The main themes of F.I. Tyutchev’s poetry

· Theme “Poet and Poetry” (“Poetry”, We cannot predict). The poems contain the motive of the poet’s loneliness, which is not understood and sometimes not even heard by those around him.

· The theme of “man’s place in the world” (“Cicero”, “Two Voices”) Tyutchev’s lyrics affirm the timeless value of human life. Man is a particle of nature, he is dissolved in it.

· Theme of Russia (“Above this dark crowd”, “These poor villages”, “Russia cannot be understood with the mind”). The poet sees Russia as the soul of humanity. Tyutchev sees Russia’s salvation from the spiritual crisis in the Orthodox tradition.

· The theme of nature (“Not what you think, nature”, “Autumn evening”). The poet perceives natural phenomena as the actions of a living soul: the lyrical hero perceives the sufferings and joys of nature as his own.

· Theme of love (“Oh, how murderously we love..”, “Predestination”). Love is always a struggle. This “fatal duel” can cause the death of one of the lovers.

Ø Exercise. Analyze the poem by F. Tyutchev. How this is done can be found in Appendix No. 1

I met you - and everything is gone

In the obsolete heart came to life;

I remembered the golden time -

And my heart felt so warm...

Like late autumn sometimes

There are days, there are times,

When suddenly it starts to feel like spring

And something will stir within us, -

So, all covered in a breeze

Those years of spiritual fullness,

With a long-forgotten rapture

I look at the cute features...

Like after a century of separation,

I look at you as if in a dream -

And now the sounds became louder,

Not silent in me...

There is more than one memory here,

Here life spoke again, -

And we have the same charm,

And that love is in my soul!..

Topic 2.7 A.A.Fet (1820 – 1892)

Afanasy Afanasyevich Fet was born in October or November 1820 in the village of Novoselki, Oryol province. His father was a wealthy landowner A. Shenshin, his mother was Caroline Charlotte Föth, who came from Germany. The parents were not married. The boy was registered as the son of Shenshin, but when he was 14 years old, the legal illegality of this recording was discovered, which deprived him of the privileges given to hereditary nobles.

He studied at a German school in the city of Verro (now Võru, Estonia), then at the boarding school of Professor Pogodin. He graduated from the verbal department of the Faculty of Philosophy of Moscow University in 1844. Gogol gave Fet his “blessing” for serious literary work, saying: “This is an undoubted talent.” Fet’s first collection of poems, “Lyrical Pantheon,” was published in 1840 and received Belinsky’s approval, which inspired the poet’s further work. His poems began to be published regularly in many publications.

In order to achieve his goal - to regain the title of nobility - in 1845 Fet entered military service.

In 1850, Fet's poems were published in the Sovremennik magazine, which aroused the admiration of critics and readers. He was accepted on Wednesday famous writers, thanks to his literary earnings, he improved his financial situation, which gave him the opportunity to travel around Europe. In 1858, Fet retired; Having never achieved the return of the title, he acquires land and devotes himself to farming. Fet almost stopped writing and became a real landowner, working on his estate. This went on for almost 20 years.

Only in 1873, with the permission of the tsar, Fet became a nobleman Shenshin. By this time he was already widely known as the poet Fet.

In the late 1870s, Fet began writing poetry again. The sixty-three-year-old poet gave the collection of poems the title “Evening Lights.”

Lesson 2. Topic: Stages of biography and creativity of F.I. Tyutcheva. Main themes and motives of lyrics 10th grade

Target: introduce students to the biography of F. I. Tyutchev and its reflection in poetic works.

Tasks:

Show the significance of Tyutchev’s creativity, identify the main themes and motives of the lyrics.

Develop comparative analysis skills, independent judgment, and creative abilities of students.

To cultivate interest in the life and work of F.I. Tyutchev, the study of art.

Lesson type: learning new material.

During the classes

1. Organizational moment.

2. Studying new material.

Introductory speech by the teacher about the goals and objectives of the lesson.

“Stages of the biography and creativity of F.I. Tyutcheva. Main themes and motives of the lyrics” (write down the date and topic of the lesson in a notebook).

This year (in November) marks the 205th anniversary of the birth of F.I. Tyutcheva.

Tyutchev... created speeches that are not destined to die. I.S. Turgenev

…For Tyutchev, living means thinking. I.S. Aksakov

Look what wonderful words have been said about Fyodor Ivanovich Tyutchev

(writing one epigraph in a notebook).

You have been familiar with Tyutchev’s poetry since elementary school. What do you know about this poet?

What poems did you study and read?

What is this poet writing about?

So, these are mainly landscape lyrics of the poet. And today in class we not only

Let's get acquainted with the biography of the poet, but also read the poems and understand that the main thing is

Tyutchev is not an image of nature, but its understanding, i.e. natural philosophical lyrics.

Tyutchev, who is new to you, will appear before you, that is, poems about love, about the Motherland, and philosophical lyrics will be heard.

At the end of the lesson we will conclude:

What are the main themes and motives of Tyutchev's lyrics?

Prepare a chronological table “dates - events” to fill out.

(A pre-prepared student reads the message “The Life and Work of F.I. Tyutchev”; the rest of the students write down dates and events from the screen in a table).

3. Summary of the writer’s biography.

Fyodor Ivanovich Tyutchev was born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, into a well-born noble family of middle income. Fyodor Ivanovich was the second, youngest son of Ivan Nikolaevich and Ekaterina Lvovna Tyutchev. Father Ivan Nikolaevich did not strive for a career; he was a hospitable and kind-hearted landowner.

Fyodor Ivanovich Tyutchev, both in appearance (he was thin and short in stature) and in his internal spiritual structure, was the complete opposite of his father; What they had in common was complacency. But he was extremely similar to his mother, Ekaterina Lvovna, a woman of remarkable intelligence.

The Tyutchev House did not stand out in any way from general type Moscow boyar houses - open, hospitable, willingly visited by numerous relatives and Moscow society.

In this completely Russian Tyutchev family, the French language predominated and almost dominated, so that not only all conversations, but also all correspondence between parents and children and children among themselves were conducted in French.

From the very first years, Fyodor Ivanovich was the favorite and darling of grandmother Osterman, his mother and everyone around him. Thanks to your mental abilities, he studied unusually successfully .

Tyutchev's parents spared nothing for the education of their son and, in the tenth year of his life, invited Semyon Egorovich Raich to teach him. The choice was the most successful. He is a learned man and at the same time quite literary, an excellent expert in classical ancient and foreign literature. Semyon Yegorovich stayed in the Tyutchev house for seven years. Under the influence of the teacher, the future poet became involved in literary creativity early and soon became the pride of the teacher. Already at the age of 14, Tyutchev translated in verse Horace’s message to Maecenas, which was first published in 1819 .

Tyutchev had to spend 22 years abroad.

The student recites the poem “She stood silently before me...”

There was a fire on the steamship Nikolai, on which Eleanor and her three daughters were returning from Russia to Italy. Eleanor showed courage in saving her daughters. After nervous and physical shock, Tyutchev's wife dies. According to family legend, “Tyutchev, having spent the night at his wife’s coffin, turned gray from grief.”

The student recites the poem “I longed for you with my soul...”

Abroad, he lived outside the Russian language element; moreover, both of the poet’s wives were foreigners who knew the Russian language.

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.

Tyutchev developed as a poet by the end of the 20s. A significant event in the literary life of Fyodor Ivanovich was the publication of a large selection of his poems in Pushkin’s Sovremennik in 1836 under the title “Poems sent from Germany” with the signature “F.T.”

After this publication, Tyutchev received attention in literary circles, but Tyutchev’s name still remained unknown to readers.

In 1839, Tyutchev married Ernestine Dernberg (nee Baroness Pfeffel).

Here is a portrait of Ernestine Dernberg.

In moments of great joy and in times of deep despair, the faithful Nesti bowed at the head of the poet, who was sick in spirit and body. That's what Tyutchev called Ernestina. One day he found her sitting on the floor, her eyes full of tears. Letters they wrote to each other were scattered around. Almost mechanically, she took them from the stacks one after another, ran her eyes over the lines of love and confessions, and just as mechanically, like a wound-up mechanical doll, threw thin sheets of paper, yellowed with time, into the fireplace fire. This is how the poem “She was sitting on the floor...” was born.

The student recites the poem “She was sitting on the floor...”

In 1844, Tyutchev and his family moved to Russia forever.

He lived in St. Petersburg and had extraordinary success in high society, captivating everyone with his refined conversation and brilliant wit. Few people knew that the favorite of St. Petersburg salons “under the influence of great political and social upheavals ... was an inspired prophet.”

At this time, Tyutchev wrote almost no poetry: in the fall of 1849, he began to create a large historical and philosophical tract in French, “Russia and the West.” This work remained unfinished.

When Tyutchev was 47 years old, a love affair began that enriched Russian poetry with an immortal lyrical cycle. The Denisyevsky cycle is the pinnacle of Tyutchev’s love lyrics; 24-year-old Elena Aleksandrovna Denisyeva studied at the Smolensk Institute with Tyutchev’s daughters. They fell in love and for 14 years were connected by civil ties and two children.

4. Main themes and motives of the lyrics. Teacher's word.

Tyutchev's poetry belongs to the enduring values ​​of the literature of the past, which even today enrich the spiritual culture of every person. Tyutchev's work attracted the attention of many outstanding writers, thinkers, scientists, but until now it has remained insufficiently studied and understood. Many opposing opinions have been expressed about Tyutchev’s work: he was admired, but he was not accepted. Everyone will have to develop their own point of view on his work. But one cannot imagine his poetry without the lyrics of nature.

The fate of Tyutchev, the poet, is unusual: this is the fate of the last Russian romantic poet, who worked in the era of the triumph of realism and yet remained faithful to the precepts of romantic art.

Tyutchev's romanticism is reflected primarily in his understanding and depiction of nature. And the poet entered the consciousness of readers, first of all, as a singer of nature.

The predominance of landscapes is one of the hallmarks of his lyrics. It would be more correct to call it landscape-philosophical: the pictures of nature embody the poet’s deep, intense tragic thoughts about life and death, about man, humanity and the universe: what place does Man occupy in the world and what is his Fate.

Tyutchev uniquely captured all four seasons of the year in his poems.

The student recites the poem “Fountain”.

A person’s thoughts about the meaning of existence, the individual’s concentration on himself, the tragic pages of life and at the same time the optimism of its perception - this is the content of most of Tyutchev’s poetry.

The theme of the loneliness of modern man, most deeply revealed in the poem with the Latin title “Silentium,” receives a tragic sound.

Students recite the poems “Silentium”, “The gray shadows mixed...”

By the time Tyutchev returned to Russia, the formation of the writer’s political views, set out in three articles – “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question” had completed.

In Russia he sees a great empire, a confessor of the Christian faith in its Orthodox essence. Significant changes are also taking place in Tyutchev’s poetic work: the chaos of passions is gradually pacified. In mature works, an exit to Orthodox faith, designed to save the modern egoistic personality from mental devastation and self-destruction.

At the same time, a poetic discovery is made in the lyrics of the late Tyutchev people's Russia.

Thus, Tyutchev includes everything in the structure of his universe: Light, Chaos, Space, nature, time, man, history, spiritual life.

5. Generalizations and conclusions.

Name the main themes and motives of Tyutchev’s lyrics:

• poet and poetry

  spiritual crisis of the modern generation

  freedom and happiness

  Christian motives.

6. Homework: 2 poems by heart.

7. Summing up. Grading.

We get acquainted with Tyutchev's poetry in elementary school, these are poems about nature, landscape lyrics. But the main thing for Tyutchev is not the image, but the understanding of nature - natural philosophical lyrics, and his second theme is life human soul, tension love feeling. The lyrical hero, understood as a unity of personality, which is both the object and the subject of lyrical comprehension, is not typical for Tyutchev. The unity of his lyrics gives an emotional tone - a constant vague anxiety, behind which there is a vague but constant feeling of the approaching universal end.

The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, Tyutchev’s image of nature and the thought of nature are united together: his landscapes receive a symbolic philosophical meaning, and the thought gains expressiveness.

In relation to nature, Tyutchev shows, as it were, two hypostases: existential, contemplative, perceiving the world“with the help of the five senses” - and the spiritual, thinking, striving to guess behind the visible veil great secret nature.

Tyutchev the contemplator creates such lyrical masterpieces as “Spring Thunderstorm”, “There is in the original autumn...”, “The Enchantress in Winter...” and many similar, short, like almost all of Tyutchev’s poems, charming and imaginative landscape sketches.

Tyutchev the thinker, turning to nature, sees in it an inexhaustible source for reflection and generalizations of the cosmic order. This is how the poems “Wave and Thought”, “There is melodiousness in the sea waves...”, “How sweetly the dark green garden slumbers...”, etc. were born. These works are accompanied by several purely philosophical ones: “Silentium!”, “Fountain”, “Day and Night”.

The joy of being, a happy harmony with nature, a serene rapture with it are characteristic primarily of Tyutchev’s poems 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 have become my usual state of mind for many years now”—this kind of confession is not uncommon in his letters. A constant regular at social salons, a brilliant and witty conversationalist, a “charming talker,” as defined by P. A. Vyazemsky, Tyutchev was forced to “avoid, at all costs, for eighteen hours out of twenty-four, any serious meeting with himself.” . And few people could comprehend his complex inner world. This is how Tyutchev’s daughter Anna saw her father: “He seems to me to be one of those primordial spirits, so subtle, intelligent and fiery, who have nothing in common with matter, but who, however, do not have a soul. He is completely outside of any laws and rules. It's amazing, but there's something creepy and unsettling about it."

The awakening spring nature had the miraculous ability to drown out this constant anxiety and pacify the poet’s anxious soul.

The power of spring is explained by its triumph over the past and future, complete oblivion of past and future destruction and decay:

And the fear of inevitable death

Not a leaf falls from the tree:

Their life is like a boundless ocean,

Everything in the present is spilled.

The love of life, the almost physical “excess” of life, is clearly visible in many of the poet’s poems dedicated to spring. Glorifying spring nature, Tyutchev invariably rejoices at the rare and brief opportunity to feel the fullness of life, not overshadowed by the harbingers of death - “You will not meet a dead leaf” - with the incomparable joy of completely surrendering to the present moment, participation in “divine-universal life.” Sometimes even in the fall he imagines a breath of spring. A striking example of this was the poem “Autumn Evening”, which is one of the brightest examples Tyutchev's mastery of the landscape painter. 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 crimson 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 visible phenomena nature invisibly “chaos stirs” - the mysterious, incomprehensible, beautiful and destructive depth of the primordial. And in this single breath of nature, only man realizes the “divinity” of its beauty and the pain of its “shameful suffering.”

In contrast, or rather, in preference to the dubious heavenly bliss of the indisputable, reliable enjoyment of beauty spring nature, Tyutchev’s selfless rapture for it is close to A.K. Tolstoy, who wrote: “God, how wonderful it is - 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 is the joy of paradise before you,

It's time for love, it's time for spring,

Blooming bliss of May,

Ruddy color, golden dreams?

Tyutchev's poetry is also aware of completely different moods: a feeling of the transience of human existence, an awareness of its fragility and fragility.

In comparison with the ever-renewing nature (“Nature does not know about the past...”; “Her gaze shines with immortality...” and much more), man is nothing more than an “earthly grain,” a dream of nature”:

Look how on the river expanse,

Along the slope of the newly revived waters,

Into the all-encompassing sea

The ice floe floats after the ice floe.

Is it shining iridescently in the sun,

Or at night in the late darkness,

But everything inevitably melts away,

They are swimming towards the same place.

Oh, our thoughts are seduced,

You, human self,

Isn’t this your meaning?

Isn't this your destiny?

But neither the triumphant shouts spring waters”, nor the tragic notes of the poem “Look, how in the river space...” do not yet give a complete idea of ​​the pathos of Tyutchev’s poetry. In order to unravel it, it is important to understand the very essence of the philosophical and artistic interpretation of nature and man in Tyutchev’s poetry. The poet rises to the understanding of the relationship between these two worlds - the human self and nature - not as an insignificant drop and an ocean, but as two infinities: “Everything is in me and I am in everything...”. Therefore, Tyutchev’s poetry is imbued not with the numbness of melancholy, not with a sense of the illusory nature of individual existence, but with the intense drama of a duel, albeit unequal:

Take courage, O friends, fight diligently,

Although the battle is unequal...

The apotheosis of life. full of burning, the lines of the poem “As over hot ashes...” sound, and “Spring Thunderstorm” is perceived as a hymn to youth and human renewal.

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 are emaciated and decrepit, the stars talk to each other quietly, the day is growing thin, movement and the rainbow are exhausted, the fading nature smiles weakly and frailly, and much more.

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 in front of her we are vaguely aware

Ourselves are just a dream of nature.

But in his doubts and painful search 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 creativity potency:

Bound, connected from time to time

Union of consanguinity

Intelligent human genius

With the creative power of nature...

Say his cherished word -

And a new world of nature

But on the other hand, nature in Tyutchev’s poems is spiritualized, humanized.

It has love, it has language.

Like a person, nature lives and breathes, rejoices and is sad, constantly moves and changes. Pictures of nature help the poet convey the passionate beat of thought. To embody complex experiences and deep thoughts in vivid and memorable images. 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.

Tyutchev finds inquisitive thought in the theme of nature philosophical problems. Each of his descriptions: the succession of winter and summer, the spring thunderstorm - is an attempt to look into the depths of the universe, as if to lift the veil of its secrets.

Nature - sphinx.

And the more faithful she is.

His temptation destroys a person,

What may happen, no longer

There is no riddle and she never had one.

Tyutchev's “landscapes in verse” are inseparable from a person, his state of mind, feelings, mood:

Moth flight invisible

Heard in the night air.

An hour of unspeakable melancholy!

Everything is in me, and I am in everything!

The image of nature helps to identify and express the complex, contradictory spiritual life of a person, doomed to eternally strive for merging with nature and never achieve it, because it brings with it death, dissolution in the primordial chaos. Thus, F. Tyutchev organically connects the theme of nature with the philosophical understanding of life.

Landscape lyrics by F.I. Tyutchev is represented by two stages: early and late lyrics. And there are many differences in poems from different times. But, of course, there are similarities. For example, in the landscape lyric poems of both stages, nature is captured in its movement, the change of phenomena, Tyutchev’s “landscapes in verse” are imbued with the tension and drama of the poet’s aspiration to the secrets of the universe and the “human self.” But in Tyutchev’s later lyrics, nature seems to come closer to man; increasingly, the poet’s attention switches to the most immediate impressions, to the most concrete manifestations and features of the surrounding world: “the first yellow leaf, spinning, flies onto the road”; “dust flies like a whirlwind from the fields”; the rain “threads are gilded” by the sun. All this is especially acutely felt in comparison with the poet’s earlier landscape lyrics, where the month is a “radiant god”, the mountains are “native deities”, and the day’s “brilliant cover” hangs over the abyss of the “fateful world” by the “high will of the gods”. It is significant that, reworking the previously written “Spring Storm,” Tyutchev introduces a stanza into the poem that enriches the pictorial picture with those visually concrete images that it lacked:

Young peals thunder,

Here the rain began to splash. Dust flies

Rain pearls hung,

And the sun gilds the threads.

Watching spring awakening nature, the poet notices the beauty of the first green translucent leaf (“First Leaf”).

On a hot August day, he catches the “honey” smell coming from the “whitening fields” of buckwheat (“Clouds are melting in the sky...”). In late autumn he feels the blow of a “warm and damp” wind, reminiscent of spring (“When surrounded by murderous worries...”).

A vivid visual impression arises even when the poet names not the object itself, but those signs by which it is guessed:

And the evening clouds' shadow

It flew across the light roofs.

And pine trees, along the road, shadows

The shadows have already merged into one.

The figurative system of Tyutchev’s lyrics is an unusually flexible combination of concretely visible signs outside world and the subjective impression that this world makes on the poet. Tyutchev can very accurately convey the visual impression of the approaching autumn:

There is in the initial autumn

A short but wonderful time -

The whole day is like crystal,

And the evenings are radiant...

Tyutchev's ability to give a plastically correct image of the external world, to convey the completeness of the external impression is amazing. But no less amazing is his skill in expressing the fullness of inner sensations.

Nekrasov wrote that Tyutchev manages to awaken “the reader’s imagination” and force him to “complete” what is only outlined in the poetic image. This feature of Tyutchev’s poetry was also noticed by Tolstoy, who singled out unusual, unexpected phrases in his poems that capture the reader’s attention and awaken creative imagination.

How unexpected and even strange at first glance is this combination of two seemingly incompatible words: “idle furrow.” But it is precisely this, this strange and amazing phrase, that helps to recreate the whole picture as a whole and convey the fullness of its inner sensation. As Tolstoy said: “It seems that everything has been said at once, it is said that the work is finished, everything has been removed, and the complete impression is obtained.” Such a “complete impression” constantly arises when reading Tyutchev’s poems. How can one not recall in this regard Tyutchev’s famous images: “exhausted” - about a rainbow. “mingled” - about the shadows, “the blue of the sky will confuse” - about a thunderstorm, “resolved into the unsteady twilight, into a distant roar” - about the colors and sounds of the evening day, etc.

The sound side of the poem never seemed to Tyutchev to be an end in itself, but the language of sounds was close and understandable to him.

There is melodiousness in the sea waves,

Harmony in spontaneous disputes,

And the harmonious rustle of music

Flows through the shifting reeds.

The gray shadows mixed,

The color faded, the sound fell asleep...

Around me the rocks sounded like cymbals,

The winds called and the waves sang...

The reader hears in Tyutchev’s poems the roar of summer storms, the barely intelligible sounds of the approaching twilight, the rustle of unsteady reeds... This sound recording helps the poet to capture not only external sides phenomena of nature, but your sensation, your sense of nature. The bold colorful combinations in Tyutchev’s poems (“hazy-linear”, “radiant and bluish-dark”, etc.) also serve the same purpose. Besides. Tyutchev has the gift of reproducing colors and sounds in the inseparability of the impression he makes. This is how “sensitive stars” arise in his poetry, and Sunbeam, bursting through the window with a “ruddy loud exclamation”, conveying the dynamics and expression of Tyutchev’s poetic fantasy, helping to transform poetic sketches from nature into such “landscapes in verse”, where visually specific images are imbued with thought, feeling, mood, reflection.

Tyutchev's poetics comprehends the beginnings and foundations of existence. There are two lines in it. The first is directly related to the biblical myth of the creation of the world, the second, through romantic poetry, goes back to ancient ideas about the world and space. Ancient teaching Tyutchev constantly quotes about the origin of the world. Water is the basis of existence, it is the main element of life:

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...

And here is another excerpt from “Fountain”:

Oh, water cannon of mortal thought,

Oh, inexhaustible water cannon,

What an incomprehensible law

Does it urge you, does it bother you?

Sometimes Tyutchev is frank and magnificent in a pagan way, endowing nature with soul, freedom, language - the attributes of human existence:

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...

Nevertheless, Tyutchev is a Russian man and, therefore, Orthodox. His religiosity is undeniable.

Therefore, sometimes the overly frank pagan motives of his poetry should be regarded as a form of literary coquetry, but not as the true views of the author. Tyuchev lyrics Ovstug poetry

The truth lies deeper, in the inner content of his poetry. It often happens that in his poems a poet is more a theologian than a philosopher.

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.

Exploding, you will disturb the keys, -

Feed on them and be silent.

These lines are more reminiscent of the words of a church sermon than lyric poem. It is necessary to say a few words about Tyutchev’s specific pessimism, which requires some explanation. Thus, the poet’s love often takes on a tragically sensual, heavy shade. Let us just remember the poem “I love your eyes, my friend,” which Tarkovsky used as a semantic code in the film “Stalker”:

And through lowered eyelashes

A gloomy, dim fire of desire.

Tyutchev's pessimism has a deeply religious character. It is based on Orthodox ideas about the end of the world, on the book of the Revelation of John, which concludes New Testament. Tyutchev draws his scenario for the end of the world:

When nature's last hour strikes,

The composition of the parts of the earth will collapse:

Everything visible will be covered by waters again,

And God's face will be depicted in them.

No wonder a prayer cry bursts from the depths of his soul, so reminiscent of crying:

Everything I managed to save

Hope, faith and love

Everything came together in one prayer:

Get over it, get over it.

But Tyutchev has answers to his questions of existence. God is watching over us. His eyes are stars, his strength is great:

He is merciful, almighty,

He, warming with his ray

And a lush flower blooming in the air,

And pure pearl at the bottom of the sea.

Tyutchev is absolutely confident in the existence of “the best, spiritual world”here and now: “There is in the primordial autumn // A short but wonderful time...”

Poetry is not pure philosophy. She thinks in images, not in categories. It is impossible to isolate philosophy and present it separately from poetry. For Tyutchev, everything is fused at the level of the image-symbol, image-sign:

There are twins - for earth-born

Two deities, then Death and Sleep,

Like a brother and sister who are wonderfully similar -

She is gloomier, he is meeker...

One of the central themes in Tyutchev's mature work was the theme of love. Love lyrics reflected his personal life, full of passions, tragedies and disappointments.

Soon after arriving in Munich (apparently in the spring of 1823), Tyutchev fell in love with the very young (15-16 years old) Amalia von Lirchenfeld. She came from a noble German family and was a cousin of the Russian Empress Maria Feodorovna. Amalia was gifted with rare beauty, she was admired by Heine, Pushkin, Nicholas I and others. The Bavarian king Ludwig hung her portrait in his gallery beautiful women Europe. By the end of 1824, Tyutchev’s love for Amalia reached its highest intensity, which was expressed in the poem “Your sweet gaze, full of innocent passion...”.

In 1836, Tyutchev, a married man for a long time, wrote one of his most charming poems, recreating the meeting with Amalia that struck his soul: “I remember the golden time...”. The beloved in this poem is a kind of focus of the whole beautiful world. The memory of the heart turned out to be stronger than both time and persistent pain. And yet, in this elegy there lives a sad feeling of decay. It is in the fading day, and in the appearance of the ruins of the castle, and in the sun’s farewell to the hill, and in the dying of the sunset. This elegy reminds us of a poem by A.S. Pushkin “I remember a wonderful moment...”, dedicated to Anna Kern. The poems are addressed to the woman he loves and are based on the memory of an extraordinary meeting. Both masterpieces deal with transience wonderful moment and the golden age that memory captured. Thirty-four years later, in 1870, Fate gave Tyutchev and Amalia another friendly date. They met at the healing waters in Karisbad. Returning to his room after a walk, Tyutchev wrote a confessional poem “I met you...” (there is a romance based on these poems. It was performed superbly by I.S. Kozlovsky). The poem was entitled "K.B." The poet Yakov Polonsky argued that the letters represent an abbreviation of the words “Baroness Krudener”.

In 1873, Amalia came to visit the paralyzed and dying Tyutchev. The next day he dictated a letter to his daughter: “Yesterday I experienced a moment of vital excitement as a result of my meeting with my good Amalia Krudener, who wished to see me for the last time in this world... In her face, the past of my best years came to give me a farewell kiss.” This is how Tyutchev expressed himself about his first love.

In 1826, Tyutchev married the widow of a Russian diplomat, Eleanor Peterson, née Countess Bothmer. His wife Eleanor loved Tyutchev infinitely. He wrote a poem about his love for her when more than 30 years had already passed since their wedding and exactly 20 years since Eleanor’s death.

So sweetly blessed

Airy and light

to my soul a hundredfold

Your love was...

Tyutchev lived with Eleanor for 12 years. According to eyewitnesses, Tyutchev was so stunned by the death of his wife that, after spending the night at her coffin, he turned gray with grief. The poem “I am still languishing with the longing of desires...” is dedicated to Tyutchev’s wife and was written 10 years after her death.

Tyutchev addressed a number of sincere love confessions to his second wife Ernestina Fedorovna Tyutcheva, née Baroness Pfeffel. One of the first beauties of that time, she was European-educated, spiritually close to the poet, felt his poems well, was distinguished by stoic self-control and was extremely intelligent. “There is no creature in the world smarter than you,” Tyutchev wrote to her. The cycle of poems dedicated to Ernestina Tyutcheva includes such works as “I love your eyes, my friend...” (1836), “Dream” (1847), “Upstream of your life” (1851), “She was sitting on the floor... "(1858), "Everything was taken from me by the executing God...” (1873), etc.

These poems strikingly combine earthly love, marked by sensuality, passion, even demonism, and an unearthly, heavenly feeling. There is anxiety in the poems, fear of a possible “abyss” that may appear before those who love, but the lyrical hero tries to overcome these abysses. Much more often in Tyutchev’s love lyrics there is a feeling of an opening abyss, chaos, violent revelry of passions, a fatal beginning. Boundless happiness turns into tragedy, and the imperious attraction to the dear soul turns into a “fatal duel”, an unequal struggle between “two hearts” (“Predestination”, 1850 - 1851). These tragic features were also reflected in the poem “Twins” (1850), where love is compared with suicide.

But the tragic-fatal duel appears most nakedly in the poet’s work in his amazing cycle of love lyrics “Denisievsky” (1850 - 1868). These poems are autobiographical in nature. They reflect a fourteen year old love story the poet and Elena Aleksandrovna Denisyeva, whose name gave the name to these lyrical masterpieces. In the relationship between Tyutchev and the former student of the Smolny Institute there was a rare combination of adoration and passion of love, mutual attraction and admiration, boundless joy and suffering. However, the value of these poems is not limited to the experience of the poet Tyutchev and a particular woman. The autobiographical beginning and the personal turns into the universal. The poems of this cycle often sound like a confession: “Oh, how murderously we love...”, “Don’t say: he loves me as before...”, “What did you pray with love...”, “I knew the eyes - oh, those eyes ! ..”, “Last Love”, “All day she lay in oblivion...” (1864), “Oh, this South, oh, this Nice...” (1864), “There is also in my suffering stagnation...” (1865) , “On the eve of the anniversary of August 4, 1864” (1865), “Again I stand over the Neva ...” (1868).

All these poems are filled with tragedy, pain, and bitterness of the lyrical hero; he is confused in his relationship, in an ambiguous position, he feels a sense of guilt in front of Deniseva, torment and pain, melancholy and despair. Tyutchev gives a romantic concept of love. Love is an elemental passion. This is a clash of two personalities, and in this struggle Denisyeva suffers and burns out, like the weaker one. The lyrical heroine is fading away, her soul is tormented by the public censure of the world. Both Tyutchev and Denisyeva understood that the blame primarily lay with Tyutchev, but he did nothing to alleviate the fate of his beloved woman. She, passionately loving him, could not refuse this connection. Main ways of disclosure inner world hero - monologues. The cycle is characterized by exclamatory sentences and interjections.

“All day she lay in oblivion...” - the poem is dedicated to memories of the last hours of Denisyeva’s life, the pain of the loss of a loved one sounds. Tyutchev recalls how on the last day of her life she was unconscious, and the August rain was falling outside the window, merrily murmuring through the leaves. Having come to her senses, Elena Alexandrovna listened to the sound of the rain for a long time, realizing that she was dying, but was still reaching out to life. The second part of the poem is a description of the situation and the state of the grief-stricken hero. The hero suffers, but the person, it turns out, can survive anything, only the pain in his heart remains. The poem is written in iambic, cross-female and masculine rhyme, polyunion give the poem smoothness, the repetition of sounds [w], [l], [s] conveys the quiet rustle of summer rain. The poem is characterized by exclamatory sentences, interjections, and ellipses that convey the hero’s difficult mental state. Artistic tropes: epithets (“warm summer rain”), metaphors (“and my heart didn’t break into pieces…”)

Ernestina Fedorovna Tyutcheva and Elena Aleksandrovna Denisyeva are two stars, two women in Tyutchev’s heart. He called them Nesti and Lelya.

Tyutchev managed to raise the theme of love and the images of beloved women to the same artistic height as the theme of nature, personality and the world.

Let us briefly summarize what was stated above: as a poet, Tyutchev is a continuer of the philosophical traditions of Russian poetry, which go back to Lomonosov, Kapnist, Derzhavin. His aesthetics influences subsequent literature; his willing or unwilling students are Solovyov, Annensky, and the symbolic component of Russian lyricism. His philosophical views are traditional. The talent of the master gives them novelty and brilliance.

“He who does not feel him does not think about Tyutchev, thereby proving that he does not feel poetry,” Turgenev wrote in his letter to A. A. Fet. Surprisingly, this remark is true now.

Main directions in lyrics F.I. TYUTCHEV : landscape, philosophical, love.

Philosophical basis and features of the lyrics.

1.Wrote exclusively for himself, did not consider creativity a profession, but the result of inspiration;

2. Created works that were small in volume but meaningful in essence;

3. Main themes of creativity: love, human life, nature, the fate of the people, Russia and history

4. Pascal's philosophy (man is a reed in the wind, the weakest of nature’s creations, but a “thinking reed”; man is part of nature; nature is infinite, and man is mortal and weak, but still tries to know it and fight). The poet's task - reading a mysterious book of nature .

5. Image nature, T. – pantheist- nature is a deity (nature is spiritualized, humanized, catastrophic in essence, the state of nature is projected onto the human state; the poet does not just admire nature, but reflects on the mystery of the universe, on the eternal; nature is a living, intelligent organism).

Poem "Nature is a sphinx" (1869): an eternal mystery for man, it frightens and attracts him.

“Nature is a sphinx. And the more faithful she is

His temptation destroys a person,

What may happen, no longer

She doesn’t and never had a riddle.”

Nature is always depicted in motion , Vchanging phenomena (“Spring Thunderstorm”). In nature, as in life, everything is interconnected (death and birth, elements and peace). Cosmism and romantic dual worlds .
PHILOSOPHICAL lyrics (romanticism):

Man and nature = drop and ocean (allegory). Short term human life (compare with melting ice floes).

Along the slope of the newly revived waters

Into the all-encompassing sea

The ice floe floats after the ice floe.

Or at night in the late darkness,

But that's it inevitably melting.

They swim towards one meta (goal).

You, human self,

Isn't that what you mean?

Isn't it like that? your destiny?

"Silentium "(1829)- T. thinks about the meaning of human life, a person is lonely among people; The main purpose of a person is to be a citizen. Idea - silence is inevitable, necessary, although painfully difficult for a person.

LOVE lyrics (romantic and psychological):

"I met you..."(1870) dedicated to a friend of his youth Amalia Lerchenfeld (Krudener) , the image of which Tyutchev carried in his soul all his life. Their last meeting took place shortly before the poet’s death; she came to the paralyzed Tyutchev to say goodbye to him.

I met you - and everything is gone

In the obsolete heart came to life;

I remembered the golden time -

And my heart felt so warm...
Like late autumn sometimes

There are days, there are times,

When suddenly it starts to feel like spring

And something will stir within us, -

Those years of spiritual fullness,

With a long-forgotten rapture

I look at the cute features...

I look at you as if in a dream, -

And now the sounds became louder,

Not silent in me...

Here life spoke again, -

And you have the same charm,

And that love is in my soul!..

Poems dedicated to Ernestine Dernberg (met at a ball, 2nd wife): « She was sitting on the floor …»

And, like cooled ashes, she took them in her hands and threw them away.

She took familiar sheets of paper and looked at them so wonderfully,

How souls look from above at the body they abandoned.

Oh, how much life was here, irrevocably experienced!

Oh, how many sad moments, love and joy of the murdered!

I stood silently on the sidelines and was ready to fall to my knees,

And I felt terribly sad, as if from an inherent sweet shadow.

Tragic love, which does not please, but brings sadness, although sadness with bright memories.

« Denisievo cycle » - poems (from 1850-1864) dedicated to Elena Deniseva (teacher of daughters; in 1851, she met Elena Alexandrovna Denisyeva, the relationship lasted 14 years, she was the poet’s third wife and his last love; in 1864, Denisyeva’s death: « Everything in me is killed: thoughts, feelings, memory, everything... simple madness would be more gratifying..."

“Oh, how murderously we love...», "Last love"(1854) - filled with passion and bitterness at the same time, because love, a fatal passion, leads to tragedy and suffering (autobiographicalism): love did not bring happiness, because people depend too much on public opinion.

"Last love" (1852,1854?)

Oh, how in our declining years we love more tenderly and more superstitiously.

Shine, shine, farewell light of last love, the dawn of evening!

Half the sky is covered in shadow, only there, in the west, is the radiance wandering -

Slow down, slow down, evening day, last, last, charm!

Let the blood in your veins become scarce, but tenderness in your heart will not be scarce...

Oh, you, last love! You are both bliss and hopelessness. (1854)

« Oh, how murderously we love" (1851)

As in the violent blindness of passions

We are most likely to destroy,

What is dear to our hearts!

You said: she is mine...

A year has not passed - ask and find out,

What was left of her?

The smile of the lips and the sparkle of the eyes?

Everything was scorched, tears burned out

With its flammable moisture.

At the first fatal meeting,

Her magical gaze and speech,

And the laughter of a child is alive?

And how long was the dream?

Alas, like northern summer,

He was a passing guest!

Your love was for her

And undeserved shame

She laid down her life!

In her spiritual depths

She was left with memories...

But they changed them too.

The charm is gone...

The crowd surged and trampled into the mud

What bloomed in her soul.

How did she manage to save the ashes?

Pain, the evil pain of bitterness,

Pain without joy and without tears!

As in the violent blindness of passions

We are most likely to destroy,

What is dearer to our hearts

*** The verse sounds like a confession, permeated with pain, torment, melancholy, despair; love is an elemental passion, a fatal duel, after which people cannot live without each other; the lyrical heroine fades away, unable to withstand public censure (condemnation).

Political lyrics:

"Sea and Cliff" (1848) - a symbolic poem, where the image of the sea is shown revolutionary element, and in the image of a cliff - Russia that can withstand the loss of spirituality that has occurred since French Revolution 1848.

"December 14, 1825" (1846) - dedicated to the uprising Decembrists, which Tyutchev considered recklessness.

"These poor villages" (1855) - beggar rural Russia, against serfdom, etc.

"January 29, 1837" - a poem dedicated to the memory of Pushkin speaks with contempt about the culprits and with delight about Pushkin: “ Russia’s heart will not forget you, like its first love!”

"Sea and Cliff"

Whips, whistles, and roars,

And he wants to reach the stars,

To unshakable heights...

Is it hell, is it hellish power

Under the bubbling cauldron

The fire of Gehenna was spread out -

And turned up the abyss

And put it upside down?
Waves of frantic surf

Continuously the sea shaft

With a roar, a whistle, a squeal, a howl

It hits the coastal cliff, -

But, calm and arrogant,

I am not overcome by the foolishness of the waves,

motionless, unchanging,

The universe is modern,

You stand, our giant!
And, embittered by the battle,

Like a fatal attack,

The waves are howling again

Your huge granite.

But, O immutable stone

Having broken the stormy onslaught,

The shaft splashed out, crushed,

And swirls with muddy foam

Exhausted impulse...
Stop, you mighty rock!

Wait just an hour or two -

Tired of the thunderous wave

To fight with your heel...

Tired of evil fun,

She will calm down again -

And without howling, and without fighting

Under the giant heel

The wave will subside again...

And his sword struck you, -

And in incorruptible impartiality

This sentence was sealed by the Law.

The people, shunning treachery,

Blasphemes your names -

And your memory for posterity,

Like a corpse in the ground, buried.

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.

“These poor villages...” (1855)
These poor villages

This meager nature -

The native land of long-suffering,

You are the edge of the Russian people!

Proud look of a foreigner,

What shines through and secretly shines

In your humble nakedness.

All of you, dear land,

In slave form the king of heaven

He came out blessing.

Love and compassion for the poor people, dejected by a difficult night, long-suffering and self-sacrifice.

"Silentium » Silentium - Silence (lat.) 1829 (philosophical lyrics)
Be silent, hide and hide

And your feelings and dreams -

Let it be in the depths of your soul

They get up and go in

Silently, like stars in the night, -

Admire them - and be silent.

How can someone else understand you?

Will he understand what you live for?

A spoken thought is a lie.

Exploding, you will disturb the keys, -

Feed on them - and be silent.

There is a whole world in your soul

Mysteriously magical thoughts;

They will be deafened by the outside noise,

Daylight rays will disperse, -

Listen to their singing - and be silent!..

Silence is sometimes inevitable, although difficult for a person.

Fyodor Ivanovich Tyutchev is amazing and very original in his own way. He wrote special villages into the great book of Russian poetry. A singer-philosopher who knows how to look into the depths of the universe, into the underlying foundations of life, a romantic man, a classic of Russian poetry - and that’s all about him. Tyutchev gained fame in the most harmonious form of verbal creativity - lyricism.

"Poetry"
Among the thunder, among the lights,
Among the seething passions,
In spontaneous, fiery discord,
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in his gaze -
And to the rioting sea
The oil of reconciliation is pouring.

***
"On the stone of fatal life"
On the stone of fatal life
abandoned by nature,
The baby is passionate and alive
‎Played - careless,
But the Muse took the orphan
‎Reliable under your cover,
Poetry spread out
The carpet underneath is luxurious.
How soon the Muses are under the wing
The years have matured him -
The poet, attracted by an excess of feelings,
‎Appeared at the Temple of Freedom, -
But he did not make gloomy sacrifices,
Serving her idol, -
He dedicated a handful of flowers to her
And a fiery lyre.
Another deity
‎He honored in his youth, -
Cupid frolicked around him
And he took tribute from the poet.
I gave him an arrow as a souvenir,
‎And in sweet leisure
He wrote a story with it
Orpheus' wife.
And in this world, as in the kingdom of dreams,
The poet lives dreaming -
This is how he achieved earthly crowns
And so he will reach heaven...
The mind is quick and sharp, the eye is faithful,
‎Imagination - quickly...
And I argued only once in my life -
‎On master's disputation.

***
"Don't believe, don't trust the poet, maiden"
Don’t believe, don’t believe the poet, maiden;
Don't call him yours -
And more than fiery anger
Fear poetic love!
You won't understand his heart
With your infant soul;
You can't hide the scorching fire
Under a light virginal veil.
The poet is omnipotent, like the elements,
He has no power only in himself;
Involuntarily young curls
He will burn with his crown.
In vain he reviles or praises
His senseless people...
It is not a snake that stings the heart,
But, like a bee, it sucks.
Your shrine will not be violated
The poet's clean hand
But inadvertently life will strangle
Or it will carry you beyond the clouds.

***
...Know: all the words of the poet
A light swarm, greedy for light,
Heaven is knocking at the door,
Begging for the gift of immortality!..

***
"Friend, open up to me"
Friend, open up to me -
Aren't you some kind of ghost?
How does it sometimes bring them out?
The poet's brain is on fire!..
No, I don’t believe these cheeks,
These little eyes are sweet light,
This angelic mouth -
The poet will not create this.
Basilisks and vampires
The horse is winged and the serpent has teeth -
These are the dreams of his idols, -
The poet is capable of creating them.
But you, your ethereal figure,
A magical color touches their cheeks,
This gaze is sly and meek -
The poet will not create this.
Author : F. Tyutchev
***
“Well, how can one judge the gift of poets?”
Well, how can one judge the gift of poets?
About their mistakes, superiority,
For whom the lyceum was a barn
And who is smart only in cattle breeding.
Poems attributed to Tyutchev
***
"A. Fetu"
1.
My heartfelt bow to you
And my portrait, whatever it is,
And let, sympathetic poet,
At least he will tell you silently,
How dear your greetings were to me,
How I am touched by them in my soul.
2.
Others got it from nature
Instinct is prophetically blind, -
They smell and hear water
And in the dark depths of the earth...
Beloved by the Great Mother,
Your destiny is a hundred times more enviable -
More than once under the visible shell
You have seen it...

***
“Hello with lively sympathy...”
Greetings with living sympathy
From an unattainable height,
Oh, don’t embarrass the poet, I pray!
Don't tempt his dreams!
All my life I've been lost in a crowd of people,
Sometimes accessible to their passions,
The poet, I know, is superstitious,
But he rarely serves the authorities.
Before earthly idols
He walks by, bowing his head,
Or is he standing in front of them?
Confused and proudly fearful...
But if suddenly a living word
It will fall from their lips,
And through the greatness of the earth
All the beauty of a woman will shine,
And human consciousness
Their almighty beauty
Suddenly they will be illuminated like a radiance,
Gracefully marvelous features -
Oh, how his heart burns!
How delighted and touched he is!
Even if he doesn’t know how to love -
He knows how to worship!