Features of creativity
“Tyutchev was not prolific as a poet (his legacy is about 300 poems). Having started publishing early (from the age of 16), he was published rarely, in little-known almanacs, in the period 1837-47. wrote almost no poetry and generally cared little about his reputation as a poet.” (Mikhailovsky, 1939, p. 469.)
“Melancholy,” testified I.S. Aksakov, - constituted, as it were, the main tone of his poetry and his entire moral being... As often happens with poets, torment and pain became the strongest activators for Tyutchev. The poet, who had been silent for fourteen years, not only returned to literary activity, but it was after the death of E.A. Denisyeva, in his seventh decade, when poets finally run out of steam, created his best poems... He had no “creative ideas,” hours allotted for work, notebooks, drafts, preparations, in general, everything that is called creative work. He didn't pore over poetry. He wrote down his insights on invitations, napkins, postal sheets, in random notebooks, just on scraps of paper that came to hand. P.I. Kapnist testified: “Tyutchev, thoughtfully, wrote a sheet at a meeting of the censor board and left the meeting, leaving it on the table.” If Kapnist had not picked up what he wrote, they would never have known “No matter how difficult the last hour is...”. Unconsciousness, intuitiveness, improvisation are the key concepts for his work.” Garin, 1994, vol. 3, p. 324, 329, 336-337, 364.)
Although Tyutchev’s poetry is divided thematically into political, civil, landscape, love lyrics, it is often stipulated that this division is conditional: behind the different thematic layers there is a single principle of seeing the world - philosophical.
F. I. Tyutchev as a poet-philosopher
He has not only thinking poetry, but poetic thought; not a reasoning, thinking feeling - but a feeling and living thought. Because of this, the external artistic form is not put on his thought, like a glove on a hand, but has grown together with it, like a covering of skin with the body; it is the very flesh of thought. (I.S. Aksakov).
Each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a deep feeling or strong impression; as a result of this, Mr. Tyutchev’s thought never appears naked and abstract to the reader, but always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inextricably. (I.S. Turgenev).
Political lyrics by F. I. Tyutchev
The poet, without whom, according to Leo Tolstoy, “one cannot live,” until the end of his days was and recognized himself as a politician, diplomat, and historian. He was constantly at the center of the political and social life of Europe, the world, Russia, even on his deathbed he asked: “What political news has arrived?” He was a contemporary of the War of 1812, the Decembrist uprising, the “dark seven years” in Russia, the revolutions of 1830 and 1848 years in the West. The politician Tyutchev observed and assessed events, the poet spoke of his time as a fatal era.
Blessed is he who visited this world in its fatal moments!
"Cicero", 1830
At the same time, Tyutchev the poet does not have poems about specific historical events. There is a philosophical response to them, a detachment, a transcendental nature of their vision, the view not of a participant, but of a contemplator of events.
He was not a supporter of revolutions, any coups, and did not sympathize with the Decembrists:
O victims of reckless thought, You hoped, perhaps, That your blood would become scarce, To melt the eternal pole! Barely, smoking, she sparkled
On the centuries-old mass of ice, the iron winter died - and not a trace remained.
Perhaps the poet’s life itself, the eternal desire to combine opposite principles, determined his vision of the world. The idea of duality, the dual existence of man and nature, the discord of the worlds lies at the heart of the philosophical lyrics and thoughts of Tyutchev the poet.
The feeling of a person being on the edge, on the border of two worlds, the expectation and feeling of catastrophe became the main theme of Tyutchev’s philosophical lyrics.
Landscape lyrics
Man and nature, Tyutchev believes, are united and inseparable, they live according to the general laws of existence.
Thought after thought; wave after wave -
Two manifestations of one element:
Whether in a cramped heart, or in a boundless sea,
Here - in captivity, there - in the open -
The same eternal surf and rebound,
The same ghost is still alarmingly empty.
“Wave and Thought”, 1851.
Man is a small part of nature, the universe, he is not free to live according to his own will, his freedom is an illusion, a ghost:
Only in our illusory freedom
We are aware of the discord.
“There is a melodiousness in the waves of the sea,” 1865.
Discord created by man himself leads to disharmony of his being, inner world, to discord between man and the outside world. Two opposing principles are created: one is the embodiment of darkness, chaos, night, abyss, death, the other is light, day, life. For example, in the poem “Day and Night,” the two-part composition correlates with the main motifs of the poem by alternating day and night, light and darkness, life and death.
But the day fades - night has come;
Came from the world of fate
Fabric of blessed cover,
Tearing it off, it throws it away
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
"Day and Night", 1839
Tyutchev's lyrical hero is constantly on the edge of worlds: day and night, light and darkness, life and death. He is afraid of the gloomy abyss, which at any moment can open before him and swallow him up.
And the man is like a homeless orphan,
Now he stands weak and naked,
Face to face before the dark abyss.
“The holy night has risen into the sky,” 1848-5s
During the day, even in the evening light, the world is calm, beautiful, harmonious. Many of Tyutchev’s landscape sketches are about this world. There are in the initial autumn
A short but wonderful time -
The whole day is like crystal,
And the evenings are radiant
1857
There are in the brightness of autumn evenings
Sweet, mysterious beauty
1830
At night the darkness comes and reveals itself
The horror of the abyss, death, tragedy
The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we are floating in a burning abyss
Surrounded on all sides.
“How the ocean envelops the globe,” 1830.
The theme of man as a small particle of the universe, which is unable to resist the power of universal darkness, fate, fate, originates from poetry
Lomonosov, Derzhavin, will be continued in the poems of poets of the early twentieth century..
Enchantress in winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute
He shines with a wonderful life.
1852
Love lyrics. Addressees of love lyrics
Addressees of Tyutchev's love lyrics
The poet's first wife was Eleanor Peterson, née Countess Bothmer. From this marriage there were three daughters: Anna, Daria and Ekaterina.
Widowed, the poet married Ernestine Dernberg, née Baroness Pfeffel, in 1839. Maria and Dmitry were born to them in Munich, and their youngest son Ivan was born in Russia.
In 1851 (he was already familiar with Denisyeva), Tyutchev wrote to his wife Eleonora Fedorovna: “There is no creature in the world smarter than you. I have no one else to talk to... Me, who speaks to everyone.” And in another letter: “... although you love me four times less than before, you still love me ten times more than I am worth.”
Two years after the death of her husband, Eleanor Fedorovna accidentally found in her album a piece of paper signed in French: “For you (to sort it out in private).” Next came the poems written in the same 1851:
I don’t know if grace will touch
My painfully sinful soul,
Will she be able to rise up and rebel,
Will the spiritual fainting pass?
But if the soul could
Find peace here on earth,
You would be a blessing to me -
You, you, my earthly providence!..
Tyutchev's love for Elena Denisyeva brought the poet both great happiness and greatest sorrow. Tyutchev's feeling was subject to the laws of his existence and creativity. Love united life and death, happiness and sorrow, and was a roll call of worlds.
The “double existence” of the split human soul is most clearly expressed in Tyutchev’s love lyrics.
In 1850, 47-year-old Tyutchev met twenty-four-year-old Elena Alexandrovna Denisyeva, a friend of his daughters. Their union lasted for fourteen years, until Deniseva’s death, and three children were born. Tyutchev left a confession of his love in poetry.
“No one had created such a deep female image, endowed with individual psychological traits, in lyric poetry before Tyutchev,” says Lev Ozerov. “In its nature, this image echoes Nastasya Filippovna from Dostoevsky’s “The Idiot” and Tolstoy’s Anna Karenina.”
For fourteen years Tyutchev led a double life. Loving Denisieva, he could not part with his family.
In moments of passionate feeling for Denisyeva, he writes to his wife: “There is no creature in the world smarter than you and I have no one else to talk to.”
The sudden loss of Elena Alexandrovna, the series of losses that followed her death, aggravated the feelings of a milestone, the boundaries of worlds. Love for Denisyeva is death for Tyutchev, but also the highest fullness of being, “bliss and hopelessness,” a “fatal duel” of life and death:
Here I am wandering along the high road
In the quiet light of the fading day
It's hard for my legs to freeze
My dear friend, do you see me?
It's getting darker, darker above the ground -
The last light of the day has flown away
This is the world where you and I lived,
My angel, can you see me?
Genre originality of F. I. Tyutchev’s lyrics
Literary critic Yu. Tynyanov was the first to notice, and many researchers agreed with him, that F. Tyutchev’s lyrics are not characterized by the division of poems into genres. And the genre-forming role for him is played by the fragment, “the genre of an almost extra-literary passage.”
A fragment is a thought, as if snatched from a stream of thoughts, a feeling - from a surging experience, from a continuous flow of feelings, an action, an action - from a series of human deeds: “Yes, you kept your word,” “So, I saw you again,” “The same thing happens in God’s world.”
The shape of the fragment emphasizes the endless flow, movement of thought, feeling, life, history. But all of Tyutchev’s poetics reflects the idea of universal endless movement, the basis of the poem is often fleeting, instantaneous, fast-flowing in the life of man and nature:
And how, as a vision, the outside world left.
Century after century flew by.
How unexpected and bright
On the wet blue sky
Aerial arch erected
In your momentary triumph.
Features of the composition of lyrical poems
Tyutchev’s idea of confrontation and, at the same time, the unity of the worlds of nature and man, the external and internal worlds, is often embodied in the two-part composition of his poems: “Predestination”, “Cicero”, “The earth still looks sad” and many others.
Another compositional technique of the poet is a direct depiction of feelings - this is Denisev’s cycle, some landscape sketches.
Sand flowing up to your knees
We eat - it's late - the day is fading,
And pine trees, along the road, shadows
The shadows have already merged into one.
Blacker and more often deep boron -
What sad places!
The night is gloomy, like a stoic animal,
Looks out from every bush!
Lyric style
Tyutchev's lyrics are characterized by extreme compression of the space of the verse, hence its aphorism.
You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia.
November 28, 1866 Under the influence of the classic poets of the 18th century, Tyutchev’s lyrics contain many rhetorical questions and exclamations:
Oh, how many sad moments
Love and joy killed!
Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?
Perhaps, under the impression of his studies with S. Raich, in his poems Tyutchev often refers to mythological, ancient images: “unconsciousness, like
Atlas, crushing the land...", windy Hebe, feeding Zeus' eagle"
When speaking about Tyutchev’s poetic style, the term “pure poetry” will later be used.
(Philosophical lyricism is a rather conventional concept. This is the name given to deep reflections in poetry about the meaning of existence, about the fate of man, the world, the universe, about the place of man in the world. Poems by Tyutchev, Fet, Baratynsky, Zabolotsky are usually classified as philosophical lyricism...)
"Pure poetry"
In all poets, next to direct creativity, one hears doing, processing. Tyutchev has nothing done: everything is created. That is why some kind of external negligence is often visible in his poems: there are words that are outdated, out of use, there are incorrect rhymes, which, with the slightest external finishing, could easily be replaced by others.
This determines and partly limits his significance as a poet. But this also gives his poetry a special charm of sincerity and personal sincerity. Khomyakov - himself a lyric poet - said and, in our opinion, rightly, that he does not know any other poems, except Tyutchev's, that would serve as the best image of the purest poetry, which would be so thoroughly, durch und durch, imbued with poetry. I.S. Aksakov.
Characteristics of Tyutchev's creativity, Tyutchev's creativity, features of Tyutchev's creativity, Tyutchev's creativity
Fyodor Ivanovich Tyutchev (1803 - 1873) - famous Russian poet, diplomat and publicist. Author of more than 400 poems.
Early years
Fyodor Ivanovich Tyutchev was born on November 23 (December 5), 1803 in the Ovstug estate, Oryol province.
In Tyutchev’s biography, primary education was received at home. He studied the poetry of Ancient Rome and Latin. Then he studied at the University of Moscow in the department of literature.
After graduating from the university in 1821, he began working at the College of Foreign Affairs. As a diplomat he goes to Munich. Subsequently, the poet spends 22 years abroad. Tyutchev’s great and most important love in life, Eleanor Peterson, was also met there. In their marriage they had three daughters.
The beginning of a literary journey
The first period in Tyutchev’s work falls on the years 1810-1820. Then youthful poems were written, very archaic and similar to the poetry of the last century.
The second period of the writer’s work (20s - 40s) is characterized by the use of forms of European romanticism and Russian lyrics. His poetry during this period became more original.
Return to Russia
And in 1844 Tyutchev returned to Russia. Since 1848, he has held the position of senior censor at the Ministry of Foreign Affairs. At the same time, he takes an active part in the Belinsky circle, whose participants also included Ivan Turgenev, Nikolai Nekrasov, Ivan Goncharov and others.
The third period of his work was the 50s - early 70s. Tyutchev's poems did not appear in print during this period, and he wrote his works mainly on political topics.
The biography of Fyodor Tyutchev in the late 1860s was unsuccessful both in his personal life and in his creative life. The collection of Tyutchev's lyrics, published in 1868, did not gain much popularity, to put it briefly.
Death and legacy
Troubles broke him, his health deteriorated, and on July 15, 1873, Fyodor Ivanovich died in Tsarskoye Selo. The poet was buried in St. Petersburg at the Novodevichy cemetery.
Tyutchev's poetry numbers a little more than 400 poems. The theme of nature is one of the most common in the poet’s lyrics. So landscapes, dynamism, diversity of seemingly living nature are shown in such works by Tyutchev: “Autumn”, “Spring Waters”, “Enchanted Winter”, as well as many others. The image of not only nature, but also the mobility, power of streams, along with the beauty of water against the sky, is shown in Tyutchev’s poem “Fountain”.
Tyutchev's love lyrics are another of the poet's most important themes. A riot of feelings, tenderness, and tension are manifested in Tyutchev’s poems. Love, as a tragedy, as painful experiences, is presented by the poet in poems from a cycle called “Denisyevsky” (composed of poems dedicated to E. Denisyeva, the poet’s beloved).
Tyutchev's poems, written for children, are included in the school curriculum and are studied by students of different classes.
By the nature of his main occupation, Tyutchev was not a poet, but a diplomat, official and even a censor. He considered poetic creativity to be a secondary matter in his life, and even called it fun. I never sought publication of my poems.
The first collected works of the poet were published only many years after his death, in 1913, when his poetry (already at the height of the Silver Age) became closer in spirit. He, like A.A. Fet, seemed to be ahead of his time by about half a century. In the 19th century, readers were more interested in narrative and journalistic lyrics of the Nekrasov type. And Tyutchev’s philosophical lyrics, capacious in thought and full of contradictions, were a kind of door to the poetry of the early twentieth century.
F.I. Tyutchev is a master of lyrical miniature. His poems are like philosophical sketches, original parables. He is a poet-philosopher, but not gloomy and rational, but passionate and sensual.
Tyutchev's poems have a secret, inner meaning, not transparent clarity. In addition, the poet, as a highly educated person, often turns to mythological, historical subjects and images. Therefore, to read his works you need a certain cultural preparation (for example, the poems “Cicero”, “Two Voices”, “Noon”, “Columbus”, etc.).
His poetic vocabulary is not distinguished by sophisticated sophistication. The rhymes are quite simple and often not very precise, there are few deep metaphors, and unexpected epithets. But at the same time, the poet achieves high musicality and a strong emotional and intellectual impact on the reader. What's the secret?
Firstly, let us note the paradoxical nature of phrases and poetic constructions: “We love with murder”, “In an obsolete heart has come to life”, “You are both bliss and hopelessness”, “Smiles of tenderness of your tormented soul.”
Secondly, a feature of Tyutchev’s poetic language is a strong craving for completeness of judgments, vivid aphorism:
You were the living organ of the gods,
But with blood in his veins... sultry blood.
You are like my first love,
The heart will not forget Russia!..
Anxiety and labor are only for mortal hearts...
Who, while fighting, fell, defeated only by Fate,
He snatched the victorious crown from their hands.
Oh, how murderously we love!
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!
(“Oh, how murderously we love!..”)
Oh, how in our declining years
We love more tenderly and more superstitiously...
O you, last love!
You are both bliss and hopelessness.
("Last Love")
There is in the initial autumn
A short but wonderful time...
(“There is in autumn...”).
Just as other poets have, for example, poems that present a holistic, developed metaphor, so in Tyutchev you can find entire aphorism poems: “You can’t understand Russia with your mind…”, “Wave and Thought”, “Human Tears…”, “Fountain” and etc.
Many of Tyutchev's poems were set to music and became romances. This is no coincidence. Tyutchev's lyrics are extremely musical. The secrets of this musicality are in the euphony of the poems and the skillful use of full or partial repetitions characteristic of song poetry (“I met you...”, etc.).
REPORT ON LITERATURE
COMPLETED BY A 10th “K” CLASS STUDENT
SCHOOL-LYCEUM No. 43
EKHILEVSKY ALEXANDER
FEDOR IVANOVICH TYUTCHEV
O my prophetic soul!
O heart full of anxiety,
Oh, how you beat on the threshold
As if double existence!..
F.I.Tyutchev
Yutchev is probably, along with Pushkin, one of the most quoted poets.
His poems “You can’t understand Russia with your mind...” and “I love a thunderstorm in early May...” are perhaps known to everyone. Turgenev's prophecy is coming true:
“Tyutchev created speeches that are not destined to die.” Fyodor's poems are close
Ivanovich Tyutchev and my heart.
Although during his lifetime he was not a generally recognized poet, in our time he occupies an important place in Russian literature. Well, among most of his contemporaries, Tyutchev’s poems were considered far from the spirit of the times, and in form they seemed either too archaic or too bold. And he himself did not seem to value the fame of a poet, showing surprising indifference to the publication and editing of his works.
Fyodor Ivanovich Tyutchev was born on December 5 (November 23), 1803 in the village of Ovstug, Oryol province, into the family of the hereditary Russian nobleman I.N. Tyutchev. Tyutchev early discovered his extraordinary gifts for learning. He received a good education at home, which since 1813 was led by S.E. Raich, a poet-translator, an expert in classical antiquity and Italian literature. Under the influence of his teacher, Tyutchev became involved in literary work early and already at the age of 12 he was successfully translating
Horace.
In the poetic field, Tyutchev began to shine from the age of fourteen, when at the Society of Lovers of Russian Literature, the most authoritative scientist Merzlyakov read his poem “The Nobleman,” although very imitative, but filled with civil indignation against
"son of luxury":
...And you still dared with your greedy hand
Take away daily bread from widows and orphans;
It is hopeless to expel a family from their homeland!…
Blind! The path of wealth leads to destruction!...
In 1819, a free adaptation of the “Message” was published
Horace to the Maecenas" is Tyutchev’s first speech in print. In the fall of 1819, he entered the literature department of Moscow University: he listened to lectures on the theory of literature and the history of Russian literature, on archeology and the history of fine arts.
After graduating from the university in 1821, Tyutchev went to St. Petersburg, where he received a position as a supernumerary official of the Russian diplomatic mission in Bavaria. In July 1822 he went to Munich and spent 22 years there.
Abroad, Tyutchev translates Schiller and Heine, and this helps him acquire his own voice in poetry and develop a special, unique style. In addition, there he became close friends with the romantic philosopher
Friedrich Schelling and the freedom-loving poet Heinrich Heine.
A significant event in the poet’s literary life was the selection of his poems in Pushkin’s Sovremennik (24 poems), published in 1836 under the title “Poems sent from
Germany."
Then there is a long pause in Tyutchev’s publications, but it was at this time that his political worldview was finally formed. IN
1843-1850 Tyutchev spoke with political articles “Russia and
Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, and is planning a book “Russia and the West”.
In the fall of 1844, Tyutchev finally returned to his homeland. In 1848, he received the post of senior censor at the ministry, and in 1858 he was appointed chairman of the “Foreign Censorship Committee.”
Since the late 40s, a new rise in Tyutchev’s lyrical creativity began. N.A. Nekrasov and I.S. Turgenev put him on a par with Pushkin and Lermontov. 92 poems by Fyodor Ivanovich were published as an appendix to the Sovremennik magazine. In one of the issues of the magazine, an article by I.S. Turgenev “A few words about the poems of F.I. Tyutchev” was published, containing a prophecy: Tyutchev “created speeches that are not destined to die.” Further appreciation of poetry
Tyutchev will be expressed by writers and critics of various literary groups and movements. All this meant that fame had come to Tyutchev.
However, among all his contemporaries - from Pushkin and
Lermontov to Nekrasov and Dostoevsky, Chernyshevsky and Leo Tolstoy
- he was at least a professional writer. From the age of twenty until his death, that is, half a century, he was an official, quite carelessly regarding his official duties. But all my life I was heated by the political unrest of the time.
Changes and failures in his personal life, disappointment in the viability of the Russian state (after defeat in the Crimean War of 1853-1856) led to the fact that the second collection of his poems, published in 1868, did not cause such a lively response in Russian life. At the end of 1872, the poet's health deteriorated sharply, and a few months later he died.
The second “resurrection” of Tyutchev began at the turn of the 19th-20th centuries, when the established school of Russian symbolists proclaimed him as their predecessor. The era of symbolism cemented the perception of Tyutchev as a classic of Russian literature.
Comprehension of Tyutchev occurred as the connection between the most intimate, individual experiences of a person with the non-stop search for social thought, with the incessant movement of history was increasingly realized. Tyutchev became necessary for the reader as a new, universal and complex human personality was formed in the cleansing storms of the early 20th century.
V.I. Korovin in his book “Russian Poetry of the 19th Century” writes:
“Tyutchev thinks in terms of chaos and space, he is attracted to the tragic states of the world. He conveys eternity through the instantaneous, the general through the special and exceptional. The specificity of Tyutchev’s artistic thinking lies in the fact that he understood the struggle between the eternal and the perishable as the law of motion and is equally applicable to all events and phenomena, historical, natural, social, and psychological, without exception. This gives Tyutchev’s lyrics the highest significance, since in any phenomenon a universal philosophical meaning is revealed.”
The artistic fate of the poet is unusual: this is the fate of the last Russian romantic, who worked in the era of the triumph of realism and still remained faithful to the precepts of romantic art. Romanticism
Tyutchev's work is formed, first of all, in the depiction of nature.
The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, the image of nature and the thought about nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and his thought acquires expressiveness.
Tyutchev’s nature is changeable and dynamic. She knows no peace, everything is in the struggle of opposing forces, she is multifaceted, full of sounds, colors, smells. The poet's lyrics are imbued with admiration for the greatness and beauty, infinity and diversity of the natural kingdom.
Nature in Tyutchev’s poems is spiritualized and humanized. 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 continuous action.
One of the most striking examples of Tyutchev’s skill as a landscape painter is the poem “Autumn Evening.” The poem is clearly generated by domestic impressions and the sadness they cause, but at the same time it is permeated with Tyutchev’s tragic thoughts about the lurking storms of chaos:
There are in the brightness of autumn evenings
Touching, mysterious charm:
The ominous shine and diversity of trees,
Crimson leaves languid, light rustle,
Misty and quiet azure
Over the sadly orphaned land
And, like a premonition of descending storms,
Gusty, cold wind at times,
Damage, exhaustion - and everything
That gentle smile of fading,
What in a rational being we call
Divine modesty of suffering.
The short, twelve-line poem is not so much a description of the uniqueness of an autumn evening as a generalized philosophical reflection on time. It should be noted that not a single point interrupts the excitement of thought and observation; the entire poem is read in prayerful adoration before the great sacrament, before the “divine modesty of suffering.”
The poet sees a gentle smile of decay on everything. The mysterious beauty of nature absorbs both the ominous shine of the trees and the dying purple of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind sweeps with a premonition of storms.
Behind the visible phenomena of nature, “chaos stirs” invisibly - the mysterious, incomprehensible, beautiful and destructive depth of the primordial. And in this single breath of nature, only man realizes
the “divinity” of her beauty and the pain of her “shameful suffering.”
A year before writing “Autumn Evening,” Tyutchev created
"Summer Evening" These poems are closely related, although written in different keys:
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 them
The vault of heaven has been lifted
With your wet heads.
The river of air is fuller
Flows between heaven and earth,
The chest breathes easier and more freely,
Freed from the heat.
And a sweet thrill, like a stream,
Nature ran through my veins,
How hot are her legs?
The spring waters have touched.
I want to compare these two poems. First of all, I would like to draw your attention to the fact that in the poem “Autumn Evening” the sky is almost not mentioned. On the contrary, it talks about the earth and everything connected with it: trees, leaves. Only once does Tyutchev speak of azure, but “foggy and quiet.” It looks like she's about to fall on
the “orphaned” earth, the sky is tired. In the poem “Summer Evening,” the author practically does not mention the earth, but talks more about the sky and stars. Everything strives upward, to get off the ground. I have highlighted all concepts related to the sky in bold. The stars “raise” the firmament (in “Autumn Evening” it “fell”; in the same poem they raise it even higher than it was). The entire poem “Summer Evening” is written in halftones: the stars “raised” the sky, “a thrill ran through the veins,” the earth “rolled down” the sun. There are no sudden movements in the poem, everything is smooth and slow. In “Autumn Evening” everything is the other way around: gusts of wind, storms. The poet is tormented by forebodings and anxieties, while in “Summer Evening” everything is peaceful, “the chest breathes easier and more freely.” In this poem, light, calm colors predominate, while in “Autumn Evening” they are dark, blurry, gloomy.
Contrasts are generally characteristic of Tyutchev’s work.
He often created works that were opposite in mood and thought, as happened with the poems “Autumn Evening” and
"Summer Evening" In them one can outline several directions of antithesis: top-bottom; light-dark; life-death; calm-storm. It seems to me that by comparing these poems I was able to show how
Tyutchev could perfectly depict completely different landscapes, different states of nature and through them the variability of human states.
The man in Tyutchev's poetry is twofold: he is weak and majestic at the same time. Fragile, like a reed, doomed to death, powerless in the face of fate, he is great in his craving for the infinite. For the poet, the greatness of a person who found himself a participant in, or at least a witness to, decisive historical events is undeniable.
In Tyutchev’s lyrics, a person realizes a previously unimaginable and frightening freedom: he realized that there is no God above him, that he is alone with nature - hope for “sympathy from heaven” has been lost. A person “longs for faith, but does not ask for it,” since “there is no point in prayer.” Tyutchev often expresses motives of humanistic despair - he mourns the fragility of the human race. But his poetry is always dominated by the voice of a fighter challenging fate.
Tyutchev is looking for a strong and real support for the human soul - an understanding of life as a whole, its general meaning, general laws. He does not accept a mechanical description of the world; the poet perceives nature and man as a living unity:
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.
Nature, like man, lives, according to Tyutchev, on its own. Tyutchev constantly compares man with nature - and often, it would seem, not in favor of man: human life is fragile, insignificant - nature is eternal, imperishable; nature is characterized by internal harmony, “a calm order in everything” - man is divided, contradictory. However, the poet’s poems do not simply state the weakness of a person - they give rise to a painful feeling of discord with the world around him and a restless thought:
Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?
Tyutchev’s nature helps a person understand himself, appreciate the significance of purely human qualities in himself: consciousness, will, individuality, and see that the elements of the soul depend on them. Consciousness itself seems to enhance a person’s “helplessness,” but the disharmony generated by thought does not humiliate, but elevates him. Consciousness awakens the need for a “higher life”, a thirst for the ideal.
One of the central themes in Tyutchev's lyrics was the theme of love.
For him, love 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. 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 the hopes awakened by love with your whole life, 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 “Denisyev” cycle - a cycle of poems written by Tyutchev as a response to his romance with
E.A. Deniseva. 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,
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 fair reproach!..” a woman loves
“sincerely and passionately,” and the man recognizes himself only as a “lifeless idol” of her soul. Thus, in the intimate lyrics of the late 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 Tyutchev's intimate lyrics, 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.”
The entire poetic activity of Tyutchev, which lasted half a century, from
20s to 70s, was closely connected with the political events with which the life of Russia and Western Europe was rich. Tyutchev was involved in politics as a diplomat, but he had an unofficial passion for politics. Russia seemed to him as an unshakable rock, opposing the waves of the “revolutionary” West. He writes poetry promoting the union of the Slavs under the Russian Tsar and the Orthodox Church. The Crimean War shattered this utopia. Faith in the Russian Tsar also disappeared. But until the end of his days, the poet remained with hope for Russia, faith in its special historical role:
You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia.
And Tyutchev believed... He believed that Russia would bring unity and brotherhood to the world, he believed in the enormous strength and enormous potential of his people.
Many of Tyutchev’s poems are imbued with ardent love for the Motherland and the people.
Everyone remembers his poignant lines about his native land of long-suffering, about a Russian woman whose life “will pass unseen,” about human tears - inexhaustible and numerous.
A manifestation of the search for a way out of the turmoil of history, an attempt to assess the current fatal situation, can serve as a poetic response
Tyutchev for the publication of the verdict in the Decembrist case. Already in this topical political poem, Tyutchev appears as a “poet of thought,” that is, a poet-philosopher. Hence, there is some difficulty in deciphering the deep meaning of his creation.
The very first line of the poem seems mysterious: “You have been corrupted by Autocracy.” Imbued with the pathos of condemnation, the line is essentially ambiguous. Judging by the fact that the word “Amocracy” begins with a capital letter, it would be natural to assume that autocracy, according to the poet’s thoughts, is to blame for the tragedy on Senate Square, because it “corrupted” the people. The question arises: with what. Either by the vicious nature of their state system, or by complacent connivance. By “arbitrary power” one can also understand the boldness of the plans of the rebels, their arbitrariness.
One can see greater certainty in the following lines:
The people, shunning treachery,
Blasphemes your names -
And your memory from posterity,
Like a corpse buried in the ground.
The emotional connotation of these phrases seems to indicate a protective-loyal condemnation of the enemies of the throne. But in these lines we no longer see direct appeal, the author’s assessment - they seem to be impersonal. And again there is ambiguity: it is not the Decembrists who are “treacherous”, but the people who shun what the law declares to be treachery, treason, and is subject to oblivion - the memory of the fallen is “buried from posterity.”
O victims of reckless thought,
Maybe you hoped
That your blood will become scarce,
To melt the eternal pole!
Barely, smoking, she sparkled
On the centuries-old mass of ice,
The iron winter has died -
And there were no traces left.
Here we see a slightly different assessment of autocracy. It
“eternal pole”, “mass of ice”; crazy, but not at all
“treacherous”, but rather heroic, appears to us as an attempt to melt the dead mass of ice with the “scanty blood” of a handful of doomed daredevils.
The result is tragic: the “iron winter” is endless. However, I would like to especially draw attention to the phrase “eternal pole”. I specifically highlighted it in bold. This line is extremely important for understanding Tyutchev’s position. Yes, he wants change, but he does not believe, does not want and resists a change in the autocratic system. For him it is a symbol of greatness
Russia, Tyutchev sincerely believes that Russia can only exist under a monarchy. That is why he represents autocracy as the “eternal pole”
- You can change the shape of the ice, but the pole will never disappear. Hence the duality of Tyutchev’s position in this poem.
The condemnation of Decembrism in “December 14, 1825” turned out to be so ambiguous that the outwardly protective poem, written on the topic of the day, was published only 56 years after its creation, eight years after the death of its author, when the movement of noble romantic revolutionaries had long since retreated to history, and the noble revolutionism turned out to be exhausted.
It seems to me that, unlike the revolutionary movement, poetry
Tyutchev's work will never be exhausted, because everyone, reading his poems, discovers something of their own. G.K. Shchennikov in an article about Tyutchev said: “Tyutchev’s poetry is a living heritage that serves people even today.
Tyutchev is especially close to our contemporaries with his belief in the limitless possibilities of man. Tyutchev’s lyrics give rise to tension of feelings and thoughts.”
And I would like to conclude my report with the statement
Y.M. Lotman, who surprisingly accurately defined the difference between F.I. Tyutchev and A.A. Fet, with whom he is often compared: “Using cinematic terms, Fetov’s lyrics can be likened to frozen frames or panoramic photography, while Tyutchev loves editing points of view."
LIST OF REFERENCES USED:
1. Gorelov A.E.
Three destinies.-L.: Soviet writer, 1980. - 625 p.
2. Tyutchev F.I.
Collected works/Preface by G.K. Shchennikov.
Sverdlovsk: Middle Ural Book Publishing House, 1980. - 224 pp., illus.
3. Korovin V.I.
Russian poetry of the 19th century.-M.: Knowledge, 1983.- 128 p.
4. Literature: School Student's Handbook
/ Comp. N.G. Bykova.-M.: Philological Society
“Slovo”, 1995.- 576 p.
5. Lotman Yu.M.
About poets and poetry.-SPb.: “Art-SPb”, 1996. -848 p.
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FEDOR IVANOVICH TYUTCHEV.
LIFE AND CREATIVITY
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Tyutchev, whose aesthetic views and poetic principles took shape in the 20s and early 30s, of course, was not opposed to the publication of literary works, but he saw their main purpose in self-awareness and self-expression of the individual. It is this feature of Tyutchev’s work that can explain the fact that his conservative Slavophile political views, which he set out in special articles and left their mark on his diplomatic activities, were almost not reflected at all in his philosophical and intimate lyrics. Tyutchev represents a rare phenomenon in Russian literature of a poet, in whose work poems containing a direct expression of the poet’s political ideas are of secondary importance.
His poetry was least of all declarative. It reflected the living existence of the knowing mind, its quests, impulses, passions and suffering, and did not offer ready-made solutions.
Nature has always been a source of inspiration for Tyutchev. His best creations are poems about nature. His landscapes in the poems: “How joyful is the roar of summer storms”, “What are you bending over the waters, willow, the top of your head...”, “Clouds are melting in the sky...” and others - rightfully included in the golden fund of Russian and world literature. But mindless admiration of nature is alien to the poet; he searches in nature for what makes him in common with man. Tyutchev’s nature is alive: it breathes, smiles, frowns, sometimes dozes, and is sad. She has her own language and her own love; it is characteristic of the same thing as the human soul, therefore Tyutchev’s poems about nature are poems about man, about his moods, worries, anxieties: “There is silence in the stuffy air...”, “The stream has thickened and is dimming”, “The appearance of the earth is still sad ..." and others.
The first cycle of poems was published in 1836 in Pushkin’s Sovremennik magazine, which highly praised Tyutchev as a poet, and critics started talking about Tyutchev only 14 years later.
Tyutchev's contribution to literature was not immediately appreciated. But those who were masters of words themselves understood that a new poet, unlike others, had appeared in Russia. Thus, I. S. Turgenev wrote: “A poet can tell himself that Tyutchev created speeches that are not destined to die.” His first collection was small - only 119 poems. But as Fet said,
Muse, observing the truth,
She looks, and on the scales she has
This is a small book
There are many heavier volumes.
F. M. Dostoevsky noticed “the vastness of Tyutchev’s poetry, to whom sultry passion, stern energy, deep thought, morality and the interests of public life are accessible.”
Tyutchev often “went” to the primary sources of the Universe, in this he is “more extensive” than the creativity of, for example, Nekrasov. Tyutchev always has two principles: the world and man. He tried to solve the cosmic “ultimate” questions, and therefore turned out to be interesting not only for the 19th century, but also for the 20th.
Behind every natural phenomenon, the poet senses its mysterious life.
The world of Tyutchev's poetry is revealed (this was noted by Pushkin) only in the complex of many poems. With him, even where there is only a separate landscape, we always find ourselves, as it were, in front of the whole world.
There is in the initial autumn
A short but wonderful time -
The whole day is like crystal
And the evenings are radiant...
In this real picture of autumn there is something from the promised land, from the bright kingdom. Such epithets as “crystal” and “radiant” are not accidental. “Only a web of fine hair” is not only a noticed detail, a real sign, it is something that serves the perception of the entire vast world, right down to the thin web.
Tyutchev's lyrics are one-heroic. But what is noteworthy is that there is a person in it, but there is no hero in the usual sense of the word. The personality in his poetry is represented as the entire human race, but not as a race as a whole, but as everyone in this race.
Hence the second feature of Tyutchev - dialogicity. There is a constant debate going on in the poems.
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 poet's love lyrics are also remarkable. Tyutchev, as noted by Z. Gippius, was one of the first to shift the main attention to the woman when depicting love. It is difficult to name another poet other than Tyutchev, in whose lyrics an individual female image is clearly outlined.
Tyutchev was no stranger to social themes, although very often he was ranked among the “Parnassians,” champions of “pure art.” Indeed, the problem of the people, as such, in the 50-40s. Tyutchev does not occupy the 19th century, but by the end of the 50s. Radical changes are planned in the poet's worldview. He writes about the rotten imperial power and likens the fate of Russia to a ship that has run aground. And only “the wave of people’s life is able to lift it and put it into motion.”
These poor villages
This meager nature -
The native land of long-suffering,
You are the land of the Russian people.
The principle of faith was and forever remained alive for Tyutchev:
Above this dark crowd
Of the unawakened people
Will you ever rise, freedom,
Will your golden ray shine?..
In the 50s, Tyutchev moved closer to Nekrasov in his depiction of nature.
Thus, in the poem “There is in the primordial autumn...” Tyutchev’s harmony of surrounding existence is associated with the laboring peasant field, with the sickle and furrow:
And pure and warm azure flows
To a resting field.
Tyutchev does not penetrate into the most popular peasant life, like Nekrasov in “The Uncompressed Strip,” but this is no longer an abstract allegory.
Tyutchev forever remains a poet of tragic spiritual quest. But he believes in the true values of life:
You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia.
For him, the spirit goes further than thought, so “thought” cannot understand Russia, but “spirit” helps to believe in it.
For him, his homeland is not an abstract homeland. This is a country that he sincerely loved, although he lived away from it for a long time. It is here, in the sense of the mystery of people's life, that two such different Russian poets - Tyutchev and Nekrasov - are most close.
So, Tyutchev’s poetry is extremely broad both in subject matter and in the scope of the problems raised in it. Not shying away from social themes, Tyutchev at the same time created a deeply lyrical, intimate world. In his poems, he spoke about the beauty of the world, the greatness of the Creator, and also about the need to restore harmony between the natural world and man. He called for intuitive knowledge of the world, for “listening” to nature, for man to again feel like an organic part of the universe.
Tyutchev's work was a major stage in the development of Russian literature. It opened a new page in it, became a prologue to the work of such poets as A. Blok, A. Bely, V. Bryusov, and predetermined the great breakthrough that was made in the era of the “Silver Age” of Russian poetry.
