly beauty. And this “something” is expressed not in ornate phrases, but in simple and ordinary words, but coming from the very heart of the poet:

The warm summer rain was pouring - its streams

The leaves sounded cheerful...

Without cluttering the description with an abundance of details, Tyutchev chooses what is most necessary, thanks to which he achieves great artistic expressiveness.

The poet managed to capture, as Nekrasov said, “precisely those features by which a given picture can arise in the reader’s imagination and be completed by itself.” This can only be done by a person who has seen the “soul” in nature, who has realized that “there is freedom in it, there is love in it.”

FEDERAL AGENCY FOR EDUCATION

STATE EDUCATIONAL INSTITUTION

HIGHER PROFESSIONAL EDUCATION

BASHKIR STATE UNIVERSITY

NEFTEKAMSK BRANCH

Faculty of Humanities

Department of Russian Philology

COURSE WORK

on the topic: “The poetry of F. I. Tyutchev: tragedy and confession of the soul”

3rd year students

Faculty of Humanities

full-time education

F-32 r group

Khasanova Yu.K.

Scientific adviser:

Ph.D. Philol. Sciences, senior lecturer

Korotkova A.V.

Neftekamsk – 2008

Introduction

Chapter I. F. I. Tyutchev and his era

1.1. Life and fate of the poet……………………………………………………….5

1.2. Features of the lyrics……………………………………………………………9

Chapter II. Creativity of F. I. Tyutchev

2.1. Main themes and images of poems………………………13

2.2. Innovation of poetry………………………………………………20

Conclusion……………………………………………………………...23

List of references……………………………………………………….26

INTRODUCTION

The name of Fyodor Ivanovich Tyutchev, our great poet, coexists in Russian poetry with the names of Pushkin, Lermontov and Nekrasov. Already Tyutchev's contemporaries called him a poet of thought. Indeed, Tyutchev in his work appears not only as a great master of the poetic word, but also as a thinker. In relation to Tyutchev, we have the right to talk not only about his worldview, his worldview, but also about his ideological system. True, it received a unique expression and was embodied not in a philosophical essay, but in verses full of artistic perfection. The poet’s philosophical thoughts, which permeate the images and paintings he created, and poetic statements do not represent disparate theses, contradictory generalizations caused by various life events. In his poetic philosophical contemplations and thoughts there is an internal connection, and in poetry the intensity of philosophical thought has a certain purposefulness.

A modern reader will not be mistaken if, following L.N. Tolstoy, he says about Tyutchev: “You cannot live without him,” because Tyutchev’s poetic world is based on the search for real human values, imbued with genuine humanism, organically combining the recognition of the unique value of each individual human life with sincere and deep empathy for the fate of the entire human race. Seeing and feeling the blood, inextricable connection of the individual, the particular and the universal, the poet raised precisely those problems of the relationship between Man, Humanity, Nature, the Universe, without understanding which the harmonious existence of people is impossible and which rose in all their severity on the agenda of the diverse and contradictory era of the late twentieth century century. Hence the high degree of moral significance of Tyutchev’s creativity.

All the fair words that Tyutchev, of course, was a man of a certain time and position, turned out to be associated with philosophical systems (for example, Schelling) and historical concepts (say, Slavophiles), explain a lot and can themselves be explained, but they are the essence of Tyutchev’s poetry still not fully disclosed. It is precisely because Tyutchev solves the main “damned”, “last” questions that he is forever interesting. It turns out to be modern for the beginning of the 19th century, as well as for the end of the 20th and beginning of the 21st. “It is difficult to accept a historical point of view on Tyutchev,” one of the historians of Russian literature wrote back in 1903, “it is difficult to attribute his work to one specific and complete era in the development of Russian literature. The growing meaning of his poetry for us inspires us with a kind of special, ahistorical point of view on him.” This “ahistoricism” of Tyutchev itself, of course, is explained historically. Tyutchev found himself, as it were, placed outside history, above time, at the most complex historical crossroads of Russia and the West, a judge of everything and a person in general.

In this work we propose studying a number of problems related to the life and work of the poet.

The relevance of research is that the poet’s work, which reflects his most subtle states of soul, is popular to this day.

Goal of the work: a generalization of material about the life of F. I. Tyutchev, a study of the tragic and frank creativity of the writer.

Tasks:

1) collecting data about the writer’s life;

2) identifying the features of the lyrics;

3) identification of the main themes and images in poetry;

Research methods: biographical, comparative.

Work structure: introduction, chapter I “F.I. Tyutchev and his era” (1.1 “Life and fate of the poet”, 1.2 “Features of the lyrics”), chapter II “Creativity of F.I. Tyutchev” (2.1 “Main themes and images of poems”, 2.2 “Innovation of poetry”), conclusion, list of references.

Methodology: The work was based on the research of Aksakov, Pisarev, Turgenev.

CHAPTER I . F.I.TYUTCHEV AND HIS ERA

1.1. LIFE AND FATE OF THE POET

Fyodor Ivanovich Tyutchev was born into an old noble family, in the village of Ovstug, Bryansk district, Oryol province, on November 23 (December 5), 1803. The poet's early years were spent in Moscow. He became interested in literary interests early and began to follow Russian poetry. Knowledge of Latin and modern languages ​​gave him wide access to the literatures of the ancient world and modern European ones.

From 1819 to 1821, F. Tyutchev studied at Moscow University, in the literature department. In 1822, his service began in the Ministry of Foreign Affairs. Family connections brought him that same year a position at the Russian diplomatic mission in Munich - a position, however, a very modest one, for a long time above the staff, and only in 1828 he rose in rank - only to junior secretary. Neither then nor after F. Tyutchev did not strive for a career, although he was not rich and the government salary was by no means superfluous in his budget.

F. Tyutchev spent twenty-two years abroad, twenty of them in Munich. He was married twice, both times to foreigners, women from well-born families. His everyday language both abroad and later, upon returning to Russia, was the language of international diplomacy - French, which he mastered to a fine degree. F. Tyutchev, with minor exceptions, always conducted his extensive correspondence in the same language. He even wrote his journalistic articles in French. One cannot conclude from this that Tyutchev was losing his spiritual connection with Russia. Russian speech became something treasured for him; he did not waste it on the trifles of everyday communication, but kept it untouched for his poetry (his biographer Ivan Aksakov wrote well about this).

Munich during F. Tyutchev’s stay there was one of the spiritual centers of Germany and even more so of Europe. Munich was then distinguished by the richness of its artistic and intellectual life, although Bavarian clericalism weighed heavily on it. In academic Munich, dominance belonged to the aging Schelling and natural philosophers of a similar school. F. Tyutchev met with Schelling, and, probably, these meetings introduced the Russian poet to German philosophy in a more intimate way.

With all that, a good acquaintance with the teachings of Schelling and other philosophical teachings of the then Germany arose not at all due to the accidental circumstances of the biography of F. Tyutchev, who was brought to the capital of Bavaria by fate. Even before leaving Russia and for two or three decades after that, in Moscow and St. Petersburg there was a strong desire to master German culture - philosophical, scientific, artistic. F. Tyutchev, as it were, went to meet her in Munich, and in the meantime Russian leaders studied her while staying at home, without necessarily traveling abroad. F. Tyutchev’s interest in Schelling was combined with a love for Goethe’s poetry and philosophy - “pagan”, as the Germans then called it. Schelling, and indeed German spiritual culture in general, Tyutchev contemplated through Goethe, and this way of perception had a healing significance - Goethe, a realist both in the field of art and in the field of abstract thought, strengthened for Tyutchev the good influences emanating from German culture and delayed , thinned out as much as he could the influence of everything weak, dark, frail, scholastic in her.

F. Tyutchev’s friendship with Heinrich Heine, the most courageous and free-thinking writer of that time in Germany, also began in Munich. He responded to Heine's poetry until the very end of his life - sometimes with translations, sometimes with free variations, sometimes with quotes or half-quotes from Heine's poems in his own poems.

F. Tyutchev's connections with Western culture are sometimes portrayed one-sidedly - they are reduced to German connections only. In fact, other European authors were of considerable importance for the poet: he mastered the poetry of Byron, turned to Shakespeare more than once, and knew French romanticism, the French realistic novel, and French historical science very well.

F. Tyutchev returned to Russia in 1844. It was an unfavorable time for poetry. After the death of Pushkin and Lermontov, it seemed that the “golden age” of Russian poetry was over, and new trends were noticeable in society, the answer to which was not lyrical poetry, but “positive” prose. Fewer and fewer poems are being published, as if interest in poetry is waning. However, F. Tyutchev never aspired to become a professional writer: publishers and fans of his work had to persuade him every time to give poetry for publication. In the 40s, F. Tyutchev did not publish for almost ten years; naturally, only a few admirers remember him. And only in the 50s, Nekrasov and Turgenev seemed to retrieve F. Tyutchev’s poems from oblivion, publishing a large selection of them in Sovremennik. In 1654, F. Tyutchev’s first collection of poetry was published, and the second, also his last lifetime, was published in 1868. Shortly before returning to his homeland, recalling his Moscow youth, F. Tyutchev wrote to his parents: “There is no doubt that if I Even at this starting point, I would have arranged my fate completely differently.” We do not know what the poet meant, but he did not make a diplomatic career. However, it was not at all due to a lack of interest in politics - on the contrary, foreign policy issues have always constituted one of the main interests in the life of F. Tyutchev. Evidence of this is his journalistic articles, his letters, and the memoirs of his contemporaries. Russia, its position in the world, its future are the subject of F. Tyutchev’s unremitting attention, restless and deeply personal interest: “I think that it is impossible to be more attached to my country than I am, more constantly concerned about what concerns it.” The defeat of Russia in the Crimean campaign of 1855 was perceived by the poet as a personal catastrophe and forced him to reconsider his attitude towards Nicholas I and the entire 30-year reign of this “actor tsar,” a man of “monstrous stupidity.” F. Tyutchev's domestic political views were quite traditional, but the principle of enlightened autocracy, according to his views, should have satisfied, in essence, ideal conditions, namely: government officials should not feel like autocrats, and the tsar should not feel like an official. Over the 70 years of F. Tyutchev’s life, three kings were replaced, and not a single real reign met the poet’s aspirations - this can be judged by his numerous caustic critical statements. Vague hopes remained: “You can only believe in Russia,” hopes based on the conviction that the fate of Russia will be decided not by foam floating on the surface,” but by those powerful, invisible forces that still lurk in the depths.” F. Tyutchev had an excellent opportunity to closely observe the activities of the state machine - after all, until the end of his days he was in public service (first as a senior censor at the Ministry of Foreign Affairs, and for the last fifteen years as chairman of the Foreign Censorship Committee). In addition, the title of chamberlain imposed on him the obligation to be at court. F. Tyutchev's view of the state of affairs within the country is becoming more and more pessimistic over time. “In government spheres, unconsciousness and lack of conscience have reached such proportions that it cannot be comprehended without seeing it with one’s own eyes,” he was forced to admit in his declining years. So, politics and public interests deeply worried F. Tyutchev, a statesman and diplomat: “Part of my being identified with known beliefs and convictions.” F. Tyutchev's political poems owe their appearance to this “part,” most of them written “on occasion” and in accordance with his principle of “softening, not disturbing” hearts “under the royal brocade.” These poems are significantly inferior in strength and artistry to his lyrical works, which were born from mysterious springs hidden in the depths of the soul.

1.2. LYRIC FEATURES

Nature, elements, chaos on one side, civilization, space on the other - these are perhaps the most important of the polarities that F. Tyutchev deals with in his poetry. He takes the image and idea of ​​“chaos” through Schelling from ancient mythology and philosophy. Chaos is correlated with space - an orderly, well-maintained world. Chaos is a condition, a prerequisite, a living material for space. The concept of space in the ancient sense is not found in the poetry of F. Tyutchev. It is present in it in a negative way - as something opposed to the concept of “chaos”, as its “twin”, to which it both corresponds and does not correspond.

A contemporary of an era in which everything was created anew - technology, life, people, and relationships between people - F. Tyutchev adopted a special view of things: for him they were fusible, changeability was part of their main principle. Tyutchev divides them, distinguishes elements in them; things that recently seemed simple, at F. Tyutchev’s fingertips, reveal their complexity. But Tyutchev distinguishes, divides, in order to again and in the most unexpected way bring together what is divided. He proceeds from the assumption that everything that exists has unity, that homogeneity is hidden everywhere. One might think that this is why he analyzes the shades of phenomena, contrasts one phenomenon with another, in order to penetrate deeper into the unified nature in which they are all contained. The poetry of classicism acted differently. For her, the world was strictly described in logical departments and subdivisions, excluding any mutual confusion. We find traces of this even in Pushkin. In his elegy “The light of day has gone out...”. (1820) the line is repeated: “Worry under me, gloomy ocean...” In Pushkin, the waves of the ocean are nothing more than the waves of the ocean, material waves that belong to the nature of material things. In the elegy, there is a great temptation to combine the excitement of the soul with the excitement of the sea, but still Pushkin does not allow the two categories to merge so that the boundary between them is lost. We read in the elegy: “With excitement and longing I strive there...” This “excitement” has a dangerous closeness to the words of the refrain “worry under me...”, and yet here and there are different words; Pushkin does not bridge the gap between them with metaphors and comparisons. Pushkin gives a distant hint of the possible identification of two concepts, two words, two images relating to external life and internal life, but in fact the identification does not occur. F. Tyutchev's poems are written in a completely different way: “Thought after thought, wave after wave - two manifestations of one element...” The likening of a sea wave to a man, his soul is one of the most common in F. Tyutchev’s poetry. For F. Tyutchev there are no longer the cherished old boundaries between some categories of life and others. In terms of poetic language and imagery, Tyutchev is infinitely free. He borrowed from his era the spirit of subversion. F. Tyutchev the poet does not have any unshakable principles of the hierarchy of things and concepts: the low can be combined with the high, they can change places, they can be endlessly overestimated. The poetic language of F. Tyutchev is an endless exchange of image for image, an unlimited possibility of substitutions and transformations. The poem “Sea Horse” takes the image of a natural horse, the same one that is kept in a stable, with all the words of natural meaning relating to it. Elementary images and words are attacked and attacked by completely different ones, of a higher poetic rank - words about a sea wave. Both of them penetrate into each other, some take the place of others, in the second half of the poem, right up to the last, final line, we all read about a horse, and indirectly a sea wave is described here, and only the last line suddenly reveals it. In “The Sea Horse” a chain of comparisons is given. Not everything is exhausted by comparing a horse and a wave of the sea. The poem implies the third, highest power - the human soul and personality. They are like a wave, and they are also tragically different from it. Changeable like waves, unstable in this or that image they have received, they do not say goodbye to this image of themselves as cheerfully and carefree as sea waves - sea horses - do.

F. Tyutchev knows no prejudices in his poetic vocabulary, he brings together words of different lexical categories, his metaphor unites words and concepts that are many, many miles away from each other. His kingdom of language is traversable through and through, in all directions, just as he traverses, without barriers, the entire real world. The time of F. Tyutchev is the time of the abolition of old privileges and advantages in Europe, the time of a return to the original equality, on the basis of which, as was supposed, differences should have arisen in a new way both in the environment of things and among people. General fluidity, a general return to the primal element, to chaos, to nature, from which space and culture are newly developed - this is what lies in the final depth of Tyutchev’s ideas about the world and Tyutchev’s language.

The world for Tyutchev never has final outlines. All objects, all completed images are born anew every day, must daily confirm themselves. In their essence they are always fluid. F. Tyutchev in the poem “Alps” describes how morning is born in the Alps - after the heavy disintegration that occurred at night, a bright, brilliant Alpine landscape takes shape again. The same understanding of nature in “Morning in the Mountains” - behind its joyful appearance there is preliminary difficult work: there were chambers, they became ruins, and from the ruins chambers are being built again. The poem of a more mature era, “Yesterday, in the dreams of those enchanted...”, is remarkable, describing how morning arises in the bedchamber of a beauty. Everything that is material and clearly visible is presented here half-molten, as if the secret of what is done with things when a person is not using them, in the quiet hour of the morning, is being glimpsed. Carpets are “darkly shimmery,” as Tyutchev calls them. Carpets are transformed into a play of shadows and colors. The woman, her bed, and the objects around are depicted as if it were material for a fire that is about to ignite. The sun has entered the windows, and the sunlight sets fire to the blanket and runs towards the beauty. The last four stanzas describe the sun, its morning adventures, and the sun is not named, there is no noun, there is only the pronoun “it”, there are many very colorful, picturesque adjectives, and verbs are given, no less picturesque. Tyutchev deprives the sun of an objective form, all of it is streams of light, a serpentine force, isolated from its substance, a charming, seductive and indefinable phenomenon: “Smoky-light, hazy-lily / suddenly something fluttered out the window.”

According to Tyutchev, to own a phenomenon is to know it not only in its finished form, but also in its rough, unfinished form. You need to know the morning from his very birth, a person - in those minutes when the subsoil of his personality is revealed, when everything sharp and characteristic in him weakens. This does not mean that F. Tyutchev places the rough state above the white state, the pre-characteristic above the characteristic. He wants to know what other possibilities are contained in a person, with what and how he is able to renew himself. Obviously, this is the meaning of the poem “The gray shadows mixed...”, which seems to reproduce the genesis of the personal soul, starting from primordial indifference, where the personal has not yet been separated from the impersonal, the conscious from the material - “everything is in me, and I am in everything.” " Here a certain analogy with Schelling is permissible, who believed that to reproduce the history of things, their genesis, means to know them in essence. In the poem “The gray shadows mixed...” the man seemed to dive into his own prehistory, which, however, is broader than what he made of it in his conscious life. Here you can hear both the melancholy of parting with oneself, and the delight of some new acquisitions possible for a human person who has come to know his wealth, and remained without movement. Leo Tolstoy cried while reading these poems, which told about how the human personality surrenders itself to death for the sake of its own rebirth, which comes after death.

CHAPTER II . CREATIVITY OF F.I.TYUTCHEV

One of the central themes in F. Tyutchev's lyrics was the theme of love. Love for him is “both bliss and hopelessness,” a tense, tragic feeling that brings suffering and happiness to a person, a “fatal duel” of two hearts. “A blissfully fatal feeling that requires the highest tension of mental strength, love became for the poet a prototype, a symbol of human existence in general. F. Tyutchev is not a singer of ideal love - he, like Nekrasov, writes about its “prose” and about the amazing metamorphosis of feelings: addiction to the most precious unexpectedly turns into torment. But with his lyrics he affirms high standards of relationships: it is important to understand your loved one, to look at yourself through his eyes, to live up to your entire life of hopes awakened by love, to be afraid of not only low, but even mediocre actions in relations with your loved one:

Oh, don’t bother me with a fair reproach!

Believe me, of the two of us, yours is the most enviable:

You love sincerely and passionately, and I -

I look at you with jealous annoyance.

This poem belongs to the “Denisyevsky” cycle - a cycle of poems written by F. Tyutchev as a response to his romance with E. A. Denisyeva. In this poem you can see the poet’s torment because of this “illegal” love. In “Denisyev’s” poems, readers were presented with a suffering woman and a hero “without faith,” who, due to the prevailing life circumstances, felt ashamed of himself. The poet shudders before the emptiness of his own soul. First of all, F. Tyutchev was afraid of manifestations of selfishness, which he considered the disease of the century. In the poem “Oh, don’t bother me with a just reproach!..” the woman loves “sincerely and ardently,” and the man recognizes himself only as a “lifeless idol” of her soul. Thus, in the intimate lyrics of the late F. Tyutchev, the ethical pain sounded, so inherent in the advanced art of the 19th century. “Shame before oneself” turned out to be generated by pain for the fate of another person, pain for a woman who is paying with suffering for her reckless love. In the intimate lyrics of F. Tyutchev, a painful recognition of the incompatibility of beauty with the evil of existence is born. As V.I. Korovin said, “... in it [in Tyutchev’s love lyrics] the feeling of compassion for the woman he loves exceeds selfish desires and rises high above them.”

F. Tyutchev is well known as a deep philosopher, which is why the ideological content of F. Tyutchev's philosophical lyrics is significant not so much in its diversity as in its depth. The least place is occupied here by the lyrics of compassion, represented, however, by such exciting works as “Tears of Men” and “Send, Lord, Your Joy.” The inexpressibility of thought in words (“Silentium”) and the limits set to human knowledge (“Fountain”), the limited knowledge of the “human self” (“Look, like on the river expanse”), the pantheistic mood of merging with the impersonal life of nature (“Twilight”, “So; in life there are moments”, “Spring”, “The spring day was still rustling”), inspired descriptions of nature, few and brief, but in terms of the scope of mood they have almost no equal in our literature (“The storm has subsided”, “Spring thunderstorm” , “Summer Evening”, “Spring”, “Fast Sand”), associated with a magnificent proclamation of the original spiritual life of nature (“Not what you think, nature”), a tender and bleak recognition of the limitations of human love (“Last Love”, “Oh, how murderously we love”, “She was sitting on the floor”, “Predestination”, etc.) - these are the dominant motifs of F. Tyutchev’s philosophical poetry. But there is one more motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and power by the late V.S. Solovyov’s motive of the chaotic, mystical fundamental principle of life. “And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and was not so clearly aware of that mysterious basis of all life - natural and human - the basis on which meaning is based cosmic process, and the fate of the human soul, and the entire history of mankind. Here F. Tyutchev is truly quite unique and, if not the only one, then probably the most powerful in all poetic literature." In this motif the critic sees the key to all of Tyutchev’s poetry, the source of its meaningfulness and original charm. The poems “Holy Night”, “What are you howling about, night wind”, “On the mysterious world of spirits”, “Oh, my prophetic soul”, “Night voices”, “Night sky”, “Day and Night”, etc. represent is a one-of-a-kind lyrical philosophy of chaos, elemental ugliness and madness, as “the deepest essence of the world soul and the basis of the entire universe.” Both descriptions of nature and echoes of love in F. Tyutchev are imbued with this all-consuming consciousness: behind the visible shell of phenomena with its apparent clarity, their fatal essence is hidden, mysterious, from the point of view of our earthly life, negative and terrible. The night with particular force revealed to the poet this insignificance and illusory nature of our conscious life in comparison with the “burning abyss” of the elements of unknowable, but felt chaos. Perhaps this bleak worldview should be associated with a special mood that distinguishes F. Tyutchev: his philosophical reflection is always shrouded in sadness, a melancholy awareness of his limitations and admiration for irreducible fate.

2.2. INNOVATION OF POETRY

F. Tyutchev's laconic poems contain an unusually concentrated expression of deep philosophical thought, appearing not in the form of naked reflection and dry concepts, but dissolved in burning images and emotions. F. Tyutchev's poetry contains subjectivist elements characteristic of the romantics. These are eg. motives of isolation, isolation of the individual, the inexpressibility of the inner life of the individual (“Silentium”) or the promotion of subjective elements in the process of perception (“Yesterday in the dreams of the enchanted”). However, it is not these moments that determine the main focus and originality of F. Tyutchev’s poetry. The poet seeks to convey not his special, individual experiences or arbitrary fantasies, but to comprehend the depths of objective existence, the position of man in the world, the relationship between subject and object. F. Tyutchev gives psychological states and personal mental movements as manifestations of the life of the world as a whole. In the spirit of romanticism, F. Tyutchev depicts the poet’s comprehension of the essence of existence behind ghostly phenomena as a “prophetic” super-rational insight - intuition (“Glimmer”, “Vision”). Also, in accordance with the poetics of romanticism, F. Tyutchev sets out his “insights” in the language of new myth-making, eliminating the old, purely decorative mythology of classicism.

For him, space, the “daytime” world of limited, solid forms of consciousness, formalized individual existence, is just an island surrounded by the faceless, chaotic element of “night,” the unconscious, the boundless, from which everything arose and which threatens to devour everything. This constant threat to existence evokes in F. Tyutchev an acute feeling of fragility, uniqueness, the fleetingness of all forms, sympathy for everything that fades and declines. But F. Tyutchev is not limited to understanding “chaos” as evil, non-existence; it reveals that “secret attraction to chaos, always fighting for new, striking forms,” which F. Schlegel considered a distinctive property of romanticism.

But F. Tyutchev does not have static, detachment from the struggle, there is no Christian idyll, like other romantics like the late Zhukovsky. He sees the life of the world “Among thunder, among fires, / Among bubbling swells, / In elemental, fiery discord,” in an intense struggle of opposing forces, in the unity of opposites “as if double existence,” in continuous change. And he composes fiery, frantic hymns to the “life-giving ocean”, the tireless transformations of the stormy elements, creating everything, consuming everything. Chaos and negation are introduced by Tyutchev as a necessary, effective force in the world process. Instead of the aesthetics of the beautiful, harmonious, complete, he has an aesthetics of the sublime, dynamic, grandiose, even terrifying, an aesthetics of struggle, rebellious impulses, gigantic elemental forces. The presence of “chaotic”, “denial” in the image gives the phenomena a special vitality, freedom and strength. Opposites transform into each other, intersecting in different dimensions. Good turns into evil; love is revealed as a “fatal duel” and leads to the death of the lover; “life in excess” gives rise to an attraction to self-destruction; a person who fears chaos in the world, at the same time carries chaos within himself as a “family heritage”; the individual passionately asserts himself, but at the same time wants to “taste destruction” and “longs to merge with the infinite”; the fundamental principle of existence is both the gloomy “all-consuming abyss” and the “life-giving ocean.”

F. Tyutchev's dialectics often crushes those very idealistic “values”, the metaphysical foundations on which he wants to rely. But he introduced into poetry elements of a dialectical comprehension of reality, and he himself remained within the circle of ideas of Schellingian, pre-Hegelian philosophy; his poetry does not know the “resolution” of contradictions in a higher unity, the idea of ​​development is alien to it; the contradictions revealed by F. Tyutchev (space and chaos, macrocosm and microcosm, subject and object, etc.) remain unresolved in all their tragedy.

In the poetry of F. Tyutchev there is a transition from the Baroque poetry of the 18th century. to romanticism, dialectical idealism. The direction of his poetry is decidedly different from Pushkin's movement towards realism. Tyutchev was guided by Derzhavin, with whom he was united by natural philosophical themes, motifs of the night that threaten the brilliant day, an orientation toward universality, the baroque luxury of images and metaphors, grandiosity, the sublime pathos of an oratorical sermon, a “florid” ode, lush sound writing, etc. But F Tyutchev discards all the epic elements of the ode of the 18th century, giving only a bunch of meaningful images, saturated with philosophical thought and cast in the form of a compressed poem, sparkling with aphorisms. At the same time, F. Tyutchev combines oratorical structures and intonations with Zhukovsky’s musicality, creating a verse that is at the same time majestic, swift and smooth, rhythmically unusually rich and refined. F. Tyutchev widely uses archaic vocabulary and the stylistics of the 18th century in general, but the latter becomes for him to a large extent a way of romantic freedom of expression. The same romantic freedom of individual expression is manifested in his verse construction: the asymmetry of non-identical stanzas, the free alternation of verses with different numbers of feet, with different meters, the introduction of long lines in the spirit of Heine, etc. The composition of his poems also reflects the nature of their content. It is usually two-part, unfolding in two parallel plans; in this case, either the identity of both series is revealed (“There is silence in the stuffy air,” “Fountain”), or the opposite (“Day and Night,” “Bright snow shone in the valley”), or a metamorphosis of phenomena, experiences, a transition into the opposite occurs (“ Venice", "Your sweet gaze").

CONCLUSION

The historical, literary and contemporary significance of F.I. Tyutchev’s lyrics is largely determined by the originality of his creative personality and the nature of his connections with the socio-cultural process of his time.

Having formed as a poet back in the 1820s - 1830s, F. Tyutchev managed to organically join the literary movement of Russia in the 1850s-1860s, aimed at the spiritual development of new historical realities. At the same time, his attitude to many social and literary trends of the mid-19th century was in a certain sense of an oppositional nature, which also to some extent influenced the fate of his poetic work.

As is known, F. Tyutchev’s beliefs and attitude did not undergo cardinal changes during his life; they were relatively stable and integral. This can also be said about the poet’s literary views, which are quite free from the conjuncture of a particular social moment. Thus, in the 1850s, when two directions were developing in Russian poetry, “clearly defined and polarized: democratic and so-called “pure art,” F. Tyutchev, as before, eschews all sorts of literary groups and remains faithful to his creative principles , conviction in the specific role of the art of words in the life of society and high aesthetic and moral requirements for its phenomena. In this regard, the absolute opposition of poetry and reality, the separation of artistic creativity from the pressing problems of social existence, the denial of the intrinsic value of art, the absolutization of its ideological role, its transformation exclusively into a tool of socio-political struggle, the subordination of literature to the goals of those or other social forces. The poet recognized the natural presence of ideological, even propaganda, aspects in literary activity as one of the forms of mental life of society. However, he was convinced that art and poetry in the high sense of the word are not reducible only to the needs of the present moment, but have their own, deeper relationships with reality, perform only their own function, and have a sphere and means of knowledge accessible only to them.

Such a specific area of ​​art, according to F. Tyutchev, is the spiritual world of the individual human personality, which, with all its connections and interactions with the external material world, has a certain autonomy in relation to it. It was in understanding the spiritual and mental reality of the individual that the poet sought to find the deep predetermination of human destiny. Here are the origins of his constant interest in the inner world of the individual, artistically realized in the philosophical and psychological orientation of his lyrics, which largely determines his creative personality as a whole.

Tyutchev's lyrical psychologism was formed throughout the development of the poet's lyrics and cannot be reduced only to the stage of the 1850-1860s, when an appeal to the psychological life of a person became one of the main trends in the movement of literature. It, therefore, bears the general imprint of F. Tyutchev’s worldview and attitude and is based on an organic combination of two principles: impressionistic and expressive-analytical. This, in turn, distinguishes it from the psychologism of Fet’s lyrics, where the dominant focus is on the spheres of the subconscious. Expressing certain individual psychological states, F. Tyutchev tries to grasp a certain connection between them. It is important for him to see something common in the individual, subjectively unique, in the random - natural, in the transitory - eternal, recognizing and feeling at the same time the deep interconnectedness and mutual reflection of all things. This, in fact, is the essence of the repeatedly noted philosophical nature of Tyutchev’s poetry.

This also comes from the poet’s repeated reproduction of similar lyrical situations and, as a consequence, a fundamental strengthening of the role of context in his lyrical system, as well as its special propensity for cyclization. Moreover, it is important that cyclization not only allowed F. Tyutchev, in the words of Hegel, to depict “the integrity of the individual from the side of his internal poetic movement,” but significantly expanded the areas available to lyrics, including the area of ​​interpersonal relationships. Connected with this is F. Tyutchev’s desire and tendency towards multifaceted psychological motivation of an individual’s life, which was most fully expressed in the “cosmic” poems and the poet’s “Denisevsky” cycle.

The poetic heritage of F.I. Tyutchev in many of its aspects is addressed to the socio-historical reality of the late twentieth century. This is both his anti-egoistic pathos and the expression of planetary civil consciousness, without which the much-needed harmonization of interpersonal, social and universal relations of humanity today is no longer possible. But of particular importance is the synthesizing scale of Tyutchev’s approach to life, which is a consequence of the constant desire for truth. Artistic analysis, based on the inextricable unity of the depth of thought and adherence to concrete life, psychological authenticity, allowed the poet to penetrate into such layers of human existence, the spiritual development of which is of enduring importance.

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Fyodor Ivanovich Tyutchev is not only a poet, he is a philosopher trying to understand the mysteries of existence, the place and role of man in life. In his works, he identifies the person himself with a traveler, on whose road there are happiness and sorrow, gains and losses, tears and joy. I.S. Aksenenko said about Tyutchev: “For Tyutchev, living means thinking.”

But Fyodor Ivanovich’s works had not only a philosophical and psychological orientation: he also had many lyrical works in which he sought to convey admiration for the beauty of nature and its understanding.

Tyutchev was an excellent landscape painter who perfectly described nature with the help of artistic images. But he is not a simple contemplator of nature, he is trying to understand its meaning, to penetrate its life, as if into the soul of a person.

Tyutchev finds complete harmony in nature. However, just as in human life he saw contradictions and difficulties, so in the manifestations of nature he sees “chaos” and “abyss”.

The source of mysterious beauty, the highest power is nature. In Tyutchev’s works, the human mind bows before it:

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.

The first thunder “frolics and plays”, spring is “blissfully indifferent”, “a mantle of gold is thrown” - all this causes the poet’s lively excitement. He is delighted and delighted by thunderstorms, storms, and rough seas. All this is reflected in the opening lines of some of F. Tyutchev’s works: “How good you are, O night sea...”, “Spring thunderstorm”, “In the original autumn...”, “How joyful is the roar of summer storms... ", etc. When I read the poems of this poet, I have feelings that are similar to the experiences and feelings of the author that possessed him at the time of their creation. At the same time, you begin to feel the charm and beauty of the world around you:

A swift stream runs down the mountain,

The noise of birds in the forest is not silent,

And the noise of the forest, and the noise of the mountains -

Everything cheerfully echoes the thunder.

You will say: windy Hebe,

Feeding Zeus's eagle,

A thunderous goblet from the sky,

Laughing, she spilled it on the ground.

A thunderstorm always causes fear in a person. These same lines show a completely different thunderstorm. All nature cheerfully echoes her: the flow is agile, and the din of birds does not stop.

However, the poet sees nature from the other side. For him, it acts as a kind of element, before which a person is completely powerless and alone. Much is inaccessible to man, he cannot understand everything, therefore the thought of the mystery and spontaneity of nature in F. Tyutchev’s soul causes anxiety and hopelessness:

The night sky is so gloomy

Clouded on all sides

It’s not a thunderstorm and I’m not thinking,

It's a lethargic, joyless dream.

The transience of human life evokes superstitious fear in the poet. This feeling intensifies at night, when the abyss of non-existence is exposed, tearing away the “fabric of the blessed cover” from the world:

And the abyss is laid bare to us

With your fears and darkness,

And there are no barriers between her and us -

This is why the night is scary for us!

But all those feelings that possessed the poet: joy, faith in the triumph of harmony and beauty, sadness or anxiety - were intertwined in his poems with nature. All this gives his lyrics a gripping power:

Oh, how in our declining years

We love more tenderly and more superstitiously.

Shine, shine, farewell light

Last love, dawn of evening!

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.