Fyodor Ivanovich Tyutchev is one of the most famous representatives the heyday of Russian poetry. The main themes of his lyrics are love and the sensations that accompany a person in this: admiration, falling in love, drama, sublimity and inspiration. Fyodor Ivanovich's lyrics are especially different from others in their melodious manner - this was the reason that many of the poet's poems were set to music for the performance of romances. One of them is the work “I met you - and everything that was before...”.
Tyutchev’s poem “I Met You...” has a truly significant place in his work. The hero of the poem feels everything that many young people experience when falling in love, which is why it is so light and airy, it revives some kind of joyful excitement in the soul. The main thing in this poem is that the hero experiences those feelings that are understandable to everyone.
This lyrical work has a very real background. Fyodor Ivanovich met a girl in his youth, and a tender, passionate feeling arose between them. But at the behest of her parents, she had to marry a rich man with a respected rank. Many years later, the lovers met again, which gave the poet a reason to write the poem “I Met You...”, or rather, to describe what he felt.
True, there is another version. The poem was allegedly born not after a meeting with Amalia, but after a fleeting meeting with Clotilde von Bothmer. Clotilde is the sister of Fyodor Ivanovich’s first wife, whom he had known for a very long time and who lived near the poet’s vacation spot. However, this version is not as widely known as the first.
Means of artistic expression
The ease of style in which the poem “I Met You...” is written also ensures ease of perception and reading, evoking light and relaxed feelings. The abundance of verbs gives rise to the movement of the poet’s soul, something in it changes with the words “long-forgotten rapture”, “spiritual fullness”... Verbs make it possible to imagine the image of a light breeze that inspires change and movement.
In the poem, Tyutchev uses many artistic and expressive means that show the depth of feelings and sincerity of the hero’s emotions. Among them, the first place is occupied by metaphors and personifications: the poet remembers the past with warmth, his heart came to life, even life itself began to speak. He compares the meeting with a reunion after a century of separation, time is golden, so familiar to him feminine traits- tender - this is proof of the abundance of colorful epithets.
Tyutchev skillfully uses inversion: he swaps the places of “sounds” and “more audible than steel”, instead of “days” he puts “there are”. Also in the last verse there is a repetition of the first words, which highlights the more emotional parts - this is a sign of anaphora.
Composition and meter of verse
The poem itself consists of five quatrains, each of which is a certain step in the “revival” of the author’s soul. The first talks about the very moment of the meeting and what feelings it awakened in the narrator’s chest. In the second there are memories of the past, which in the third quatrain already echo the present. The fourth is the culmination, the peak of the hero’s feelings, when he admits that nothing has died, and affection is still alive in him. IN last quatrain life inside the poet blooms like a beautiful fresh rose, just like what he experiences - “And the same love in my soul!” - this is a complete awakening.
In the poem “I Met You...” cross rhyme. The first and third lines are feminine, the second and fourth are masculine rhymes. Almost all quatrains end with an ellipsis, even the last one - with a combination of an ellipsis and an exclamation mark. A poem has been written disyllabic meter– iambic.
Subjects
The main theme of the poem “I Met You...” is the revival of love for life in the human soul and happiness, warm memories of the past, which, however, will remain the past. The hero of the poem is a young man, or rather a man, who seems tired of himself. The feelings in him are almost dead, they have dulled over time and weakened. For him, life is now static, not changeable, measured and calm. But unexpected meeting turns his world upside down, reviving in him what has long been forgotten. He once loved this girl, really lived with her, experienced ardent passion and tenderness. This meeting is a meeting with his own youth, when he still felt something and gave a lively response to every minor change. She excited him. Tyutchev subtly characterizes excitement young man: everything was so simple and unchanged, when suddenly... the heart came to life again.
The lyrical work “I Met You...” is a story about spiritual transformations, fleeting and quick, incredible, significant. Memories prompt him to understand that he wants to live, breathe again, feel, rejoice, hope for happiness and inspiration.
Symbols and images
The internal metamorphoses of the hero of the poem are like the seasons: autumn is his old age, spring is his revived youth. This is autumn, into which spring suddenly bursts in - and everything beautiful wakes up, forcing the hero to turn again to the “golden time”.
The poem has a dream motif - it appears in the fourth quatrain: “I look at you as if in a dream.” This line serves as a kind of transition; in addition, it indicates the significance of what is happening, emphasizing how unexpected it is. The reader sees that lyrical hero not yet dead inside, as it might seem, that he is ready to feel emotions - in particular, he is open to love.
Fyodor Ivanovich Tyutchev - master artistic word And outstanding poet. He was able to explain through the poem the feelings of young lovers, plunged into memories of a happy past. What helped him in this was that he was guided by his own feelings and described them. Through the poem “I Met You,” the poet shows that love knows no time frame, and all ages are submissive to it.
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The main theme of Tyutchev's poetry- man and the world, man and Nature. Tyutchev's researchers speak of the poet as a “singer of nature” and see the originality of his work in the fact that “for Tyutchev alone, the philosophical perception of nature constitutes to such a strong degree the very basis of the vision of the world.” Moreover, as noted by B.Ya. Bukhshtab, “in Russian literature before Tyutchev there was no author in whose poetry nature would play such a role. Nature is included in Tyutchev’s poetry as the main object of artistic experiences.”
The world in Tyutchev’s view is a single whole, but not frozen in “solemn peace,” but ever-changing and at the same time subject to eternal repetition in all its changes. Researchers talk about the “non-randomness” of the poet’s “predilection for transitional phenomena in nature, to everything that brings with it change, which is ultimately associated with the concept of “movement”.
The originality of Tyutchev's landscapes is clearly visible in the poem created on the Ovstug family estate in 1846:
Quiet night, late summer,
How the stars glow in the sky,
As if under their gloomy light
The dormant fields are ripening...
Soporificly silent
How they sparkle in the silence of the night
Their golden waves
Whitened by the moon...
Analyzing this poem, N. Berkovsky accurately noticed that it “is based on verbs: they blush - they ripen - they shine. It seems like a motionless picture of a field July night, and in it, however, verbal words beat with a measured pulse, and they are the main ones. The quiet action of life is conveyed... From peasant labor grain in the fields, Tyutchev ascends to the sky, to the moon and stars, he connects their light into one with the ripening fields... The life of the grain, the daily life of the world, takes place in deep silence. For the description, we took the hour of the night, when this life is completely left to itself and when only it can be heard. Night hour It also expresses how great this life is - it never stops, it goes on during the day, it goes on at night, continuously...”
And at the same time, the eternal variability of nature is subject to another law - the eternal repeatability of these changes.
It is interesting that Tyutchev more than once calls himself “an enemy of space” in his letters. Unlike Fetov's landscapes, his landscapes are open not so much into the distance, into space, but into time - into the past, present, future. A poet, painting a moment in the life of nature, always presents it as a link connecting the past and the future. This feature of Tyutchev’s landscapes is clearly visible in poem "Spring Waters":
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
"Spring is coming, spring is coming!
We are the messengers of young Spring,
She sent us ahead!”
Spring is coming, spring is coming,
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her!..
This poem gives the whole picture of spring - from the early, March ice drift - to the warm, cheerful May. Everything here is full of movement, and it is no coincidence that the verbs of movement dominate: they run, goes, sent out, crowds. By persistently repeating these verbs, the author creates a dynamic picture of the spring life of the world. The feeling of joyful renewal, cheerful, festive movement is brought about not only by the image of running water-messengers, but also by the image of a “ruddy, bright round dance.”
Often in the picture of the world that Tyutchev paints, behind the present there clearly appears ancient appearance world, pristine pictures of nature. The eternal in the present, the eternal repetition of natural phenomena - this is what the poet is trying to see and show:
How sweetly the dark green garden slumbers,
Embraced by the bliss of the blue night!
Through the apple trees, whitened with flowers,
How sweetly the golden month shines!..
Mysterious as on the first day of creation,
In the bottomless sky the starry host burns,
Exclamations are heard from distant music,
The neighboring key speaks louder...
A curtain has fallen on the world of day,
Movement has become exhausted, labor has fallen asleep...
Above the sleeping city, as in the tops of the forest,
A nightly rumble woke up...
Where does it come from, this incomprehensible hum?..
Or mortal thoughts freed by sleep,
The world is incorporeal, audible but invisible,
Now swarming in the chaos of the night?..
The feeling of the unity of world history, the “first day of creation” and the present, arises not only because the images of “eternal” stars, a month, and a key dominate the picture of the world. The main experience of the lyrical hero is connected with the mysterious “hum” he heard in the silence of the night - the “voiced” secret thoughts of humanity. The true, secret, hidden essence of the world in everyday life is revealed to the lyrical hero, revealing the inseparability of the fundamental principle of the universe - ancient and eternal chaos - and the instant thoughts of people. It is important to note that the description of the beauty and harmony of the world in the first stanza appears as a “veil” over true essence Universe - chaos hidden behind the “veil”.
Tyutchev's understanding of the world is in many ways close to the ideas of ancient philosophers. It was no coincidence that A. Bely called Tyutchev an “archaic Hellene.” Russian poet in his understanding of the world, man, nature " miraculously, is strangely closely related to the ancient ancient philosophers - Thales, Anaximander, Plato. His famous poem of 1836 “Not what you think, nature” clearly reveals this kinship of worldviews:
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
Presenting nature as a single, breathing, feeling living being, Tyutchev turns out to be close to ancient thinkers, for example, Plato, who called the world in its entirety one visible animal.
Sharply speaking out against his opponents who do not recognize in nature living creature, Tyutchev creates the image of a breathing, living, thinking, speaking living being:
They don't see or hear
They live in this world as if in the dark,
For them, even the suns, you know, do not breathe,
And there is no life in sea waves.
The image of nature in these verses is indeed “wonderfully close” to the ideas of the ancient philosophers about the breathing world (the idea of Anaximenes), to the ideas of Heraclitus about the many suns, which the ancient philosopher identified with the day, believing that every day a new sun rises.
Confirming his idea of nature, Tyutchev speaks both about the “voice” of nature and about the inseparability of man from this world. This inseparability of the human “I” and the natural world also unites the poet with ancient philosophers and sharply separates him from those contemporaries who are not able to feel their merging with nature:
The rays did not descend into their souls,
Spring did not bloom in their chests,
The forests didn’t speak in front of them,
And the night in the stars was silent!
And in unearthly tongues,
Wavering rivers and forests,
I didn’t consult with them at night
There is a thunderstorm in a friendly conversation!
In Tyutchev’s poems one can also see other ideas that make it possible to call the 19th century poet an “archaic Hellene.” Like Plato, he perceives the world as a grandiose ball and at the same time as “one visible animal,” containing all other animals, to which the ancient philosopher included the stars, which he called “divine and eternal animals.” This idea makes Tyutchev’s images understandable: “wet heads of the stars”, “head of the earth” - in the 1828 poem “Summer Evening”:
Already a hot ball of the sun
The earth rolled off its head,
And peaceful evening fire
The sea wave swallowed me up.
The bright stars have already risen
And gravitating over us
The vault of heaven has been lifted
With your wet heads.
At the same time, it is important to note that not only nature and man are full of life in Tyutchev’s poetry. Tyutchev’s living thing is time (“Insomnia,” 1829), living things are dreams (this is the element that rules over man at night), living and scary creature Madness appears, endowed with a “sensitive ear,” brow, and “greedy hearing” (“Madness,” 1830). Russia will later appear as a living, special creature - a giant - in Tyutchev's poems.
Researchers of Tyutchev's work have already noted the similarity of the ideas about the world of Tyutchev and Thales: first of all, the idea of water as the fundamental principle of existence. And indeed: the basic elements that Tyutchev, like the ancient philosophers, recognize as the primary elements of the universe: air, earth, water, fire, not only oppose each other, but are also capable of turning into water and revealing their aquatic nature. This idea was clearly manifested in the poem “Summer Evening”:
The river of air is fuller
Flows between heaven and earth,
The chest breathes easier and more freely,
Freed from the heat.
AND sweet thrill like a stream
Nature ran through my veins,
How hot are her legs?
The spring waters have touched.
Here water appears as the primary element of existence, it forms the basis of the air element, and fills the “veins” of nature, and, flowing underground, washes the “feet” of nature. Tyutchev strives to convey the feeling of a living stream, water jets, describing all the elements that make up the Universe:
Though I have built a nest in the valley,
But sometimes I also feel
How life-giving it is at the top
An air stream runs<...>
To inaccessible communities
I look at the whole clock, -
What dew and coolness
From there they pour noisily towards us.
In Tyutchev's poems flows moonlight(“Again I’m standing above the Neva...”), the air moves like a wave (“The biza has calmed down... It’s breathing easier...”, 1864), streams of sun are flowing (“Look how the grove turns green...”, 1854, “In the hours when it happens...”, 1858), darkness pours into the depths of the soul (“The gray shadows mixed...”, 1851). The metaphor of existence itself also has a watery nature - it is the “key of life” (“K N.”, 1824; “Summer Evening”, 1828).
Natural phenomena are almost always humanized in Tyutchev’s poems. The sun looks from under its brows (“Reluctantly and timidly”, 1849), the evening tears off the wreath (“Under the breath of bad weather...”, 1850), “in the bunch of grapes / Blood sparkles through the thick greenery.” Among Tyutchev’s metaphors are not only the already noted “wet heads of the stars”, the head of the earth, the veins and legs of nature, but also the dead eyes of the Alps (“Alps”). The azure of the sky can laugh (“Morning in the Mountains”), noon, like the sun, can breathe (“Noon”, 1829), the sea can breathe and walk (“How good are you, O night sea...”, 1865). The natural world is endowed with its own voice, its own language, accessible to the understanding of the human heart. One of Tyutchev’s motifs is a conversation, a conversation between natural phenomena among themselves or with a person (“Where the mountains are, running away...”, 1835; “Not what you think, nature...”, 1836; “How cheerful is the roar summer storms...", 1851).
And at the same time, nature is not an ordinary creature. Among the constant epithets in landscape poems Tyutchev - the words “magical” (“Smoke”, 1867, etc.) and “mysterious” (“How sweetly the dark green garden slumbers...”, etc.). And almost always natural phenomena endowed with witchcraft power - the Enchantress Winter (“Enchantress Winter...”, 1852), the sorceress winter (“To Countess E.P. Rastopchina”), the cold sorcerer (“It’s been a long time, a long time ago, O blessed South...”, 1837), the sorcerer of the north (“I looked, standing over the Neva...”, 1844). Thus, in one of Tyutchev’s most famous poems, the Enchantress Winter endows the forest with fabulous beauty and plunges it into a “magical sleep”:
Enchantress in Winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute,
He shines with a wonderful life.
And he stands, bewitched, -
Not dead and not alive -
Enchanted by a magical dream,
All entangled, all shackled
Light chain down<...>
The poet explains the beauty of sunny summer days with witchcraft (“Summer 1854”):
What a summer, what a summer!
Yes, it's just witchcraft -
And how, please, did we get this?
So out of nowhere?..
The witchcraft power of nature is also evidenced by its ability to charm a person. Tyutchev writes specifically about the “charm” of nature, its “charm”, moreover, the words “charm” and “charm” reveal their original meaning: to seduce, to bewitch. Ancient word“Obavnik” (charmer) meant “sorcerer”, a projecter of “charm”. Nature has charm, that beauty that subdues a person’s heart, attracts him to natural world, bewitches him. So, remembering the “magic” forest, Tyutchev exclaims:
What a life, what a charm
What a luxurious, bright feast for the senses!
The same word conveys all the beauty of the Neva at night:
There are no sparks in the blue sky,
Everything fell silent in pale charm,
Only along the pensive Neva
Moonlight flows.
But, in turn, nature itself is capable of experiencing the charms of higher powers, also endowed with the ability to “cast charm”:
Through the azure darkness of the night
The Alps look snowy;
Their eyes are dead
They reek of icy horror.
They are fascinated by some power,
Before the dawn rises,
Dormant, menacing and foggy,
Like fallen kings!..
But the East will only turn red,
The disastrous spell ends -
The first one in the sky will brighten
The eldest brother's crown.
The amazing beauty of nature can appear as the influence of witchcraft powers: “At night, / Multi-colored lights burn quietly. / Enchanted nights, / Enchanted days.”
The life of the world and nature in Tyutchev’s poetry is subject not only to mysterious witchcraft, but also to the play of higher powers, incomprehensible to humans. “Game” is another typically Tyutchev word in his landscapes. The verb “play” almost invariably accompanies Tyutchev’s descriptions of both natural phenomena and humans. In this case, “game” is understood as completeness vitality, and not as acting (or “acting”). A star plays (“On the Neva”, 1850), nature (“ Snowy mountains”, 1829), life (“Quietly flowing in the lake...”, 1866), plays with life and people, young, full of strength girl (“Play while I’m above you...”, 1861). Thunder plays (in probably the most famous Tyutchev poem):
I love thunderstorms at the beginning of May,
When the first thunder of spring
As if frolicking and playing,
Rumbling in the blue sky.
Young peals thunder,
The rain is splashing, the dust is flying,
Rain pearls hung,
And the sun gilds the threads.
A swift stream runs down the mountain,
The noise of birds in the forest is not silent,
And the noise of the forest, and the noise of the mountains -
Everything cheerfully echoes the thunder.
You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky,
Laughing, she spilled it on the ground.
In this poem, “game” is the central image: heavenly forces, thunder and the sun play, birds and a mountain spring cheerfully echo them. And all this joyful play of earthly and heavenly forces appears as a consequence of the play of the goddess Hebe, the goddess of eternal youth. It is characteristic that in early edition there was no image of “game”: the thunder only “rumbled” cheerfully, although the feeling of fullness of life, fullness natural forces The poet expressed it in the original version of the text:
I love thunderstorms at the beginning of May,
How fun is spring thunder
From one end to another
Rumbling in the blue sky.
But it is the image of the “game” that brings completeness and integrity to this picture of the spring riot of forces, uniting the earthly and heavenly, natural and divine worlds into a single whole.
Playing nature is a motif that is also based on the representation of nature by a living creature. But, it is important to note that “game” is a property of only higher powers. The antithesis of the “game” of nature, the fullness of its vital forces, is “sleep” - a property of more primitive world. The mountains and the sky are playing - the earth is dozing:
It's already midday
Shoots with sheer rays, -
And the mountain began to smoke
With your black forests.
<...>And meanwhile, half asleep
Our low world, devoid of strength,
Imbued with fragrant bliss,
In the midday darkness he rested, -
Grief, like dear deities,
Over the dying earth,
The icy heights are playing
With the azure sky of fire.
As researchers of Tyutchev’s work rightly noted, the poet paints a thunderstorm more than once. Perhaps because a thunderstorm embodies that state of natural life when “a certain excess of life” is visible (“There is silence in the stuffy air...”). Tyutchev is especially attracted - both in the life of nature and in human life - by the feeling of the fullness of being, when life is full of passions and “fire”, “flame”. That is why the ideal of human existence for Tyutchev correlates with combustion. But in late lyric poetry Tyutchev's thunderstorm is perceived not as a game of gods and elements, but as an awakening of demonic natural forces:
The night sky is so gloomy
It was clouded on all sides.
It's not a threat or a thought,
It’s a lethargic, joyless dream.
Just lightning fires,
Igniting in succession,
Like demons are deaf and dumb,
They are having a conversation with each other.
It is no coincidence that in this poem there are no images of playing nature and playing gods. The thunderstorm is likened to its antithesis - sleep, sluggish, joyless. It is also no coincidence that nature loses its voice: a thunderstorm is a conversation between deaf and dumb demons - fiery signs and ominous silence.
Tyutchev, like the ancient philosophers, considers Enmity and Love to be the main elements of existence. Higher powers most often hostile to humans. And natural phenomena are in open and hidden hostility among themselves. Tyutchev’s worldview can be conveyed with the help of his own images: the poet strives to show the “unification, combination, fatal fusion and fatal duel” of all the forces of existence. Winter and Spring are at enmity with each other (“It’s not for nothing that Winter is angry...”), West and East. But at the same time, they are inseparable, they are parts of a single whole:
Look how the west has flared up
Evening glow of rays,
The faded East has dressed
Cold, gray scales!
Are they at enmity with each other?
Or the sun is not the same for them
And, in a motionless environment
Sharing doesn't unite them?
Enmity does not cancel the feeling of the unity of existence, its unity: the Sun unites the world, the beauty of the world has its source - Love:
The sun is shining, the waters are sparkling,
Smile in everything, life in everything,
The trees tremble joyfully
Bathing in the blue sky.
The trees sing, the waters glisten,
The air is dissolved with love,
And the world, the blooming world of nature s,
Intoxicated with the abundance of life<...>
This poem clearly reveals one of the features of Tyutchev’s landscapes: constant verbs, participating in the description of nature, become “shine” or “shine”. These verbs from Tyutchev carry a special semantic load: they affirm the idea of unity - fusion, unity of water and light, nature and the sun, every natural phenomenon and the sun:
All day long, like in summer, the sun warms,
The trees shine with diversity,
And the air is a gentle wave,
Their splendor cherishes the old.
And there, in solemn peace,
Unmasked in the morning
The White Mountain is shining,
Like an unearthly revelation.
The same meaning and the same ideal meanings are contained in the epithet “rainbow” or its synonym “fire-colored”. They mean the absolute fusion of earth and sky, sun and earthly nature.
Clearly feeling nature as something eternal, manpower, Tyutchev strives to look behind the veil that hides it. Every natural phenomenon reveals this being full of life:
Not cooled down by the heat,
The July night shone...
And above the dim earth
The sky is full of thunder
Everything was trembling in the lightning...
Like heavy eyelashes
Rising above the ground
And through the fugitive lightning
Someone's menacing eyes
Sometimes they caught fire...
Addressing A.A. Fet, Tyutchev wrote in 1862: “Beloved by the Great Mother, / Your destiny is a hundred times more enviable - / More than once under the visible shell / You have seen her in person...” But he himself was fully characterized by this ability to “see” the Great Mother - Nature, her secret essence under the visible shell.
That invisible force that stands behind every natural phenomenon can be called Chaos. Like the ancient Greeks, Tyutchev perceives him as a living being. This is the fundamental principle of existence, hidden in daytime by the thinnest veil and awakening at night and in bad weather in nature and in man. But Tyutchev himself does not wax poetic about Chaos; he correlates the ideal of the world order with another concept - “system”, i.e. with harmony:
There is melodiousness in the sea waves,
Harmony in spontaneous disputes,
And the harmonious musky rustle
Flows through the shifting reeds.
Equanimity in everything,
Consonance is complete in nature<...>
It is the absence of this “system” in the life of a person - a “thinking reed” that causes the poet’s bitter reflection. By calling man a “thinking reed,” the poet emphasizes his kinship with nature, his belonging to it, and at the same time his special place in the natural world:
Only in our illusory freedom
We are aware of the discord with her.
Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed grumbles.
“Musical” images (melody, choir, musical rustle, consonance) convey the essence mysterious life peace. Nature is not only a living, breathing, feeling, unified being, but internally harmonious. Each natural phenomenon is not only subject to the same laws for all, but also to a single structure, a single harmony, a single melody.
However, Tyutchev also poetizes the violation of the “eternal order”, when the “spirit of life and freedom”, “inspiration of love” bursts into the “strict order” of nature. Describing the “unprecedented September” - the return, the invasion of summer, the hot sun into the autumn world, Tyutchev writes:
Like a strict order of nature
Gave up his rights
Spirit of life and freedom,
Inspirations of love.
As if forever inviolable,
The eternal order was broken
And loved and beloved
The human soul.
Among the constant images used by the poet in his description of natural phenomena is “smile.” For the poet, a smile becomes the embodiment of the greatest intensity of life - both man and nature. A smile, like consciousness, are signs of life, soul in nature:
In this gentle radiance,
In this blue sky
There is a smile, there is consciousness,
There is a sympathetic reception.
It is interesting to note that Tyutchev strives to show the world, as a rule, at the two highest moments of his life. Conventionally, these moments can be designated as a “smile of ecstasy” and a “smile of exhaustion”: the smile of nature at a moment of excess strength and the smile of exhausted nature, the smile of farewell.
The smile of nature is the true essence of nature. Researchers note that in Tyutchev’s lyrics one can find, as it were, different images world: a harmonious world, permeated with the sun, world of the dead, a frozen, menacing, stormy world in which chaos awakens. But another observation seems equally accurate: Tyutchev strives to capture the world in its highest moments. Such highest moments are represented by blossoming and withering - birth, the rebirth of the world in spring and autumn withering. Both worlds are filled with “charm”: exhaustion, fatigue of nature is as constant a theme of Tyutchev’s poetry as spring revival. But, important detail, Tyutchev, trying to convey the charm of nature, speaks of her smile - triumphant or tired, farewell:
I look with tender sympathy,
When, breaking through from behind the clouds,
Suddenly through the dotted trees,
With their old and weary leaves,
A lightning beam will burst forth!
How fadingly cute!
What a delight it is for us,
When, what bloomed and lived like this,
Now, so weak and frail,
Smile for the last time!..
Equally significant for Tyutchev is nature’s ability to cry. Tears are as much a sign of true life for Tyutchev as a smile:
And holy tenderness
With the grace of pure tears
It came to us like a revelation
And it resonated throughout.
GENRE ORIGINALITY. Tyutchev's lyrics gravitate, firstly, to the odic tradition poetry XVIII V. and, secondly, to the type of elegy that was created by Zhukovsky. Tyutchev’s lyrics are connected with the ode (primarily spiritual) by a strong interest in the metaphysics of the human and the divine, in the theme of “man and the universe,” and with the elegy - the type of hero. Actually, the originality of the artistic world of Tyutchev’s poetry lies in the fact that in it the elegiac hero, with his loneliness, melancholy, suffering, love dramas, premonitions and insights, is introduced into the range of problems of the spiritual ode.
At the same time, however, Tyutchev does not borrow compositional forms neither the ode, nor even the elegy. It focuses on the form of a fragment or passage. The poetics of the fragment, substantiated by the German romantics, frees the artist from the need to follow any specific canon, allowing for the mixing of heterogeneous literary material. At the same time, the fragmentary form, expressing the idea of incompleteness and openness of the artistic world, always implies the possibility of completeness and integrity. Therefore, Tyutchev’s “fragments” gravitate towards each other, forming a kind of lyrical diary, replete with gaps, but also “fastened” by a whole series stable motives, which, of course, vary and transform in different contexts, but at the same time retain their meaning throughout creative path Tyutchev, ensuring the unity of his artistic world.
MOTIVES. A man on the edge of the abyss. Strictly speaking, this motif appears in Russian poetry long before Tyutchev (cf., for example, “Evening Reflection on God’s Majesty” by Lomonosov). But it was Tyutchev who brought him to the center of the artistic world. The consciousness of Tyutchev the lyricist is catastrophic in the sense that he is interested precisely in the self-consciousness of a person who is, as it were, on the border of life and death, the fullness of meaning and nonsense, ignorance and omniscience, the reality of habitual, familiar, everyday and mystery hidden in the depths of life. The abyss into which Tyutchev’s hero peers or listens so intently and with bated breath is, of course, the abyss of the Cosmos, the Universe enveloped in mystery, the incomprehensibility of which beckons and at the same time frightens and repels. But at the same time, it is an abyss, the presence of which a person feels in his own soul. Compare: “Oh, don’t sing these terrible songs / About ancient chaos, about your dear one! / How greedily the world of the night soul / Listens to the story of its beloved!” (“What are you howling about, night wind?”, 1836).
Catastrophe, struggle and death. The catastrophism of Tyutchev’s thinking was associated with the idea that true knowledge about the world is available to a person only at the moment of destruction, the death of this world. Political disasters, “civil storms” seem to reveal the plan of the gods, the meaning of the mysterious game they started. One of the most indicative poems in this regard is “Cicero” (1830), in which we read: “Happy is he who visited this world / In its fatal moments - / He was called by the all-good, / As an interlocutor to a feast; / He is a spectator of their high spectacles, / He was admitted to their council / And alive, like a celestial being, / He drank immortality from their cup!” “Fatal minutes” are the time when the border between the human world and the Cosmos becomes thinner or disappears altogether. Therefore, a witness and participant in a historical catastrophe turns out to be a “spectator” of the same “lofty spectacles” that are observed by their organizers, the gods. He stands next to them, because the same “spectacle” is open to him, he feasts at their feast, is “admitted” to their council and joins immortality.
But a witness to historical upheavals can also be a participant in them; he can take part in the struggle of some forces of his time. This struggle is assessed in two ways. On the one hand, it is meaningless and useless, since all the combined efforts of mortals are ultimately doomed to death: “Anxiety and labor are only for mortal hearts... / For them there is no victory, for them there is an end” (“Two Voices”, 1850). On the other hand, understanding the impossibility of “victory” does not exclude understanding the need for “struggle.” In the same poem we read: “Take courage, O friends, fight diligently, / Although the battle is unequal, the struggle is hopeless.” It is a person’s ability to wage this “hopeless struggle” that turns out to be perhaps the only guarantee of his moral worth; he becomes on a par with the gods who envy him: “Let the Olympians with an envious eye / Look at the struggle of unyielding hearts. / Who, while fighting, fell, defeated only by Fate, / He snatched the victorious crown from their hands.”
Mystery and intuition. The mystery hidden in the depths of Space is, in principle, unknowable. But a person can approach it, to realize its depth and authenticity, through intuitive insight. The fact is that man and the Cosmos are connected by many invisible threads. Man is not just merged with the Cosmos; the content of the life of the Cosmos is, in principle, identical to the mysterious life of the soul. Compare: “Just know how to live within yourself - / There is the whole world in your soul<...>” (“Silentium!”). Therefore, in Tyutchev’s lyrics, firstly, there is no clear boundary between “external” and “internal”, between nature and human consciousness, and, secondly, many natural phenomena (for example, wind, rainbow, thunderstorm) can play a kind of mediating role , be perceived as signs of the mysterious life of the human spirit and at the same time as signs space disasters. At the same time, approaching a mystery does not entail its full disclosure: a person always stops before a certain boundary that separates the known from the unknowable. Moreover, not only is the world unknowable to the end, but also one’s own soul, whose life is filled with magic and mystery (“There is a whole world in your soul / Mysteriously magical thoughts<...>” (“Silentium!”; italics in quotes hereinafter are mine. - D.I.).
Night and day. Tyutchev’s contrast between night and day is, in principle, consistent with romantic tradition and is one of the forms of delimiting the “daytime” sphere of the everyday, everyday, earthly and “night” world of mystical insights associated with the life of the Cosmos. At the same time, the “daytime” world is connected with vanity, noise, night - with the theme of self-comprehension: “Only know how to live in yourself - / There is a whole world in your soul / Mysteriously magical thoughts; / They will be deafened by the noise from outside, / The rays of day will disperse them<...>” (“Silentium!”). Day can be associated with the “brilliant” shell of nature, with the jubilation of vital forces (for example, “Spring Waters”, 1830), with the triumph of harmony and reason, night - with chaos, madness, melancholy. At the same time, the moment of transition from day to night (or vice versa), when reality everyday life loses its distinct outlines, colors fade, what seemed obvious and unshakable turns out to be unstable and fragile. Compare: “The gray shadows mixed, / The color faded, the sound fell asleep - / Life, movement resolved / Into the unsteady darkness, into a distant roar...” (“The gray shadows mixed...”, 1836). At the same time, the very border between man and nature, the soul yearning to merge with the world and oblivion, and the world that has lost its strict contours and fallen into sleep, is lost, cf. in the same place: “An hour of inexpressible melancholy!.. / Everything is in me, and I am in everything... /<...>Feelings are the haze of self-forgetfulness / Fill them over the edge!.. / Let them taste destruction, / Mix them with the slumbering world!” The “mist” that obscures the soul is, of course, the same “twilight” into which “life” and “oblivion” are “resolved.”
Loneliness - natural state hero of Tyutchev's lyrics. The reasons for this loneliness are not rooted in social sphere, they are not associated with conflicts like “poet-crowd”, “ personality-society" Tyutchev's loneliness has a metaphysical nature; it expresses the confusion and melancholy of a person in the face of the incomprehensible riddle of existence. Communication with another, understanding another in Tyutchev’s world are impossible in principle: true knowledge cannot be “translated” into everyday language, it is found in the depths of one’s own “I”: “How can the heart express itself? / How can someone else understand you? / Will he understand what you live for? / A spoken thought is a lie” (“Silentium!”). The motive of loneliness is therefore naturally associated with the motives of silence, internal concentration, even a kind of secrecy or closeness, hermeticity (“Be silent, hide and conceal / And your feelings and dreams<...>” (“Silentium!”).
Nature. Nature extremely rarely appears in Tyutchev simply as a landscape, as a background. First of all, she is always active.” actor”, it is always animated and, secondly, it is perceived and depicted as a certain system of signs or symbols more or less understandable to humans space life(in this regard, Tyutchev’s lyrics are often called “natural philosophical”). A whole system of symbols emerges, performing a kind of intermediary function, connecting the world human soul with the worlds of nature and space (key, fountain, wind, rainbow, sea, thunderstorm - see, for example, “What are you howling about, night wind?..”, “Fountain”, “Silentium!”, “ Spring thunderstorm”, “There is a melodiousness in the sea waves...”, “How unexpected and bright...”). Tyutchev the landscape painter is attracted transition states nature: for example, from day to night (“The gray shadows mixed...”) or from one season to another (“Spring waters”). Not statics, but dynamics, not peace, but movement, not a selection of one-dimensional details, but the desire for diversity, sometimes for paradoxical combinations, are characteristic of Tyutchev’s landscapes (cf., for example, in the poem “Spring Waters”: “the snow is still turning white”, but the “messengers of spring” have already appeared). It is significant in this regard that Tyutchev’s nature lives simultaneously according to the laws of “linear” and “cyclical”, “circular” time. Thus, in the poem “Spring Waters,” the theme of linear time, stated in the first two stanzas (the transition from winter to spring), is supplemented in the final, third, theme of cyclical time (“<...>May days / Ruddy, bright round dance”). It is interesting to note in this regard that Tyutchev is very characteristic of appealing to the earth and sky, to natural phenomena, to the elements (for example: “What are you howling about, night wind?..”).
Earth and sky. The earthly and the heavenly are clearly opposed in Tyutchev’s poetry and at the same time closely interconnected, the “heavenly” is reflected in the “earthly”, as the “earthly” in the “heavenly”. This connection is revealed, as a rule, in a situation of historical catastrophe, when earthly man becomes an “interlocutor” of the “celestials” (“Cicero”), or a natural disaster (“You will say: windy Hebe, / Feeding Zeus’s eagle, / A thunderous cup from the sky, / Laughing, spilled on the ground” (“Spring Thunderstorm”)). Often the antithesis of earthly and heavenly is associated with the theme of death, cf.: “And the sky is so incorruptible and pure, / So boundless above the earth<...>” (“And the coffin was lowered into the grave...”).
Memory. This motive can be interpreted in two ways. On the one hand, memory is perhaps the only guarantee of a person’s moral identity, on the other hand, it is a source of painful suffering. Tyutchev's hero, like Zhukovsky's hero, dreams not of the future, but of the past. It is in the past that, for example, the happiness of love remains, the memories of which cause pain (“Oh, how murderously we love...”). It is significant that some of Tyutchev’s “love” poems from beginning to end are constructed in the form of a memory (“I knew the eyes, - oh, these eyes!..”).
Love. Tyutchev’s love lyrics are autobiographical and, in principle, can be read as a kind of intimate diary, which reflected his stormy romances with Ernestina Dernberg, who became his wife, and later with E.A. Deniseva. But this is a special kind of autobiography: in Tyutchev’s “love” poems we will not find, of course, any direct references to the heroines of these novels. It is significant that even the composition of the so-called “Denisiev cycle” cannot be determined reliably (there is no doubt that, for example, the poem “Oh, how murderously we love...” belongs to this cycle, but the question of belonging to it such things as “I knew the eyes - oh, these eyes!..” and “Last love”). Autobiographicalism love lyrics Tyutchev suggested the poeticization not of events, but of experiences.
In Tyutchev's poetic world, love is almost always a drama or even a tragedy. Love is incomprehensible, mysterious, full of magic: “I knew the eyes - oh, these eyes! / How I loved them - God knows! / I couldn’t tear my soul away from their magical, passionate night” (“I knew the eyes - oh, those eyes!..”). But the happiness of love is short-lived; it cannot withstand the blows of fate. Moreover, love itself can be understood as a sentence of fate: “Fate was a terrible sentence / Your love was for her” (“Oh, how murderously we love...”). Love is associated with suffering, longing, mutual misunderstanding, heartache, tears (for example, in the poem “Oh, how murderously we love...”: “Where did the roses go, / The smile of the lips and the sparkle of the eyes? / They scorched everything, burned out the tears / With their flammable moisture”), and finally, with death. Man has no power over love, just as he has no power over death: “Let the blood in your veins be scarce, / But tenderness in the heart may not be scarce... / O you, last love! / You are both bliss and hopelessness” (“Last Love”).
COMPOSITION TECHNIQUES. Focusing on the form of a lyrical fragment or excerpt, Tyutchev strove for harmony of composition, “planned construction” (Yu.N. Tynyanov). Compositional techniques which he constantly resorts to are repetition (including framing), antithesis, symmetry.
Repetition usually emphasizes the main theme of the poem, for example the onset of spring in “Spring Waters” (“Spring is coming, spring is coming!”) or silence and inner concentration in “Silentium!”, where each stanza ends with the call “and be silent,” with the first stanza and begins with this word (“Be silent, hide and conceal”). Wed. the poem “Oh, how murderously we love...”, where the last stanza is a repetition of the first. Antithesis organizes the narrative, providing a certain sequence of alternation of various semantic plans (rest - movement, sleep - reality, day - night, winter - summer, south - north, external - internal, earthly - heavenly, etc.). Symmetry can emphasize either a situation of dialogue or dispute with oneself or with an imaginary interlocutor (for example, “Two Voices”, “Silentium!”), or the significance of comparing the human world and the natural world, earthly and heavenly. Tyutchev’s predilection for two-stanza (for example, “What are you howling about, night wind?..”, “The gray shadows mixed ...”) and four-stanza constructions, which provide the possibility of symmetrical construction, has long been noted.
STYLE. Tyutchev strives to combine odic (oratorical) intonations with elegiac ones, archaic vocabulary with “neutral” ones, with cliches of elegiac poetry. Following Zhukovsky, he plays on the objective meanings of words, shifting attention to their emotional burden, mixing visual images with auditory, tactile (“tactile”), even olfactory. For example: “Quiet twilight, sleepy twilight, / Flows into the depths of my soul, / Quiet, languid, fragrant, / Fills and calms everything” (“The gray shadows mixed...”). "Twilight" is here<...>becomes not so much a designation of incomplete darkness, but rather an exponent of a certain emotional state"(B.Ya. Bukhshtab). Following the traditions of odic poetry (Lomonosov, Derzhavin), Tyutchev strives for aphorism, creates “didactic” formulas (“A thought expressed is a lie,” “Happy is he who visited this world / In his fatal moments”), actively uses “high” book vocabulary, often Church Slavonic origin (“wind”, “conceal”, “one”, “uttered”, etc.), rhetorical questions, exclamations, appeals, complex epithets (such as “firestar”, “loud boiling”). Quick change intonation is Tyutchev’s favorite technique; one of the means of its implementation is the use of different poetic meters within one text (for example, the combination of iambic with amphibrach in “Silentium!”).
From the earliest adolescence the famous and beloved poet Fedor Tyutchev began to build his socio-political career, and at the age of 19 he left for Germany as part of an entire diplomatic mission
Analysis of Tyutchev's poem Gray shadows mixed...
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Analysis of Tyutchev's poem Summer Evening
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Fyodor Ivanovich Tyutchev is the greatest Russian poet of the 19th century, who clearly reflected in his work the burning themes relating to nature, love, harmony, and human feelings and natural phenomena are inextricably linked in his poems. At first glance, it may seem that his works are simple - and, in fact, at times in their lightness they resemble a babbling brook - but in fact they should be read, carefully thinking about every line.
In his poetry, Tyutchev reflected the problems of the time in which he lived, the complexity and realism of life, and all his poems are imbued with sharpness of thought and tension. It is not without reason that a thunderstorm occupies a significant place in Tyutchev’s works - a symbol of something alarming, to some extent even tragic. In his poems you can generally see a lot symbolic images, although he was more inclined to realism, researchers of his work establish connections between poems and events in the poet’s life, taking into account who this or that work was dedicated to.
In his early work Tyutchev imitated Pushkin, but very soon his poems acquired a special individuality. He usually wrote in iambic bimeter, which must be why the poems seem so easy. It was Pushkin who drew public attention to the then little-known poet by publishing his poems in his magazine Sovremennik. Tyutchev's poems immediately appealed to the public, his love lyrics were especially highly valued.
Turgenev noted that each poem of this budding poet began with a thought that appeared under the influence of a very strong feeling, which was ignited by a spark and spilled out onto paper. In addition, the poet’s thoughts were closely intertwined with nature and relentlessly followed it. The “Denisevsky cycle” became especially significant in his love work.
In Tyutchev’s poems, contradictions and comparisons are also clearly visible: for example, he believed that man brings destruction to nature, and nature without interference human hand- a strong and powerful creature. Man is weak in comparison with nature, but at the same time Tyutchev glorifies the extraordinary strength of the human spirit, his freedom of thought.
Now, many years later, reader interest continues to appeal to Tyutchev’s work: those who want to understand the mystery of this poet’s beautiful poetry turn again and again to his works. Some poems amaze only with the beauty of their descriptions of nature - for example, “Autumn Evening”, others are poems with deep philosophical overtones: “Vision”, “ The Last Cataclysm" But all the works of this great poet are still for a long time will have a place of honor in Russian literature.
