The work of Fyodor Ivanovich Tyutchev is strong in its philosophical component. It had a beneficial effect on the development of Russian poetry. Tyutchev's works belong to the best creations of the Russian spirit. Everything written by the poet Tyutchev bears the stamp of true and beautiful talent, original, graceful, full of thought and genuine feeling.
The beginning of poetic activity
A collection consisting of three hundred poems, a third of which are translated, a number of letters, and several articles - this is Tyutchev’s creative baggage. Centuries pass, but the author’s works remain in demand and beloved by readers.
The creative destiny of F.I. Tyutchev was unusual. Quite early, the poet begins to publish his poems, but they go unnoticed for a long time. In the nineteenth century, it was believed that his lyrical monologues, inspired by pictures of nature, were beautiful. But the Russian public also found descriptions of nature in Eugene Onegin, the author of which responded to everything that worried modern readers.
Thus, the stormy year of 1825 gave rise to two interesting poems from Tyutchev. In one, addressing the Decembrists, he noted:
“O victims of reckless thought,
Maybe you hoped
That your blood will become scarce,
To melt the eternal pole.
As soon as it smoked, it sparkled,
On a centuries-old mass of ice;
The iron winter has died -
And there were no traces left."
In another poem, he talks about how “sad it is to go towards the sun and follow the movement of a new tribe,” how for him “this noise, movement, talk, screams of a young fiery day are piercing and wild.”
"Night, night, oh, where are your covers,
Your quiet darkness and dew?..”
This was written at a time when Pushkin, with an encouraging word of greeting, addressed himself “to the depths of the Siberian ores” and exclaimed: “Long live the sun, may the darkness disappear.”
Years will pass and only then will contemporaries discern Tyutchev’s incomparable verbal painting.
In 1836, A.S. Pushkin founded a new magazine, Sovremennik. From the third volume, poems began to appear in Sovremennik, in which there was so much originality of thought and charm of presentation that it seemed that only the publisher of the magazine himself could be their author. But under them the letters “F.T” were very clearly displayed. They wore one common name: “Poems sent from Germany” (Tyutchev then lived in Germany). They were from Germany, but there was no doubt that their author was Russian: they were all written in pure and beautiful language and many bore the living imprint of the Russian mind, the Russian soul.
Since 1841, this name no longer appeared in Sovremennik, it also did not appear in other magazines, and, one might say, from that time on it completely disappeared from Russian literature. Meanwhile, the poems of Mr. F.T. belonged to the few brilliant phenomena in the field of Russian poetry.
Only in 1850 did fortune smile - in the Sovremennik magazine N.A. Nekrasov spoke flatteringly about the Russian poet Tyutchev, and they started talking about him loudly.
Spiritualization of nature in Tyutchev’s poetry
Tyutchev’s “night soul” is looking for silence. When night descends on the earth and everything takes on chaotically unclear forms, his muse in “prophetic dreams is disturbed by the gods.” “Night” and “chaos” are constantly mentioned in Tyutchev’s poems of the 20-30s of the nineteenth century. His “soul would like to be a star,” but only invisible to the “sleepy earthly world” and it would burn “in the pure and invisible ether.” In the poem “Swan,” the poet says that he is not attracted by the proud flight of an eagle towards the sun.
“But there is no more enviable destiny,
O pure swan, yours!
And dressed as clean as you yourself
You are the element of deity.
She, between the double abyss,
Cherishes your all-seeing dream,
And the full glory of the starry firmament
You are surrounded from everywhere."
.
And here is the same picture of night beauty. The War of 1829 and the capture of Warsaw found a quiet response in Tyutchev’s soul.
"My soul, Elysium of shadows,
What do life and you have in common?”
So the poet asks himself. In the marble-cold and beautiful poem “Silentium” (translated from Latin as “Silence”), Tyutchev repeats the word “be silent.”
“Be silent, hide and conceal
And your feelings and dreams!
Let it be in the depths of your soul
And they rise and set
Like stars clear in the night:
Admire them - and be silent."
In many poets we find indications of these torments of the word, powerless to fully and truthfully express a thought, so that the “thought expressed” is not a lie and does not “disturb the keys” of moral feeling. Silence could not be a salvation from this condition. Tyutchev was silent only about those thoughts that were inspired by the “violent times” of our time, but with all the greater “predilection” he was given the impression of nocturnal and truthful nature. Contemplating the southern sky, remembering his native north, he breaks free from the power of the beauty of nature surrounding him and comes to love for the entire Universe. When looking at the kite soaring high into the sky, the poet becomes offended that man, “the king of the earth, has become rooted to the earth.”
You need to understand, love all of nature, find meaning in it, deify it.
“Not what you think, nature -
Not a cast, not a soulless face:
She has a soul, she has freedom,
It has love, it has language.”
Even the destructive forces of nature do not repel the poet. He begins his poem “Mal’aria” with the lines:
“I love this God’s wrath, I love this, invisibly
There is a mysterious evil spilled throughout everything...”
The poem “Twilight” expresses the awareness of the poet’s closeness to dying nature:
“An hour of unspeakable melancholy!
Everything is in me - and I am in everything..."
The poet turns to the “quiet, sleepy” twilight, calls it “deep into his soul”:
"Let me taste destruction,
Mix with the slumbering world."
The poet speaks everywhere about nature as something living. For him, “winter grumbles at spring,” and “she laughs in her eyes”; spring waters“they run and wake up the sleepy shore,” nature smiles at spring through its sleep; spring thunder “frolics and plays”; a thunderstorm “will suddenly and recklessly rush into the oak grove”; “the gloomy night, like a stern-eyed beast, looks out from every bush,” etc. (“Spring”, “Spring waters”, “The earth still looks sad”, “Spring thunderstorm”, “How cheerful is the roar of summer storms”, “Flowing sand up to the knees”).
The poet does not distinguish the highest manifestations of the human spirit from all other natural phenomena.
“Thought after thought, wave after wave -
Two manifestations of one element.”
We find the development of the same thought in the wonderful poem “Columbus”:
“So connected, connected from eternity
Union of consanguinity
Intelligent human genius
With the creative power of nature.
Say the cherished word -
And a new world of nature
Always ready to respond
A voice akin to his.”
At this point, Tyutchev’s worldview came into contact with Goethe’s, and it was not for nothing that the relationship between the two poets, who met during Tyutchev’s life abroad, was so close.
Tyutchev's landscape lyrics come from those four seasons that nature gives us. In the poetry of Fyodor Ivanovich there is no dividing line between man and nature, they are one element.
Tyutchev's love lyrics do not close on themselves, although they are largely autobiographical. It is much broader, more universally human. Tyutchev's love lyrics are an example of tenderness and soulfulness.
“I still strive for you with my soul -
And in the twilight of memories
I still catch your image...
Your sweet image, unforgettable,
He is in front of me everywhere, always,
Unattainable, unchangeable,
Like a star in the sky at night..."
Tyutchev's creativity is filled with deep philosophical meaning. His lyrical reflections, as a rule, are not abstract; they are closely related to the realities of life.
According to the lyricist, it is impossible to lift the curtain on the secrets of the universe, but this can happen for a person who is on the verge of day and night:
"Happy is he who has visited this world
His moments are fatal!
The all-good ones called him,
As an interlocutor at a feast..."
"Cicero"
Do you need to leave behind a great creative legacy in order to become great? Using the example of the fate of F.I. Tyutchev, we can say: “No.” It is enough to write a few brilliant creations - and your descendants will not forget about you.
Text adaptation: Iris Review
Fyodor Ivanovich Tyutchev (1803-1873) is one of the famous Russian poets who made a huge contribution to the development of the lyrical poetic movement.
The poet's childhood passes on the family estate of the Oryol province, where Tyutchev receives home education, studying with a hired teacher Semyon Raich, who instills in the boy a desire to study literature and foreign languages.
At the insistence of his parents, after graduating from Moscow University and defending his PhD thesis in linguistics, Tyutchev entered the diplomatic service, to which he devoted his entire life, working at the State Collegium of Foreign Affairs.
Tyutchev spends more than twenty years of his life abroad, while on diplomatic work in Germany, where he enters into his first marriage with Eleanor Peterson, who gives him three daughters. After the death of his wife, Fyodor Ivanovich marries a second marriage, where he has several more children, but has love affairs on the side, dedicating numerous poems to his beloved women.
The poet composes his first poems in his youth, imitating ancient authors. Having matured, Tyutchev revealed himself as a love lyricist who used techniques inherent in European romanticism.
Returning to his homeland with his second family, Tyutchev continues to work as a Privy Councilor, but does not give up his poetic hobby. However, in last years In his life, the poet’s work was aimed at creating not lyrical works, but those with political overtones.
True fame and recognition for the poet came already in adulthood when he created numerous poems conveying landscape and philosophical lyrics, which he composed after retiring from civil service and settling in the estate of Tsarskoe Selo.
Tyutchev passed away after a long illness at the age of seventy in the suburbs of St. Petersburg, leaving after his death a legacy of several hundred poems, distinguished by the poet’s favorite themes in the form of images natural phenomena in various forms, as well as love lyrics, which demonstrate the whole gamut of emotional human experiences. Before his death, Tyutchev, by the will of fate, manages to meet Amalia Lerchenfeld, the woman who was his first love, to whom he dedicates his famous poems entitled “I Met You...”
Option 2
Fyodor Ivanovich was born on November 23, 1803 on the territory of the Ovstug estate, located in the small Oryol province.
His education began at home; his parents and experienced teachers helped him study poetry written in Ancient Rome, as well as Latin. Afterwards he was sent to the University of Moscow, where he studied at the Faculty of Literature.
In 1821, he graduated from the educational institution and immediately began working as an official holding a position in the College of Foreign Affairs. As a diplomat, he is sent to work in Munich. He has been living on the territory of a foreign country for 22 years, where he met his true and only love, with whom he lived happily in a marriage in which he had three daughters.
The beginning of creativity
Tyutchev begins to create in 1810, and early period ends in ten years. This includes poems written in youth that are similar to works of the last century.
The second period begins in the 20s and ends in the 40s. He begins to use the features of European romanticism, and also turns to native Russian lyrics. Poetry at this moment acquires the features of originality and its inherent relationship to the world around it.
In 1844, the author returned to his historical homeland. There he worked as a censor for quite some time. In his free time, he communicated with colleagues in the Belinsky circle, which also included Turgenev, Nekrasov and Goncharov.
Works written during this period are never published; he tries to write on political topics, so he tries not to show his work to others. And the latest collection is published, but does not gain much popularity.
The number of misfortunes suffered leads to a deterioration in health and general condition, so the author dies in Tsarskoe Selo in 1873. During this time, he experienced many difficulties, which he shared with his beloved wife.
The poet's total lyrics number about 400 poetic forms, there are many museums in Russia that tell about the author’s work and his difficult life, as well as the time spent abroad.
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137 years have passed since the death of Fyodor Ivanovich Tyutchev (July 15, 1873). Several generations of Russians have become accustomed to talking about natural phenomena in Tyutchev’s poems.
Fyodor Ivanovich was able to respond to any event in natural life and capture it colorfully. In this no one was equal to him, not even Fet.
The best achievements of this lyricist-thinker, an inspired and thoughtful singer of nature, a subtle exponent of human feelings and experiences are kept by the modern reader in the golden fund of Russian classical literature.
How did Fyodor Ivanovich Tyutchev develop a poetic sense of nature? What techniques did he use so that everything he wrote forever sank into the soul of the Russian people and became dear and close to him?
The purpose of this work is to become more deeply acquainted with the poetry of nature of the Russian poet and philosopher Fyodor Ivanovich Tyutchev, with his “creative cuisine”.
1. Short review life and creative path
F. I. Tyutcheva
A descendant of an old noble family, Fyodor Ivanovich Tyutchev was born on November 23 (December 5), 1803 in the family estate of Ovstug, Bryansk district, Oryol province. His childhood years were spent mainly in the village, and his teenage years were associated with Moscow.
The family sacredly preserved Russian customs, although they spoke French. His young son Fyodor had as his uncle the free peasant N.A. Khlopov, who played the same role in the life of the future poet as Arina Rodionovna did in the fate of A.S. Pushkin.
Home education was led by the young poet-translator S. Raich, who introduced the student to poets ancient Greece, with modern “poemists”. The teacher encouraged his student's first poetic experiments. At the age of 12, Fyodor was already successfully translating Horace.
In 1819, Tyutchev entered the literature department of Moscow University and immediately took an active part in its literary life. There is an assumption that the professor, poet and translator A.F. Merzlyakov, in the society of Lovers of Russian Literature, read his student’s ode “The Nobleman” (imitation of Horace). On March 30, 1818, the fifteen-year-old poet became a member of the society.
After graduating from the university in 1821 with a candidate's degree in literary sciences, at the beginning of 1822 Fyodor Ivanovich Tyutchev 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 this time on, the connection between the future famous poet and Russian literary life was interrupted for a long time.
The diplomat spent twenty-two years abroad, twenty of them in Munich. Here he got married, met the philosopher Friedrich Schelling and became friends with Heinrich Heine, becoming the first translator of his poems into Russian.
In 1829 – 1830 in Russia, the poet’s poems were published in S. 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 poems were published in Pushkin's Sovremennik. It is known that the poet did not take his poetic talent seriously and did not publish his works. Prince I. S. Gagarin, a colleague in Munich, forwarded Tyutchev’s manuscripts under the title “Poems Sent from Germany.” Readers never found out who the author of the “fragrant lines” was, since under them there were only two letters F. T. The great poet was not vain.
In 1837, Tyutchev was appointed first secretary of the Russian mission in Turin, where he experienced his first bereavement: his wife died. After 2 years, Fyodor Ivanovich entered into a new marriage. To marry his bride, he voluntarily went to Switzerland, after which he had to resign. For five years Tyutchev and his family lived in Munich, without any official position.
In 1844, Fyodor Ivanovich moved with his family to Russia, and six months later he was again admitted to the State Collegium of Foreign Affairs.
F.I. Tyutchev, as you know, was constantly interested in political events in Europe and Russia. In 1843 - 1850, he published articles “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, concluding that a clash between Russia and the West was inevitable and the final triumph of the “Russia of the future”, which seemed to him “all-Slavic” "empire.
Continuing to write amazing poems (“Reluctantly and timidly”, “When in the circle of murderous worries”, “To a Russian woman”, etc.), the poet still did not strive to publish them.
The beginning of Tyutchev’s poetic fame and the impetus for his active creativity was the article by N. A. Nekrasov “Russian minor poets” in the Sovremennik magazine, which spoke about the enormous talent of this poet, not noticed by criticism, and the publication of 24 poems. They started talking about the poet!
In 1854, the first collection of poems was published, and in the same year a series of poems about love dedicated to Elena Denisyeva was published.
“Lawless” in the eyes of the world, the relationship between the middle-aged poet and his daughters, who were the same age as him, lasted for fourteen years and was very dramatic, since Tyutchev did not leave his wife and lived in two families.
In 1858, Fyodor Ivanovich Tyutchev had a new position: he was appointed chairman of the Committee for Foreign Censorship. Thanks to the poet’s persistence and aesthetic taste, many works by foreign authors were “registered” in Russia.
Since 1864, Fyodor Ivanovich has been losing one close person after another: Elena Denisyeva dies of consumption, a year later - their two children, his mother. But the poet cannot remain silent: political poems predominate in the work of the sixties.
In recent years, Tyutchev’s eldest son, beloved brother, and daughter Maria have died. The poet's life is fading. The poet's second wife was by his side until the last minute. Seriously ill, Fyodor Ivanovich amazed those around him with the sharpness and liveliness of his mind and his undying interest in the events of literary and political life.
On July 15 (July 27), 1873, the heart of the great Russian poet and citizen stopped beating in Tsarskoe Selo. “Dear, smart as day, Fyodor Ivanovich! Sorry, goodbye!" - I. S. Turgenev responded with bitterness to the news of this death.
Fyodor Ivanovich Tyutchev entered the consciousness of poetry lovers primarily as a singer of nature. Perhaps only Tyutchev alone had a philosophical perception of the world around him that constituted to a great extent the very basis of his vision of the world.
2. The personality of the poet and the formation of his views on nature
“The younger generation of writers has already seen what a subtle and highly critical mind is combined in them (poems) with poetic talent,” said academician, poet and critic, rector of St. Petersburg University P. A. Pletnev.
Contemporaries emphasized the extraordinary personality of the diplomat and poet Tyutchev.
Knowing all European languages perfectly, Fyodor Ivanovich wrote his poems mainly in Russian. Why? He probably lived, felt, and thought like a truly Russian person. This amazing lyricist never claimed to be a poet. He called his poetic works “scratching paper,” did not strive to publish, was not interested in the assessment of his fellow writers, and did not even collect poems. They were in letters to relatives and friends; they were found forgotten in business papers, books, accounts and travel documents.
It is impossible not to point out the fact that the poet lived in a turbulent time of revolutions, political changes and wars.
A passionate love of life, an active life position and constant internal anxiety, caused by a tragic perception of reality, form the basis of Tyutchev’s worldview as a poet. He was never a representative of “pure art”, since he could not remain indifferent to the most important issues modern world. His poetry of nature was rooted in the Russian soil.
The complete works of F. I. Tyutchev - about four hundred poems. But what kind!
Tyutchev developed as a poet in the Pushkin era, but, as is known, after the publication of 24 poems in Sovremennik (during the life of A.S. Pushkin) he stopped publishing for a long time. The influence of the first teacher and translator of ancient poets S.E. Raich, of course, was important during the formation of the young man’s creative personality. Often his work about nature “involuntarily echoes the work of Hellas: Tyutchev’s mythological digressions so strangely coexist with the description of Russian nature.”
The poet's mythological ideas organically coexist with pictures of Russian nature. Often, images of nature, as well as abstract concepts, are highlighted by the author in capital letters: “By the Enchantress of Winter”, “Before the Rise of Dawn”, “We stand blindly before Fate.”
While in Germany for a long time, Tyutchev could not help but accept the ideas and philosophy of F. Schelling, with whom he became close friends.
G. Heine wrote: “Schelling again established nature in its rightful rights, he sought the reconciliation of mind with nature, he wanted to unite them in the eternal soul of the world.” And F.I. Tyutchev’s phenomena are identical outside world and the state of the human soul.
Now it is appropriate to pay attention to the short, eight-line, early poem “Noon,” written in the late twenties:
Summer southern afternoon. Nature became weak from the sun, life froze for a while. “The clouds are lazily melting in the sky.” This is the content of the first stanza.
The dormant world is filled with mysterious life. The "Great Pan" with the Nymphs rests in a cave. The owner of forests and valleys, Pan, “sleeps peacefully,” having taken refuge from the sultry afternoon in a cave. This is the content of the second stanza of the poem.
As we see, the “Great Pan” is devoid of any mythological aura. His image organically coexists with Tyutchev’s picture of nature.
The man, as it seems to us at first, is absent, but he has already entered: if we do not see him, then a picture of his vision is clearly drawn before us, the world changes under his gaze: “The clouds are lazily melting.”
For the poet, the “slumbering world” is full of mysterious life, and the image of the great owner of the forests and valleys of Pan is almost devoid of greatness and is humanized.
“So Tyutchev’s mythology lives, first of all, not in the names of the ancient gods, but in his figurative comprehension of Nature, discerned in all the diversity of its existence: its original and destroyable, only lurking night chaos, its bright daytime cosmos, boundless and infinitely beautiful.”
This is what the poet writes in the early 30s in the poem “What are you howling about, night wind?” The night world is languidly terrible, but the day world glows with joy, rejoices and laughs in the work of the same years, “Morning in the Mountains”:
So, Tyutchev does not compare nature with a laughing man. The poet considers it as the primary source of joy, endows it with the ability to smile, sing, and rejoice.
The poetry of Fyodor Ivanovich Tyutchev matured. To prove this, let's look at the poem "The Clouds Are Melting in the Sky" from 1868:
Between these “clouds” and those that “lazyly” melted in the “fiery firmament” 40 years passed. The poet has not ceased to be a romantic, but there is a lot of realism in his works. The mythological names disappeared: not Pan, but the shadow disappeared from the midday heat. The author abandoned mythology, but the world did not become “godless.” The life of nature has gone deep into the landscape. And most importantly, she moved away from a person who, forgetting about himself, is still ready to talk about nature. It can be argued that in Russian poetry the “discovery of nature” actually took place!
What is unique about the poetry of Tyutchev - a romantic, a philosopher and a realist? Fyodor Ivanovich acutely feels the contradictions of life in all its manifestations.
Man is powerless before nature: he grows old and dies, but she is reborn again every year.
Day and night! The philosopher considered night to be the essence of nature, and day for him was only a “golden woven cover” thrown over the abyss.
Summing up, it can be argued that the poet’s philosophy did not prevent him from creating amazing, small lyrical poems. They can't even be called landscapes - they're internal state nature.
What do we call a rational being?
Divine modesty of suffering!
These two lines from “Autumn Evening” literally shocked the poet Balmont, who wrote: “Tyutchev rises to an artistic understanding of autumn as the mental state of nature.
The wonderful writer Yu. N. Tynyanov knew and loved the work of Fyodor Ivanovich Tyutchev. In his work “The Question of Tyutchev,” he admired the poet’s language, his ability to say briefly about many things, forcing the reader to imagine the huge and absorb this huge into himself. Small in volume, but full of deep philosophical meaning, Tyutchev’s creations were called lyrical fragments by Yu. Tynyanov.
3. “Not what you think, nature”
In the lyrics of Fyodor Ivanovich Tyutchev of the 30s, the poeticization of nature was brought to the highest point of its expression. In April 1836, the poem “Nature is not what you think” was written in the form of an address, which speaks of nature in the same words as is customary to speak of man. The work does not have a title, and this always forces the reader to think more seriously about the meaning of the poetic lines.
The poem is like an important ongoing dispute, as one might assume, with a Russian interlocutor. It turned out to be a turning point, decisive not only for the author, but also for all traditional Russian poetry about nature.
These lines are written in polemical fervor. The poem was supposed to have eight stanzas, but censorship removed two stanzas, and apparently they are lost forever. What seditious content could be contained in a work written on an abstract philosophical topic? Perhaps the author quite boldly spoke out against the views of church ministers on nature?
A. S. Pushkin, publishing this poem in the third issue of the Sovremennik magazine in 1836, insisted on the designation of censorship notes. Without them, the work would be incomplete in content.
What is it the main idea“Not what you think, nature”? Tyutchev opposes those who underestimate nature; he accuses people of deafness and hardening of the soul. The separation of man from nature is to blame for this. With Tyutchev she lives, thinks, feels, says:
Continuing his conversation, the author calls other opponents “they”. We again do not know to whom exactly the author’s words are addressed, but now we are confronted with a poet-philosopher who defends his own view of the world. Everything in nature seems alive to him, full of deep meaning, everything speaks to him “in a language understandable to the heart.”
The first two stanzas begin with negation, as the author asserts his disagreement with the point of view of those to whom he is addressing. And the reader concludes: “soul”, “freedom”, “love”, “language” - this is what is most important for Tyutchev in nature.
In the poem “Nature is not what you think,” you can feel the author’s irritation; apparently, earlier he was unable to come to an agreement with his opponents and prove that he was right.
Let us pay attention to the features of the language that the poet uses to prove his point of view.
The assonance on [i, a, o] gives the poem a sublime tone; What makes it melodic is the huge number of sonorant sounds [m, l, p, n].
Outdated words (“face”, “tree”, “womb”, “see”) used in the text give the lines solemnity.
They seem to emphasize the undoubted correctness of what Tyutchev said.
Colorful and expressive personifications (“the suns do not breathe”, “the thunderstorm did not meet in a friendly conversation”, “the forests did not speak”), metaphors (“the night was silent”, “spring did not bloom”), comparison (“they live all over the world like in the dark") add color and expressiveness to speech and contribute to the fullest disclosure of the ideological content of the work.
Tyutchev has complex sentences, at the end of which - exclamation marks, which further emphasizes the polemical nature of the poem.
At first glance, the work ends rather strangely: Tyutchev does not condemn those whom he just addressed or argued with. “Deaf” people do not know how to feel, and therefore do not know how to live. And if for them nature is faceless, then for the poet nature is “the voice of the mother herself.”
In “Notes of the Fatherland,” the author of an unsigned enthusiastic article about Tyutchev said: “This slightly harsh, apparently, reproach of the poet to unpoetic souls is essentially filled with such love for nature and for people! How the author would like to share the feeling that fills him with others who, by their inattention, deprive themselves of one of the purest pleasures! ".
Yes, in the eyes of Fyodor Ivanovich Tyutchev, nature is animated and alive in itself.
Fyodor Ivanovich Tyutchev is called a poet-philosopher, because he directs his poetry and thoughts to the entire universe and relates every moment of existence to eternity. The poet does not describe nature, but his landscapes are emotional.
4. Seasons
4. 1. Spring
All seasons are reflected in Tyutchev’s poetry, and man is present everywhere. Each of us has read or knows by heart poems about spring: “I love the thunderstorm at the beginning of May”, “Spring waters”, “Spring”, “The earth still looks sad” and others. It seems that it is impossible to say better about this time of year than Fyodor Ivanovich has already said:
The snow is still white in the fields,
And the waters are already noisy in the spring
This is how the short, three-stanza poem “Spring Waters” begins. In the first quatrain, the author says that the long-awaited spring has finally come into its own, the snow has begun to melt, streams are ringing and running.
Winter is ending! A bright state of mind and a feeling of delight before the reviving nature is conveyed to the reader.
In the first stanza, the waters seem to be just gaining strength, “making noise,” “running and waking up the sleepy shore,” and the awakening nature begins to echo and sing along with them. And then the sound of spring waters turns into a powerful polyphonic choir.
It reaches its peak in the second stanza, where the jubilant song of melt water sounds.
Spring waters are called the messengers of spring, because they are the first to let us know about the end of winter: after all, having heard the ringing of drops, seeing thawed patches and streams on the road, we understand that spring is coming. And the streams do not flow silently, but joyfully ringing, awakening everyone around with their song.
The poem is easy to understand. The author uses complex metaphors: “the waters are noisy in the spring,” “they run and wake up the sleepy shore,” “they run and shine and cry,” “they cry to all ends.” All these and other metaphors, complementing each other with new details, merge into one artistic image - the personification of spring.
The abundance of epithets characteristic of Tyutchev (“young spring”, “quiet warm days”, “bright round dance”), among which one – “ruddy” - gives the “round dance” May days“not only a special warmth, but also reminds us of a bright, cheerful girl’s round dance.
The thrill of life, the swiftness of spring waters are conveyed using an abundance of verbs (the waters “make noise, run, awaken, shine, shout”). There are seven of them in the first stanza alone.
The sound recording of the poem is beautiful. Thus, the roar of spring water is felt in the sound scale: in the first stanza, the sound [y] is repeated 6 times, [b] and [g] – also 6 times. As you can see, the sound painting conveys the movement of spring water.
The melody of Tyutchev's lines attracted the attention of Sergei Rachmaninov - he created a romance. The voice of the performer of “Spring Waters” always soars and takes on a triumphant, almost “fanfare” sound when he sings: “She sent us forward!”
“Spring Waters” by Fyodor Ivanovich Tyutchev belongs to those few masterpieces of Russian lyricism that carry us on the wings of joy every time we listen to the miracle of the coming spring.
In 1828, Russian poetry was refreshed by “Spring Thunderstorm” - the first version of a wonderful poem. The final text was compiled in 1854.
Although the poem was written abroad, we still perceive its “thunderstorm in early May” as a real spring thunderstorm in middle lane Russia. A sound is born in the sky, along with which it thundered for the first time.
You can repeat what A. S. Pushkin said on another occasion, but it is suitable here: “Bad physics, but what brave poetry!”
“Spring is inspired by the most joyful, most life-affirming motifs of Tyutchev’s poems. Such is the “spring greeting to poets” imbued with a cheerful, major mood - “The love of the earth and the charm of the year” (circa 1828), such is the poetic description of the awakening of nature and the simultaneous awakening of the human soul in the poem “Even the earth is sad in appearance” (before 1836), such is the image the victories of spring over winter, the new over the old, the present over the past in the poem “It’s not for nothing that Winter is angry” (until 1836), such are, in particular, the solemn stanzas of the poem “Spring” (no later than 1838).
Man and nature are once again inseparable. Here the image of nature contained in the first stanza acquires the features of a living being, which are transferred to it by the author.
Spring for F.I. Tyutchev is the fullness of being, unity with nature and delight before the rebirth of Mother Earth.
After spring comes a warm time of joy and fun - summer. Man, as we know, is inseparable from nature; he admires all its manifestations. Fyodor Ivanovich writes a letter to his wife dated August 5, 1854: “What days! What nights! What a wonderful summer! You feel it, breathe it, are imbued with it and barely believe it yourself.”
The storm revealed the chaos, threw up “flying ashes,” but “through the fleeting anxiety, the incessant bird whistle continues to sound, foreshadowing the finale of this action.”
A summer storm is a cheerful shock to nature, but “the first yellow leaf” is a sad reminder and a glimpse of human regret that summer will pass.
"Summer Evening" 1828. The young poet claims that nature feels the same as man:
Tyutchev's poetic lines about summer come from the depths of the soul, merging with our ideas about this time of year.
“Tyutchev’s world of nature seems to glow from within, inside it there is a native fire, penetrating into all the colors of the day. The poet sang a true hymn to the sun’s radiance, the irresistible desire of everything earthly for the luminary. In the last stanza of this poem, the poet contrasted the happiness of summer nature and the tormented soul of a person who reaches out fortunately. And the human “smile of tenderness” is the touch of a mortal’s soul to the immortal, ever-renewing bliss of a blooming world.”
4. 3. Autumn
Autumn is Fyodor Ivanovich Tyutchev’s favorite time of year. He was especially attracted transition states nature. We see this in “Spring Waters”, “The First Leaf”, “There Is in the Initial Autumn”. The history of the creation of the latest work is interesting.
On August 22, 1857, on the way from Ovstug to Moscow, Fyodor Ivanovich Tyutchev wrote in pencil on the back of a piece of paper with a list of postal stations and travel expenses the poem “There is in the original autumn.” In 1868 it was included in the collected works. Perhaps the most captivating of the landscapes created by Tyutchev is this poem, warmed by soft lyricism. This is a truly realistic image of early autumn:
The poem does not have a title, which, of course, makes it difficult to immediately fully reveal ideological content works.
Having quickly read the three quatrains, we see that they are about a wonderful time - early autumn. But not only!
According to teacher E.E. Markina from Ulyanovsk, “in this poem the poet spoke not only about the wonderful time of golden autumn, but also about “autumn time in the life of any person.”
With one epithet, “as if crystal,” Tyutchev in the first stanza conveys the transparent clarity and short duration of early autumn days, which are also called “Indian summer.”
Please note that at the very beginning of the poem the author uses the long word “original”. It is polysyllabic, but next to short words it sounds more extended, slow, leisurely, thoughtful. The first line sets a solemn, reflective tone for the entire poem.
“Short but wonderful time” is a special time of autumn, very, very short. This means that it is dear to every person, and he, of course, wants to capture these moments in his memory.
The first stanza ends with an ellipsis, which contains a lot of meaning. Firstly, the reader can imagine the picture drawn by the poet in even more detail. Secondly, the pause prepares us to perceive the following lines.
The second stanza is distinguished by the particular depth of thoughts included in it. The reader imagines an autumn landscape (“everything is empty - space everywhere”), where bread has recently been cheerfully and cheerfully harvested, and on the “idle” furrow a “web of fine hair” glistens.
The meaning of the words “fine hair of a cobweb” may lead us to believe that the poet wrote not only about early autumn, but also about human life, using personification.
The word “autumn” in the first stanza seems to echo the “thin hair of a spider’s web,” and here the phrases that come to mind: spring of life, summer of life, autumn of life.
Autumn of life! As the reader guesses, we are talking specifically about the old age of a person who has come a long way in life. The third stanza is also about autumn. Before winter, nature loses everything that decorated it in summer. And suddenly in the second line the image of “winter storms” appears. What storms? It seems that we are talking not only about hurricanes and blizzards, but also about state of mind an elderly man - “a storm in his soul.” The poet says: “But the first winter storms are still far away.”
“Wonderful time” in nature is a time of peace and quiet, still far from real snowstorms, but for a person this is the time when old age is just beginning. He still has a lot of strength for life, creativity, and there are no big troubles.
Researchers of Tyutchev’s work have come to the conclusion that thanks to the poet, images of thunderstorms, storms, and lightning acquired philosophical significance in Russian poetry.
We “read” the last lines of the poem. In them, our attention is attracted by the words: “pure and warm azure is flowing.” These are metaphors, but what kind! “Clean and warm azure” is not just a substitute for the word “sky.” Here there is sunlight and warmth, which seems to pour from above. And the word “azure” takes on the quality of a thing.”
“The resting field” is a humanized, spiritualized land, since it was touched by human hands.
In the work we're talking about not only about a wonderful time, about early autumn, but also about the “autumn” time of a person’s life, which he must accept humbly, wisely, calmly.
Many years later, Lev Nikolayevich Tolstoy, having read the poem “There is in the primordial autumn” to his guests, said that he did not know more accurate, sincere and expressive words depicting “Indian summer” than these poems.
“Autumn evening” is not only a “premonition of descending storms” by nature itself, but also a “gentle withering” of human life:
So, the poet seems to revive autumn, figuratively endowing it with traits and properties inherent only to humans. For Tyutchev, an autumn evening is a mysterious beauty. This time of year is perceived by him as a divine, touching, bottomless creation.
Deep, unusually rich in color, F. I. Tyutchev’s poem is filled with a feeling of hopeless sadness, sincere suffering, and regret. The lyrical hero does not want to part with even the smallest, imperceptible, but sweet for him detail: the “touching, mysterious charm” of autumn evenings, the “sadly orphaned” earth, the “foggy and quiet azure” - everything is expensive, everything is unusual, everything is mysterious!
End of October 1849. The human soul carries a terrible burden of worries and anxieties. And outside the window “the fields are already empty, the groves are bare, the sky is paler, the valleys are cloudier.” But even in these gloomy autumn days the soul can stir, like in spring, and drains are born:
Good memories of the “past” “will momentarily lift a terrible burden,” just as in the autumn sometimes a warm and damp wind “will wash over the soul as if in spring.” The poet's bad mood is in tune with the autumn season, but it dissipates with the memory of the beautiful spring days that Tyutchev loved very much.
Fyodor Ivanovich discerns the mysterious but undying life of nature even under the snow cover. In 1852, he was on the Ovstug estate, where, under the influence of the surrounding beauty, he wrote the wondrous poem “The Enchantress in Winter”
It has already been noted that “many features of Tyutchev’s poetics are determined by the understanding of nature as an animated whole - first of all, metaphors Tyutchev makes even current, erased metaphors sound new, refreshing them with epithets and thereby, as it were, introducing “soul” into the pictures and natural phenomena he describes ".
The forest is “bewitched by the sorceress Winter” and “glitters with a wonderful life.” He sleeps, enchanted by a “magical dream,” bound by a “light downy chain.” These personifications, giving the forest and winter the characteristics of living creatures, create a feeling of a fairy tale and mystery.
And the epithets (“wonderful life”, “magical dream”, “light feathery chain”, “dazzling beauty”) make the poetic picture colorful and expressive.
The only archaism “places” is used to give the line high expression. The winter sun cannot cope with the snow that has entangled the forest, but under its rays a fairy tale is born.
Three stanzas of the poem have five lines each. The rhyme is not entirely ordinary: the first line rhymes with the third and fourth (Winter - fringed - dumb), and the second with the fifth (stands - shines).
The dash after the second line in all stanzas is an important sign. It makes the reader stop and think about what deep meaning lies in the following lines.
The image of a “light downy chain” helps us imagine the sleepy torpor of a winter forest.
What “wonderful life” is the poet talking about? To whom does it open? The “wonderful life” of the forest is invisible to the indifferent and inattentive gaze, but is open to inquisitive people with a poetic soul
Without the sun, the forest seems motionless, sleeping, enchanted. Not a single branch will flinch: everything is bound by frost and ice. But as soon as the sun peeks out from behind the clouds, everything will “flare up and sparkle with dazzling beauty.”
It was typical of Tyutchev to sometimes consider natural phenomena “from the point of view of popular feeling.” His Winter is the personification of a living omnipotent being, who in nature is a mistress-sorceress.
Judging by the number of poems dedicated to summer and winter, we see that the author gave preference to spring and autumn, but the image of Winter, which does not want to make room for Spring, is captured in another of Tyutchev’s masterpieces - “Winter is angry for a reason.”
The origins of Tyutchev’s poetry lie in the wonderful nature of the Bryansk region. An interesting fact is that even in those poems that Tyutchev wrote during the foreign period of his life, there is a deep imprint of his native Russian nature, dearly loved by him since childhood. Probably, the poet rarely had the opportunity to observe nature in winter in his adulthood, which is why he wrote few works about this time of year.
If Fyodor Ivanovich had left us just one poem as a legacy - “The Enchantress in Winter”, one could argue that Tyutchev is a genius.
Conclusion
“Whoever has been to the hills of Ovstug will agree with my statement that only those born on this land could convey how cheerfully the spring waters flow and truly triumphantly “cry to all ends” about the coming of spring,” how the Russian forest stands “bewitched by the sorceress Winter” .
In the works of F. I. Tyutchev, a small lyrical form - a miniature, a fragment - contains content equal in scale of generalizations to a novel
Tyutchev completed a whole period of development of the philosophical movement of Russian romanticism and gave a certain impetus to realistic lyrics.
“Having analyzed in detail a number of poems about nature, we can say that Tyutchev’s landscapes in their lyricism and philosophical intensity are reminiscent of the paintings of Levitan or Rylov.”
“Sensitivity to specific details at the end of his creative life is noticeably enhanced in Tyutchev’s lyrics, reflecting the general movement of Russian poetry from romanticism to realism.”
Tyutchev generally distinguishes colors subtly and has the art of color. Even in the poet’s non-landscape poems, “bright pieces” of nature are often interspersed.
Tyutchev loves colors, just as he loves everything bright and living. Nature and man are in almost every poem.
When, after the poet’s death, a very small edition of his poems was published, A. A. Fet greeted him with a poetic dedication, ending with lines that could be an epigraph to all subsequent editions of Tyutchev’s poems:
In our time, interest in Tyutchev is steadily increasing not only here, but also abroad, since the soul of nature and the soul of man in Tyutchev’s poetry are inextricably linked.
1. Brief biographical information.
2. The poet’s philosophical worldview.
3. Love and nature in Tyutchev’s poetry.
F.I. Tyutchev was born in 1803 into a noble noble family. The boy got a good education. Tyutchev showed interest in poetry quite early - already at the age of 12 he successfully translated the ancient Roman poet Horace. Tyutchev's first published work was a free adaptation of the Epistles of Horace to Maecenas. After graduating from St. Petersburg University, Tyutchev entered the diplomatic service. As an official of the Russian diplomatic mission, he was sent to Munich. It should be noted that Tyutchev spent a total of more than 20 years abroad. He married twice - for love, both in the relationship preceding the marriage and in the subsequent one. family life Tyutchev's life took shape quite dramatically.
The career growth of Tyutchev, who received the post of diplomatic envoy and the title of chamberlain, stopped due to the fault of the poet himself, who, during a period of rapid infatuation with Baroness E. Dernheim, who became his second wife, he voluntarily retired from service for some time, and even lost the documents entrusted to him. Having received his resignation, Tyutchev still lived abroad for some time, but after a few years he returned to his homeland. In 1850, he met E. Denisyeva, who was half his age and who soon became his lover. This relationship lasted 14 years, until Deniseva’s death; at the same time, Tyutchev retained the most tender feelings for his wife Eleanor. The love for these women is reflected in the poet’s work. Tyutchev died in 1873, after losing several close people: his brother, his eldest son and one of his daughters.
What did this man bring to poetry that his Poems immortalized his name? Literary scholars have come to the conclusion that Tyutchev introduced motifs and images that were practically not used in 19th-century poetry before him. First of all, this is the universal, cosmic scope of the poet’s worldview:
The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.
A similar scale will subsequently often be reflected in the works of poets of the 20th century. But Tyutchev lived in the 19th century, so in some ways he anticipated the development of poetic trends and laid the foundations of a new tradition.
It is interesting to note that for Tyutchev such philosophical categories as infinity and eternity are close and tangible realities, and not abstract concepts. Human fear of them stems from the inability to rationally comprehend their essence:
But the day fades - night has come;
She came - and, from the world of fate
Fabric of blessed cover
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
However, Tyutchev is of course the heir to the poetic tradition that developed before him. For example, the poems “Cicero”, “Silentium!” written in the oratorical-didactic style, which was widely used in the 18th century. It should be noted that these two poems reveal some important elements the poet's philosophical worldview. In the poem “Cicero,” Tyutchev turns to the image of the ancient Roman orator to emphasize the continuity of historical eras and to promote the idea that the most interesting are the turning points of history:
Happy is he who has visited this world
His moments are fatal!
He was called by the all-good
As a companion at a feast.
He is a spectator of their high spectacles,
He was admitted to their council -
And alive, like a celestial being,
Immortality drank from their cup!
Witness major historical events Tyutchev regards him as an interlocutor of the gods. Only they can understand the deep experiences of the creative soul. As for people, it is extremely difficult to convey your thoughts and feelings to them; moreover, this often should not be done, as the poet writes about in the poem “Silentium!”:
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.
The use of mythological images in Tyutchev's poetry is also based on a tradition that already existed in Russian literature. The whimsical world of myth allows the poet to abstract himself from everyday life and feel a sense of involvement with certain mysterious forces:
You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky
Laughing, she spilled it on the ground.
You need to pay attention to the composition of Tyutchev’s poems. They often consist of two interconnected parts: in one of them the poet gives something, like a sketch, shows this or that image, and the other part is devoted to the analysis and comprehension of this image.
Tyutchev's poetic world is characterized by a pronounced bipolarity, which is a reflection of his philosophical views: day and night, faith and unbelief, harmony and chaos... This list could be continued for a long time. The most expressive opposition of two principles, two elements is in Tyutchev’s love lyrics. Love in Tyutchev’s poems appears as a “fatal duel” between two loving hearts, then as a mixture of seemingly incompatible concepts:
O you, last love!
You are both bliss and hopelessness.
Nature in Tyutchev's lyrics is inextricably linked with the inner life of the lyrical hero. Let us note that Tyutchev often shows us not just pictures of nature, but transitional moments - twilight, when the light has not yet completely gone out and complete darkness has not yet set in, an autumn day that still vividly conveys the charm of the past summer, the first spring thunderstorm... As in history , and in nature, the poet is most interested in these “threshold”, turning points:
The gray shadows mixed,
The color faded, the sound fell asleep -
Life and movement resolved
In the unsteady twilight, in the distant rumble...
The theme of “mixing”, interpenetration, is often heard in those lines that are devoted to human perception of nature:
An hour of unspeakable melancholy!..
Everything is in me and I am in everything!..
...Feelings like a haze of self-forgetfulness
Fill it over the edge!..
Give me a taste of destruction
Mix with the slumbering world!
Tyutchev's perception of nature, as well as all of the poet's lyrics, is characterized by polarity and duality. Nature can appear in one of two guises - divine harmony:
There are in the brightness of autumn evenings
Touching, mysterious charm!..
or elemental chaos:
What are you howling about, night wind?
Why are you complaining so madly?..
For Tyutchev, nature is a huge living being, endowed with intelligence, with which a person can easily find a common language:
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...
On November 23, 1803, in the Oryol province of Bryansk district, a boy was born on the Ovstug estate. They named him Fedor. Fyodor's parents, Ivan Nikolaevich and Ekaterina Lvovna, came from ancient noble families.
Ekaterina Lvovna was closely related to the family of Leo Tolstoy. Ekaterina Lvovna was a very beautiful, subtle, poetic woman. It is believed that she passed on all these traits to her youngest son Fyodor. In total, 6 children were born in the Tyutchev family. The last 3 children died in infancy.
Fyodor Tyutchev received his primary education at home. His first mentor was Raich Semyon Yegorovich, a young, very educated man. He wrote poetry and did translations. While studying with Fedor, the mentor encouraged him to write poetry. By doing homework, he often organized competitions to see who could compose a quatrain the fastest. Already at the age of 13, Fedor was an excellent translator and became seriously interested in writing poetry. Thanks to
mentor, as well as his talent and perseverance, Fyodor Tyutchev spoke and wrote fluently in several foreign languages. But what’s interesting is that Tyutchev wrote all his poems only in Russian.
Tyutchev graduated from Moscow University, Faculty of Literature, with honors in 1821.
Knowledge of many foreign languages and excellent studies at the university help him enter the College of Foreign Affairs as a diplomat. Tyutchev will have to live abroad for almost a quarter of a century. He rarely came to Russia and suffered greatly from this. While working as a diplomat in Munich, Tyutchev will meet his truest great love Eleanor Peterson. They will have three daughters. Happiness with Eleanor was short-lived. She is dying. His relationship with Elena Deniseva ends in tragedy. About this period of his life he will write: “The executing god took everything from me...”.
Tyutchev's creativity
The creative heritage of Fyodor Tyutchev numbers just over 400 poems. A notebook with Tyutchev’s poems accidentally ends up in the hands of A. Pushkin. Pushkin is delighted and publishes poems in the Sovremennik magazine. Tyutchev becomes famous as a poet. All of Tyutchev’s creativity can be divided into 3 stages:
- Moral - philosophical lyrics. In the poems of this period, Tyutchev skillfully combines soul, mind, and the infinity of human existence.
- Love lyrics. Tyutchev was a very amorous person; he dedicated poems to all his lovers. Tyutchev's love lyrics reflect his mood. His sublime, sad, and tragic poems date back to this period. The poems are very melodic and touch the soul.
- Poems about native nature. Tyutchev wrote poems about nature from his youth. He believed that there was nothing more beautiful than Russian nature. Most of all, while abroad, he suffered from the inability to immerse himself in Russian nature. With rapture and happiness he wrote about fields, copses, and seasons. His poems about nature were included in the school curriculum for children.
At the end of his life, Tyutchev began to write poems on political topics, but they did not find a response from readers and, for the most part, remained unclaimed poems among the general public.
Tyutchev and modernity
Poems from any stage of the poet’s work find a lively response from readers. His famous lines: “Russia cannot be understood with the mind...”, “It is not given to us to predict...”, “Everything has been taken from me by the executing god...” is known to almost every literate person. His poetic work in popularity can be compared with the work of Pushkin. Tyutchev’s subtle, lyrical, soul-stirring style transcends times and boundaries. His poems have been translated into many languages of the world.
In the summer of 1873, Fyodor Tyutchev died in Tsarskoye Selo. He was buried at the Novodevichy cemetery. Every year, on the poet’s birthday and death anniversary, fans of his talent come to pay tribute to his work.
A very short biography of Tyutchev for children 4th grade
Tyutchev had his favorite teacher-mentor Yegor Ranch, who helped him in everything and raised more parents. Already at the age of twelve, with the help of his teacher, Fyodor Ivanovich wrote his first poems. At the age of fifteen, not needing a teacher, he began to study at the institute in the literature department. After graduating from college, he went to work abroad for almost 20 years. Where he worked as a diplomat in Italy and Germany.
All this time he was not engaged in literary activity. Upon returning home, he began working in the Foreign Affairs Committee. Pushkin saw his first poems in 1836 and helped them publish them in many magazines. After which he went out into the world. The first assembly of Fedor appeared in 1854. Tyutchev has many famous poems such as: “Russia cannot be understood with the mind”, “winter does not last long”, “evening”, “flowing sand up to the knees”.
Tyutchev did not become a writer and worked in a different field; children still learn his poems at school.
Fyodor Tyutchev died in July 1879 in the village of Tsarskoye. He never began a career in literature.
4th grade. 6th grade.. 3rd, 10th grade. for children
Biography by dates and interesting facts. The most important.