Famous children's works by Tyutchev. F. I. Tyutchev and his works

Silentium! (“Be silent, hide and conceal...”)

Madness (“Where with the burnt earth...”)

“Away from the sun and nature...” (To a Russian woman)

“The great day of Kirill’s death...”

Spring waters (“The snow is still white in the fields...”)

Spring thunderstorm (“I love thunderstorms in early May...”)

“Here from sea to sea...”

Two unities (“From the cup overflowing with God’s wrath...”)

“There are two forces - two fatal forces...”

Day and Night (“On the Mysterious World of Spirits...”)

“The soul would like to be a star...”

“There is in the primordial autumn...”

“There are in the brightness of autumn evenings...” (Autumn evening)

“The snow is still white in the fields...” (Spring waters)

“The earth still looks sad...”

“I am still tormented by the anguish of desires...”

“The merry day was still roaring...”

“Hello with lively sympathy...”

“It’s not for nothing that winter is angry...”

“Both the sea and the storm rocked our boat...” (Dream at sea)

“And there is no feeling in your eyes...”

“From the cup overflowing with God’s wrath...” (Two unities)

“So, I saw you again...”

To N. N. (“You love! You know how to pretend...”)

K. B. (“I met you - and all the past ...”)

“Like a pillar of smoke brightens in the heights!..”

“Like over hot ashes...”

“How good you are, O night sea...”

“When surrounded by murderous worries...”

“When there is no God’s consent...”

“When nature’s last hour strikes...” (The Last Cataclysm)

Sea horse (“O zealous horse, oh sea horse...”)

Swan (“Let the eagle behind the clouds...")

“The hazy afternoon lazily breathes...” (Noon)

Leaves (“Let the pines and spruces...")

“I love your eyes, my friend...”

“I love thunderstorms at the beginning of May...” (Spring thunderstorm)

“Love, love - says legend...” (Predestination)

“Be silent, hide and conceal...” (Silentium!)

“Moscow, and the city of Petrov, and the city of Constantine...” (Russian geography)

“On the mysterious world of spirits...” (Day and Night)

“Over the ancient Russian Vilna...”

“We can’t predict...”

“Don’t believe, don’t trust the poet, maiden...”

“You don’t know what is more flattering for human wisdom...”

“I don’t know if grace will touch...” ()

“Not what you think, nature...”

"Reluctantly and timidly..."

“No, patience is the measure...” (On the occasion of the arrival of the Austrian Archduke at the funeral of Emperor Nicholas)

“Oh, how in our declining years...” (Last Love)

“Oh, how murderously we love...”

“O zealous horse, oh sea horse...” (Sea Horse)

“What are you howling about, night wind?..”

"She was sitting on the floor..."

“The Roman orator said...” (Cicero)

Autumn evening (“There are in the brightness of autumn evenings...”)

Reply to the address (“You, friends, are fooling yourself rudely...”)

“The flame is glowing, the flame is burning...”

On the occasion of the arrival of the Austrian Archduke for the funeral of Emperor Nicholas (“No, long-suffering is the measure...”)

Noon (“The hazy afternoon lazily breathes...")

The last cataclysm (“When nature’s last hour strikes...”)

Last love (“Oh, how in our declining years...”)

Predestination (“Love, love - says legend...")

“Let the eagle behind the clouds...” (Swan)

“Let the pines and spruces...” (Leaves)

Russian geography (“Moscow, and the city of Petrov, and the city of Constantine ...”)

To a Russian woman (“Away from the sun and nature...”)

“With what sadness, with what melancholy, in love...”

“The kite rose from the clearing...”

“You are fooling yourselves, friends, rudely...” (Response to the address)

“Tears of men, oh tears of men...”

“Look, like a living cloud...” (Fountain)

Dream at sea (“Both the sea and the storm rocked our boat...”)

“Where the mountains are, running away...”

“Where with the burnt earth...” (Madness)

"The gray shadows mixed..."

"Quiet night, late summer..."

"You like! You know how to pretend...” (To N. N.)

“You can’t understand Russia with your mind...”

Fountain (“Look, like a living cloud...”)

Cicero (“The Roman orator said...”)

"What did you pray with love..."

(“I don’t know if grace will touch...”)

"These poor villages..."

“I met you - and everything of the past...” (K.B.)

“Bright snow shone in the valley...”

Tyutchev Fedor Ivanovich was born on November 23 (December 5, n.s.) in the Ovstug estate, Oryol province, into an old noble family of the middle estate. My childhood years were spent in Ovstug, my youth were connected with Moscow.

Home education was supervised by the young poet-translator S. Raich, who introduced the student to the works of Russian and world poets and encouraged his first poetic experiments. At the age of 12, Tyutchev was already successfully translating Horace.

In 1819 he entered the literature department of Moscow University and immediately took an active part in its literary life. After graduating from the university in 1821 with a candidate's degree in literary sciences, at the beginning of 1822 he entered the service of the State Collegium of Foreign Affairs.

A few months later he was appointed an official at the Russian diplomatic mission in Munich. From that time on, his connection with Russian literary life was interrupted for a long time.

Tyutchev will spend twenty-two years abroad, twenty of them in Munich. Here he gets married, here he meets the philosopher Schelling and becomes friends with G. Heine, becoming the first translator of his poems into Russian.

In 1829 - 30, Tyutchev's poems were published in Raich's magazine "Galatea", which testified to the maturity of his poetic talent ("Summer Evening", "Vision", "Insomnia", "Dreams"), but did not bring fame to the author.

Tyutchev's poetry first received real recognition in 1836, when his 16 poems appeared in Pushkin's Sovremennik.

In 1837 he was appointed first secretary of the Russian mission in Turin, where he experienced his first bereavement: his wife died. In 1839 he entered into a new marriage. Tyutchev's official misconduct (unauthorized departure to Switzerland to marry E. Dernberg) puts an end to his diplomatic service. He resigns and settles in Munich, where he spends another five years without any official position. He is persistently looking for ways to return to service.

In 1844 he moved with his family to Russia, and six months later he re-enlisted in the Ministry of Foreign Affairs. In 1843 - 50 he published political articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, concluding that a clash between Russia and the West is inevitable and the final triumph of the “Russia of the future”, which seems to him “all-Slavic” empire.

In 1848 - 49, caught up in events political life, he writes such beautiful poems as “Reluctantly and timidly...”, “When in the circle of murderous worries...”, “To a Russian woman”, etc., but does not seek to publish them.

The beginning of Tyutchev’s poetic fame and the impetus for his active work was Nekrasov’s article “Russian minor poets” in the Sovremennik magazine, which spoke about the talent of this poet, not noticed by critics, and the publication of 24 poems by Tyutchev. The poet received real recognition.

The first collection of poems was published in 1854, and in the same year a series of poems about love dedicated to Elena Denisyeva was published. The “lawless” relationship of the middle-aged poet in the eyes of the world with his daughter, who was the same age as him, lasted for fourteen years and was very dramatic (Tyutchev was married). In 1858 he was appointed chairman of the Committee of Foreign Censorship, more than once acting as an advocate for persecuted publications. Since 1864, Tyutchev suffered one loss after another: Denisyev died of consumption, a year later - two of their children, his mother.

In Tyutchev's work from 1860 to 70, political poems and small poems predominate - "in case" ("When the decrepit forces ...", 1866, "To the Slavs", 1867, etc.). The last years of his life were also overshadowed by heavy losses: his eldest son, brother, and daughter Maria died. The poet's life is fading. On July 15 (27 n.s.) 1873 in Tsarskoe Selo Tyutchev died.

Fyodor Ivanovich Tyutchev was born on December 5, 1803 in the family estate of Ovstug, Oryol province. As was customary in noble families, he received an excellent education at home with a humanitarian and literary bent. His teacher was S.E. Rajic ( brother Moscow Metropolitan Philaret). At the age of 14, Tyutchev became an employee of the Society of Lovers of Russian Literature. From 1819 to 1821 Tyutchev studied at the verbal department of Moscow University. Having completed the course, F.I. Tyutchev enters the service of the Collegium of Foreign Affairs. In 1822, Tyutchev was transferred to serve at the Russian embassy in Munich (Germany). Where he served from 1822 to 1837.
Having settled in Munich, Tyutchev falls madly in love with young Amalia von Lerchenfeld ( illegitimate daughter Prussian King Frederick William III and Princess Thurn and Taxis). Nature endowed Amalia with a beautiful appearance and the king’s daughter was not against taking any advantageous position in the world. But Tyutchev suffered a setback - as soon as he went on vacation, Amalia married his colleague, Baron Krunder. They say there was even a duel between them on this basis. Tyutchev marries Eleanor Peterson, née Countess Bothmer. Tyutchev was only 22, and the countess had recently become a widow and had four sons aged from one to seven years; moreover, Tyutchev’s chosen one was four years older than him, so they decided to hold the wedding in secret. Tyutchev lived with Eleanor for 12 years. From this union he had three daughters: Anna, Daria, Ekaterina. Career It was difficult for Tyutchev, his family was large and there was not enough money. The Tyutchevs lived from paycheck to paycheck, often getting into debt. In February 1833, Tyutchev went to a ball and met there the sister of the Bavarian publicist Pfeffel, 22-year-old Ernestina. Ernestina was married to an elderly man and, as fate would have it, he died a few days after the ball. Tyutchev falls in love with Ernestine. The poet's soul is torn between two women. He wanted to be with both his wife and Ernestina, but this was not destined to happen. Ernestine left Munich. Eleanor, having learned about her husband’s adventures, tried to commit suicide, but fortunately remained alive; later she would forgive Tyutchev’s betrayal.
From 1837 to 1839 Tyutchev served in Turin (Italy). The poet lived abroad for 22 years, only occasionally coming to Russia. He was engaged in translations (including from G. Heine), his poems and translations were published in Moscow almanacs and magazines. In 1837, Tyutchev's first wife, Eleanor, dies. Two years later, the poet married Ernestine Dernberg, who adopted his daughters. Subsequently, Ernestina will give birth to Tyutchev two more sons: Dmitry and Ivan. The second marriage cost Tyutchev his career - for the wedding the poet was forced to travel to Switzerland without permission, which was strictly prohibited. Tyutchev resigned and moved again to Munich, where he lived for another five years, persistently trying to return to service in the Ministry. Tyutchev was an educated and witty person, therefore he enjoyed great success (as later in Russia) among the Munich intelligentsia and aristocracy, and was friends with Schelling and Heine (Tyutchev became the first translator of Heine into Russian). In 1844, Tyutchev returned to Russia and was restored to his rights and titles. In 1848 he returned to the diplomatic service as senior censor of the Ministry of Foreign Affairs.
In 1850, Tyutchev falls in love again. E.A. becomes his chosen one. Denisyeva is a cool lady at the institute where his daughters studied. As before, Tyutchev is torn between two loved ones. Elena Alexandrovna selflessly loved Tyutchev. The children born to Elena Alexandrovna (daughter Elena and son Fyodor) were recorded as Tyutchevs, but they were doomed to the sad fate of “illegitimate” in those days.
Since 1858, Tyutchev headed the Committee of Foreign Censorship. On May 22, 1864, Denisyeva gave birth to Tyutchev’s son Nikolai; after giving birth, her tuberculosis began to worsen and on August 4 she died in the poet’s arms. For a long time, relations with Ernestina were limited to correspondence, but then they met and the family was reunited. The last years of the poet’s life were overshadowed by heavy losses: his eldest son, brother, and daughter Maria died.
On January 1, 1873, Tyutchev, without listening to any warnings, left the house for a walk and to visit friends. Soon he was brought back paralyzed on the left side. Ernestina did not leave Tyutchev’s bedside, caring for him. Tyutchev lived for another half a year and died on July 15.

Tyutchev is one of the outstanding poets of the nineteenth century. His poetry is the embodiment of patriotism and great sincere love for the Motherland. The life and work of Tyutchev is the national heritage of Russia, its pride Slavic land and an integral part of the history of the state.

The beginning of the poet's life

The life of Fyodor Tyutchev began on December 5, 1803. The future poet was born in a family estate called Ovstug. Fyodor Ivanovich began receiving home education, studying Latin and ancient Roman poetry. At twelve years old, the boy was already translating Horace’s odes. In 1817 Tyutchev attended lectures at Moscow University (in the department of Literature).

The young man received his graduation certificate in 1821. It was then that he enlisted and was sent to Munich. He returned only in 1844.

Periodization of creative periods

The first period of creativity of Fyodor Ivanovich Tyutchev lasts from the 1810s to the 1820s. At this time, the young poet wrote his first poems, which in style resemble the poetry of the eighteenth century.

The second period begins in the second half of the 1820s and lasts until the 1840s. The poem entitled “Glimmer” already has an original Tyutchev character, which combines Russian odic poetry of the eighteenth century and traditional European romanticism.

The third period covers the 1850s - 1870s. It is characterized by the creation of a number of political poems and civil treatises.

Russia in the works of Tyutchev

Upon returning to his homeland, the poet took the position of senior censor at the Ministry of Foreign Affairs. Almost simultaneously with this, he joined Belinsky’s circle and became an active participant. The poems are being put aside for now, but a number of articles are being published in French. Among the many treatises there are “On Censorship in Russia”, “The Papacy and the Roman Question”. These articles are chapters to a book called “Russia and the West,” which Tyutchev wrote, inspired by the revolution of 1848-1849. This treatise contains the image of the thousand-year-old power of Russia. Tyutchev with great love describes his homeland, expressing the idea that it is exclusively Orthodox in nature. This work also presents the idea that the whole world consists of revolutionary Europe and conservative Russia.

Poetry also takes on a slogan connotation: “To the Slavs”, “Vatican Anniversary”, “Modern” and other poems.

Many works reflect that which is inseparable from love for the Motherland. Tyutchev had such faith in Russia and its strong inhabitants that he even wrote to his daughter in letters that she could be proud of her people and that she would certainly be happy, if only because she was born Russian.

Turning to nature, Fyodor Ivanovich glorifies his Motherland, describes every dewdrop on the grass so that the reader is imbued with the same tender feelings for his land.

The poet always managed to maintain free thoughts and feelings; he did not submit to secular morality and ignored secular decency. Tyutchev's work is shrouded in love for all of Russia, for every peasant. In his poems, he calls it the European “ark of salvation,” but he blames the king for all the troubles and losses of his great people.

Life and work of Tyutchev

The creative path of Fyodor Ivanovich spans more than half a century. During this time, he wrote many treatises and articles, including on foreign languages. Three hundred poems created by Tyutchev are placed in one book.

Researchers call the poet a late romantic. Tyutchev's creativity is special character also because for a long time he lived abroad, which made the author feel lost and alienated for many years.

Some historians and literary critics conditionally divide the life of Fyodor Ivanovich into two stages: 1820-1840. and 1850-1860

The first stage is devoted to the study of one’s own “I”, the formation of a worldview and the search for oneself in the Universe. The second stage, on the contrary, is an in-depth study of the inner world of one person. Critics call the “Denisevsky cycle” the main achievement of this period.

The main part of Fyodor Tyutchev's lyrics are poems that are philosophical, landscape-philosophical in nature and, of course, have a love theme. The latter also includes the poet’s letters to his lovers. Tyutchev's creativity also includes civil and political lyrics.

Tyutchev's love lyrics

The 1850s are characterized by the emergence of a new specific character. It becomes a woman. Love in Tyutchev’s work acquired concrete outlines; this is most noticeable in such works as “I Knew My Eyes,” “Oh, How Deadly We Love” and “Last Love.” The poet begins to study female nature, strives to understand her essence and comprehends her fate. Tyutchev's beloved girl is a person who is characterized by sublime feelings along with anger and contradictions. The lyrics are permeated with the pain and torment of the author, there is melancholy and despair. Tyutchev is convinced that happiness is the most fragile thing on earth.

"Denisevsky cycle"

This cycle also has another name - “love-tragedy”. All the poems here are dedicated to one woman - Elena Alexandrovna Deniseva. The poetry of this cycle is characterized by the understanding of love as a real human tragedy. Feelings here act as a fatal force that leads to devastation and subsequent death.

Fyodor Ivanovich Tyutchev did not take any part in the formation of this cycle, and therefore there are disputes between literary critics about who the poems are dedicated to - Elena Denisyeva or the poet’s wife - Ernestine.

The similarity between the love lyrics of the Denisyev Cycle, which is confessional in nature, and the painful feelings in the novels of Fyodor Dostoevsky has been repeatedly emphasized. Today, almost one and a half thousand letters written by Fyodor Ivanovich Tyutchev to his beloved have survived.

Nature theme

Nature in Tyutchev’s works is changeable. She never knows peace, constantly changes and is always in the struggle of opposing forces. Being in a continuous change of day and night, summer and winter, it is so multifaceted. Tyutchev spares no epithets to describe all its colors, sounds, and smells. The poet literally humanizes it, making nature so close and related to every person. In any season, everyone will find features characteristic of them; they will recognize their mood in the weather.

Man and nature are inseparable in creativity, and therefore his lyrics are characterized by a two-part composition: the life of nature is parallel to the life of man.

The peculiarities of Tyutchev’s work lie in the fact that the poet does not try to see the world through photographs or paints of artists, he endows him with a soul and tries to discern in him a living and intelligent being.

Philosophical motives

Tyutchev's work is philosophical in nature. Poet with early years was convinced that the world contained some incomprehensible truth. In his opinion, words cannot express the secrets of the universe; text cannot describe the mystery of the universe.

He seeks answers to the questions that interest him by drawing parallels between human life and the life of nature. By combining them into a single whole, Tyutchev hopes to learn the secret of the soul.

Other themes of Tyutchev’s work

Tyutchev's worldview has one more characteristic feature: the poet perceives the world as a dual substance. Fyodor Ivanovich sees two principles constantly fighting among themselves - the demonic and the ideal. Tyutchev is convinced that the existence of life is impossible in the absence of at least one of these principles. Thus, in the poem “Day and Night” the struggle of opposites is clearly expressed. Here the day is filled with something joyful, vital and infinitely happy, while the night is the opposite.

Life is based on the struggle between good and evil, in the case of Tyutchev's lyrics - the light beginning and the dark. According to the author, there is no winner or loser in this battle. And this is the main truth of life. A similar struggle occurs within a person himself; all his life he strives to learn the truth, which can be hidden both in his bright beginning and in his dark one.

From this we can conclude that Tyutchev’s philosophy is directly related to global problems, the author does not see the existence of the ordinary without the great. In every microparticle he considers the mystery of the universe. Fyodor Ivanovich Tyutchev reveals all the beauty of the world around us as a divine cosmos.

F. I. Tyutchev and his works
The peculiarities of the fate and character of F. I. Tyutchev (1803-1873) determined the unduly slow spread of his fame not only among
the general reading public, but also among contemporary writers. Leo Tolstoy recalled how in 1855 “... Turgenev, Nekrasov and Co. could barely
persuade me to read Tyutchev. But when I read it, I was simply dumbfounded by the magnitude of his creative talent.” But by that time Tyutchev was already a quarter
been printed for centuries. And, nevertheless, the honor of “discovering” Tyutchev belongs to N. A. Nekrasov, who in 1850 drew the attention of Sovremennik readers to
poems by an already middle-aged poet, which in his article he equated with the best examples“Russian poetic genius”.
Fyodor Ivanovich Tyutchev was born on November 23, 1803 in the family estate of Ovstug, Bryansk district, Oryol province. Raising him at home
was directed by the selflessly devoted poet S.E. Raich, who recalled his student: “By the thirteenth year he was already translating odes
Horace with remarkable success." At Moscow University, Tyutchev listened to lectures by the famous philologist A.F. Merzlyakov, who presented
young poet to the Society of Lovers of Russian Literature.
After graduating from university, Tyutchev entered the diplomatic service and left his homeland in the spring of 1822, only to return 22 years later.
Abroad (in Munich, then in Turin) he lives outside the Russian language element, and besides, both of the poet’s wives (In a foreign land, Tyutchev married, was widowed, married
secondly) were foreigners who did not know Russian. French was the language of his home, his office, his social circle, and finally, his
journalistic articles and private correspondence. Only poetry was written in Russian.
Occasionally, Tyutchev's poems appear on the pages of Russian periodicals, but these are usually secondary magazines and almanacs, little read
(“Urania”, “Galatea”). Only in 1836, a whole selection of his poems, although not signed full name, and with the initials F.T., printed in his
“Contemporary” Pushkin. They attracted the attention of such connoisseurs and connoisseurs of poetry as V. A. Zhukovsky, P. A. Vyazemsky, I. V. Kireevsky.
Tyutchev returned to Russia in 1844. It was an unfavorable time for poetry. After the death of Pushkin and Lermontov, it seemed that there was a “golden age”
Russian poetry ended, and new trends were noticeable in society, the answer to which was not lyrical poetry, but “positive” prose. Less and less
Poems are being published, as if interest in poetry is waning. However, Tyutchev never aspired to become a professional writer: publishers and
admirers of his work had to persuade him every time to give poetry for publication. In the 40s, Tyutchev did not publish for almost ten years, naturally
only a few admirers remember him. And only in the 50s did Nekrasov and Turgenev seem to retrieve Tyutchev’s poems from oblivion by publishing a large
a selection of them in Sovremennik. In 1654, Tyutchev’s first collection of poetry was published, and the second - also the last during his lifetime - in 1868
year.
Shortly before returning to his homeland, recalling his Moscow youth, Tyutchev wrote to his parents: “There is no doubt that if I were still on this
starting point, I would have arranged my fate completely differently.” We do not know what the poet meant, but he did not make a diplomatic career. However, not at all because
for lack of interest in politics - on the contrary, foreign policy issues have always constituted one of the main interests in Tyutchev’s life.
Evidence of this is his journalistic articles, his letters, and the memoirs of his contemporaries. Russia, its position in the world, its future - the subject
tireless attention, restless and deeply personal interest of Tyutchev: “I think that it is impossible to be more attached to your country than I am, more
constantly preoccupied with what concerns her.” The defeat of Russia in the Crimean campaign of 1855 was perceived by the poet as a personal disaster and
forced him to reconsider his attitude towards Nicholas I and the entire 30-year reign of this “tsar of the actor”, a man of “monstrous stupidity”.
Tyutchev’s domestic political views were quite traditional, but the principle of enlightened autocracy, according to his views, should
to satisfy, in essence, ideal conditions, namely: government officials should not feel like autocrats, and the tsar should not feel like an official.
Over the 70 years of Tyutchev’s life, three kings were replaced, and not a single real reign met the poet’s aspirations - this can be judged by his numerous
caustic critical statements. Vague hopes remained: “You can only believe in Russia,” hopes based on the conviction that the fate of Russia
It will not be the “foam floating on the surface” that will decide, but those powerful, invisible forces that are still “lurking in the depths.” Tyutchev had an excellent opportunity close
observe the activities of the state machine - after all, until the end of his days he was on public service(first by the senior censor at
Ministry of Foreign Affairs, and for the last fifteen years - Chairman of the Foreign Censorship Committee). In addition, the title of chamberlain imposed on
It is his duty to be at court. Tyutchev's view of the state of affairs within the country becomes more and more pessimistic over time. "IN
in government spheres, unconsciousness and lack of conscience have reached such proportions that it cannot be comprehended without seeing it with one’s own eyes,” - forced
he admits that he is in his declining years.
So, politics and public interests deeply worried Tyutchev, a statesman and diplomat: “Part of my being was identified with
known beliefs and convictions." Tyutchev’s political poems, most of them written by
“on occasion” and in accordance with his principle of “softening, and not disturbing” hearts “under the royal brocade.” These verses are significantly inferior in power and
artistry to his lyrical works, which were born from mysterious springs hidden in the depths of the soul.
The true greatness of Tyutchev is revealed in his lyrics. A brilliant artist, a deep thinker, a subtle psychologist - this is how he appears in
subsided, the themes of which are eternal: the meaning of human existence, the life of nature, the connection of man with this life, love. Emotional coloring majority
Tyutchev's poems are determined by his restless, tragic worldview. How the poet felt autocracy as the most severe disaster and grave sin
“human self” is a manifestation of individualism, cold and destructive. Hence Tyutchev’s powerless impulses towards Christianity, especially towards
Orthodoxy with its expressed idea of ​​“conciliarity”, humility and submission to fate. Illusory, illusory, fragility of human existence
- sources of constant internal anxiety of the poet. Tyutchev, a restless agnostic, in search of a stable worldview could not stick to anyone
shore. Thus, he repeatedly declared pantheism (“Not what you think, nature...”, “Noon”), but inner conviction, persistent faith in
the divine principle, beneficial and diffused everywhere, did not exist. If the pantheistic worldview of A.K. Tolstoy is characterized by optimism,
caused by the confidence that “we will all soon merge into one love...”, then Tyutchev sees the prospect of a “merger” as very bleak. In a poem
“Look, how in the expanse of the river...” the “human self” is likened to melting ice floes, which are all together - small, large, having lost their previous image,
Everyone is indifferent, like an element, They will merge with the fatal abyss!..
Twenty years later, in last years life, the image of the “all-consuming and peaceful abyss” will again appear in the poet’s poem “From that life,
what was raging here...”
In the general series of natural phenomena, man in Tyutchev’s poetry occupies the incomprehensible, ambiguous position of a “thinking reed”. Excruciating
anxiety, futile attempts to understand one’s purpose, terrifying suspicions regarding the very existence of the riddle of “nature-sphinx” and
the presence of a “creator in creation” relentlessly haunts the poet. He is oppressed by the consciousness of limitation, the powerlessness of thought, which stubbornly strives to comprehend
the eternal mystery of existence - the “invisibly fatal hand” steadily suppresses her vain and doomed attempts. In many of Tyutchev's poems it is invisible
there is a thought that tormented Pascal: “I am horrified by the eternal silence of these endless spaces.” In general, Pascal's philosophy is extremely close
Tyutchev's worldview. In his poetry there are many images and concepts found in the French philosopher, but perhaps the most basic thing is the conviction
Tyutchev that “the root of our thinking is not in a person’s speculative ability, but in the mood of his heart”, which is consonant with one of the main provisions
Pascal’s philosophy: “The heart has its own laws, which the mind does not know at all.”
The feeling of anxiety is especially aggravated at night, when the ghostly barrier - the visible world - disappears between a person and the “abyss” with its “fears and
in the darkness." A “night” person deprived of sight will have a sharper hearing; he will hear an “incomprehensible hum” or the howl of the “night wind”, which remind him of
“homeland”, but no less because of the terrible primordial chaos. The poem eloquently testifies to how keenly the poet felt that “the night is terrible.”
“Alps”, which, unlike his other works on the theme of “day and night”, lacks a philosophical sound, but is all the more striking with its gloomy images,
found by Tyutchev for the sleeping mountains: Their dead eyes reek of icy horror.
In relation to nature, Tyutchev shows, as it were, two hypostases: existential, contemplative, perceiving the world around him “with the help of five organs”
feelings”, and spiritual, thinking, striving to guess behind the visible veil great secret nature.
Tyutchev the contemplator creates such lyrical masterpieces as “Spring Thunderstorm”, “In the Initial Autumn...”, “The Enchantress of Winter...” and many
similar, short, like almost all Tyutchev’s poems, charming and imaginative landscape sketches.
Apollo Grigoriev wrote: “Pantheistic contemplation, subordinate contemplation, gravitates over the relationship to Great Russian nature, but this
subordinate contemplation and imparts to them, during the transition to creativity, their special beauty and charm.<… >In Tyutchev, for example, he builds them, these relationships,
to the depth of philosophical contemplation, to the spiritualization of nature.”
Tyutchev the thinker, turning to nature, sees in it an inexhaustible source for reflection and generalizations of the cosmic order. That's how we were born
poems “Wave and Thought”, “There is melodiousness in sea ​​waves…”, “How sweetly the dark green garden slumbers...”, etc. These works are accompanied by several
purely philosophical: “Silentium!” , “Fountain”, “Day and Night”. Philosophical lyrics Tyutcheva is least of all “head-headed” and rational. Described her perfectly
I. S. Turgenev: “Each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a feeling or a strong
impression; as a result of this, so to speak, the properties of its origin, Mr. Tyutchev’s thought never appears naked to the reader and
abstract, but always merges with an image taken from the world of the soul or nature, is imbued with it and itself penetrates it inseparably and inseparably.”
The joy of being, happy harmony with nature, serene rapture with it are characteristic primarily of Tyutchev’s poem dedicated to
spring, and this has its own pattern. Constant thoughts about the fragility of life were the poet’s constant companions. “Feelings of melancholy and horror for many years
how they became my usual state of mind” - this kind of confession is not uncommon in his letters. A constant regular at social salons, brilliant and
a witty interlocutor, a “charming talker,” according to P. A. Vyazemsky’s definition, Tyutchev was forced to “avoid at all costs during
eighteen hours out of twenty-four of any serious meeting with oneself.” And few could comprehend its complex inner world. This is how I saw it
father's daughter Tyutchev Anna: “He seems to me to be one of those primordial spirits, so subtle, intelligent and fiery, who have nothing in common with
matter, but which do not, however, have a soul. He is completely outside of any laws and rules. It is amazing, but there is something creepy and
restless."
The awakening nature of spring had the miraculous ability to drown out this constant anxiety and pacify the anxious soul
poet. The power of spring is explained by its triumph over the past and the future, the complete oblivion of past and future destruction and decay: And fear
inevitable death Not a leaf falls from the tree: Their life, like a boundless ocean, is all spilled in the present.
Glorifying spring nature, Tyutchev invariably rejoices at the rare and brief opportunity to feel the fullness of life, not overshadowed by harbingers
death - “You will not meet a dead leaf” - the incomparable joy of completely surrendering to the present moment, participation in “divine life -
worldwide." Sometimes even in the fall he imagines a breath of spring. In contrast, or rather, in preference to the dubious heavenly bliss
undeniable, reliable enjoyment of beauty spring nature, selfless rapture with her, Tyutchev is close to A.K. Tolstoy, who wrote: “God, how is this
wonderful - spring! Is it possible that in another world we will be happier than in this world in the spring!” Exactly the same feelings fill Tyutchev: What
before you is the joy of paradise, the time of love, the time of spring, the blooming bliss of May, ruddy color, golden dreams?..
Tyutchev’s lyrical landscapes bear a special stamp, reflecting the properties of his own mental and physical nature - fragile and
painful. His images and epithets are often unexpected, unusual and extremely impressive. Its branches are boring, the earth is frowning, the leaves
exhausted and decrepit, the stars talk to each other quietly, the day is growing thin, movement and rainbows are exhausted, fading nature smiles feebly and
Hilo, etc.
The “eternal order” of nature either delights or depresses the poet: Nature does not know about the past, Our ghostly years are alien to her, And before her we
We are vaguely aware of ourselves - only a dream of nature... But in our doubts and painful searches for the true relationship between the part and the whole - man
and nature - Tyutchev suddenly comes to unexpected insights: man is not always at odds with nature, he is not only a “helpless child,” but he is also
equal to her in his creative potency: Bound, united from time to time by the Union of consanguinity, The rational genius of man With the creative power of nature...
Say the cherished word - And with a new world, nature is always ready to respond to a voice akin to his.
The refined psychologism that permeates Tyutchev’s work as a more or less abstract category acquires a concrete everyday
character in the so-called Denisiev cycle of the poet. Tyutchev was 47 years old when his love evoked a reciprocal and much stronger feeling from
from the side of the young girl Elena Alexandrovna Denisyeva: More than once you have heard the confession “I’m not worth your love,” Even though she is my creation, - But how am I
poor in front of her...
Poet-thinker all his life - from early youth to last days painful old age - he lived extremely intensely with his heart. He loved and was
we love, but considered love to be an initially destructive feeling, a “fatal duel.” That is why he was sad about the fate of one of his daughters, “who should I be?”
Maybe he inherited this terrible quality, which has no name, which disrupts all balance in life, this thirst for love...”
Having fallen in love passionately and recklessly, Denisyeva completely surrendered to her feelings, turning public opinion against herself. She was destined
“a life of renunciation, a life of suffering”: Such is the light: it is more inhuman there, Where there is humane and sincere guilt.
Not only did the “light” turn away from Elena Alexandrovna, but also biological father renounced her. The main torment was that the beloved, for whose sake everything
was sacrificed, did not belong to her completely: Tyutchev not only did not break with his family, but also continued to love his wife in his own way, in every way
case, cherish it. The entire cycle of poems dedicated to Denisyeva is imbued with a heavy sense of guilt and filled with fatal forebodings. These verses do not
no ardor, no passion, only tenderness, pity, admiration for the strength and integrity of her feelings, awareness of her own unworthiness, indignation
“immortal human vulgarity.” This “last love” of Tyutchev lasted 14 years, until Denisyeva’s death, who went to her grave at the age of 38.
consumption, the course of which was aggravated and accelerated by mental suffering.
Oh, how murderously we love! How in our violent blindness We most certainly destroy that which is dear to our hearts!..
Tyutchev took the loss very hard: Life is like a shot bird, It wants to rise, but cannot...
Tyutchev wrote to Y. P. Polonsky, a friend and colleague: “My friend, now everything has been tried - nothing helped, nothing consoled - there is no life - no
whether one lives or not lives...” In the poems of the “Denisyev cycle,” Tyutchev’s characteristic lines, beginning with the bitter exclamation “Oh!” ,
defining the intonation of despair of the entire poem. There is so much suffering and torment in the poems dedicated to the memory of Elena Alexandrovna that involuntarily
consciousness, the popular concept is being killed... Yes, Tyutchev is killing himself according to Deniseva: According to her, according to her, a fate that did not overcome, But also did not give in
to win, For her, for her, who knew how to suffer, pray, believe and love to the end.
He outlived her by nine years. In these last years, Tyutchev barely has time to recover from the losses of people close to him: mother, brother, four children...
The days are numbered, the losses cannot be counted, Living life is long gone, there is no front line, and I, as I am, stand in the fatal line.
His turn came on July 15, 1873... But Tyutchev’s poems remained, which he himself valued so little and kept so carelessly, believing: In our age, poems
they live for two or three moments. Born in the morning, they will die by evening. What is there to worry about? The hand of oblivion will just complete its proofreading work.
However, the tyranny of time, which the poet felt so keenly, turned out to have no power over his work. Of course, perfection of form and significance
The content of Tyutchev's poetry requires the reader to have a certain culture and enlightenment. At one time, in an article about Tyutchev, A. Fet wrote: “The more honor
the people to whom the poet addresses such high demands. Now it’s our turn to justify his secret hopes.”

Bibliography
1) Grigoriev A. Aesthetics and criticism. - M., 1980
2) Tyutchev F.I. Selected lyrics. - M., 1986
3) Fet A. A. Works. - M., 1982