Biography of Fedor Tyutchev. Biography of Tyutchev Message on the topic of creativity F and Tyutchev

Fyodor Tyutchev is a famous Russian lyricist, poet-thinker, diplomat, conservative publicist, corresponding member of the St. Petersburg Academy of Sciences since 1857, privy councillor.

Tyutchev wrote his works mainly in the direction of romanticism and pantheism. His poems are very popular both in Russia and around the world.

In his youth, Tyutchev read poetry all day long (see) and, admiring their work.

In 1812, the Tyutchev family was forced to move to Yaroslavl, due to the beginning.

In Yaroslavl, they remained until the Russian army finally expelled the French army, led by them, from their lands.

Thanks to his father's connections, the poet was enrolled in the board of foreign affairs as a provincial secretary. Later, Fedor Tyutchev becomes a freelance attaché of the Russian diplomatic mission.

During this period of his biography, he works in Munich, where he meets Heine and Schelling.

Creativity Tyutchev

In addition, he continues to compose poems, which he then publishes in Russian publications.

During the biography of 1820-1830. he wrote such poems as "Spring Thunderstorm", "As the ocean embraces the globe of the earth ...", "Fountain", "Winter is not angry for nothing ..." and others.

In 1836, 16 works by Tyutchev were published in the Sovremennik magazine under the general title Poems Sent from Germany.

Thanks to this, Fedor Tyutchev is gaining great popularity in his homeland and abroad.

At the age of 45, he receives the position of senior censor. At this time, the lyric poet continues to write poems that are of great interest in society.

Amalia Lerchenfeld

However, the relationship between Tyutchev and Lerchenfeld did not reach the wedding. The girl chose to marry the wealthy Baron Krüdner.

The first wife in the biography of Tyutchev was Eleonora Fedorovna. In this marriage, they had 3 daughters: Anna, Daria and Ekaterina.

It is worth noting that Tyutchev was little interested in family life. Instead, he liked to spend his free time in noisy companies in the company of the fairer sex.

Soon, at one of the social events, Tyutchev met Baroness Ernestine von Pfeffel. A romance began between them, which everyone immediately learned about.

When the poet's wife heard about this, she, unable to bear the shame, stabbed herself in the chest with a dagger. Luckily, there was a minor injury.

Tyutchev's first wife Eleonora (left) and his second wife Ernestine von Pfeffel (right)

Despite the incident and the condemnation in society, Fedor Ivanovich was never able to part with the baroness.

After the death of his wife, he immediately entered into marriage with Pfeffel.

However, having married the baroness, Tyutchev immediately began to cheat on her. For many years he had a close relationship with Elena Denisyeva, whom we have already mentioned.

Death

In the last years of his life, Tyutchev lost many relatives and people dear to him.

In 1864, his mistress Elena, whom he considered his muse, passed away. Then his mother, brother and daughter Maria died.

All this had a negative impact on Tyutchev's condition. Six months before his death, the poet was paralyzed, as a result of which he was bedridden.

Fedor Ivanovich Tyutchev died on July 15, 1873 at the age of 69. The poet was buried in St. Petersburg at the cemetery of the Novodevichy Convent.

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"For Tyutchev, to live is to think."

I. Aksakov

“Only strong and original talents are given the opportunity to touch such strings in the human heart.”

N. Nekrasov

Fedor Tyutchev is one of the largest Russian lyric poets, a poet-thinker. His best poetry still excites the reader with artistic foresight, depth and power of thought.

If a political struggle unfolded around the poetry of Nekrasov and Fet, and now literary critics are divided into supporters of either the "Nekrasov" or "Fetiv" direction, then thoughts about Tyutchev's work were unanimous: they were highly valued and perceived by both democrats and aesthetics.

What is the inexhaustible wealth of Tyutchev's lyrics?

Fedor Tyutchev was born on November 23, 1803 in the family of a nobleman in the estate of Ovstug, Oryol province. The parents of the future poet, educated and wealthy people, gave their son a thorough and versatile education.

The well-known poet and translator S.E. Raich, a connoisseur of classical antiquity and Italian literature, was invited by his tutor. In his lessons, Tyutchev drew deep knowledge of the history of ancient and modern literature. As a teenager, Fedor begins to write himself. His early poems are somewhat outdated and "heavy", but they testify to the young man's talent.

At the age of 14, Tyutchev became a member of the Union of Russian Literature Lovers. In 1819, for the first time, his free translation of the "Message of Horace to the Maecenas" appeared. During 1819-1821, Tyutchev studied at the verbal department of Moscow University.

Letters, diaries of this period testify to his literary tastes. He admired Pushkin, Zhukovsky, German romantics, read the works of French enlighteners, poets and philosophers of Ancient Greece and Rome. The circle of his intellectual interests was quite wide and covered not only literature, but also history, philosophy, mathematics, natural sciences.

Moscow University in the early 1920s became the center of political and social thought. And although Tyutchev was not interested in politics, his mother, fearing the harmful influence of revolutionary ideas on him, insisted on the early completion of his studies and his son's entry into the diplomatic service.

Tyutchev was enrolled in the Collegium of Foreign Affairs. Soon he leaves for Europe, where he lived for almost 22 years, representing the Russian diplomatic mission in Munich, then in Turin and at the court of the Sardinian king. Munich (the capital of the Bavarian kingdom) was one of the largest centers of European culture.

Tyutchev met scientists, writers, artists there, immersed himself in the study of German romantic philosophy and poetry. He becomes close to the outstanding idealist philosopher F. Schelling, is friends with Heine, the first to begin translating his works in the Osian language, also translates F. Schiller, I.V. Goethe of other European poets. This helped Tyutchev hone and improve his poetic skills.

His name entered great poetry in the 1920s. Tyutchev's poems periodically appeared in various Moscow magazines and almanacs, and were often signed only with the poet's initials. Tyutchev himself did not appreciate his own developments very highly. Most of what was written has either disappeared or been destroyed.

Surprisingly modest and demanding of himself, during one of the moves, Tyutchev, burning unnecessary papers, threw several notebooks of his poetry into the fire.

Four hundred poems by Tyutchev allow us to trace the formation of his worldview, to get acquainted with the outstanding events of his life.

During his student days and at the beginning of his stay abroad, the poet was influenced by freedom-loving ideas. His poem "To Pushkin's ode" Liberty "is close in its ideological orientation to the works of romanticism, but it already sins in contrast to Pushkin's social lyrics of the Decembrist period.

Tyutchev uses vocabulary characteristic of Decembrist poetry (“fire of freedom”, “sound of chains”, “dust of slavery”, etc.), but sees the meaning of poetry not in a call to fight, but in a call to peace and peace of mind. In his ode there are lines addressed to the poet with a request to “soften, not disturb the hearts” of readers with a magic string.

Tyutchev's attitude towards Russia was contradictory. He deeply loved his homeland, believed in its future, but understood its economic and cultural backwardness, abandonment, could not put up with the political regime of “office and barracks”, “knout and rank”, which personified autocratic Russia.

For Tyutchev, any violent forms of struggle have always remained unacceptable. Hence the contradictory attitude towards the Decembrist events, to which he responded with the poem "December 14, 1825".

The poet respected the bold actions of the nobles for the sake of the ideas of public freedom, who stepped over their own interests, but at the same time he considered them "victims of stupid intentions", argued that their act was meaningless, and therefore would not leave a trace in the memory of descendants.

Every year the skill of the poet improved. By the mid-30s, he printed such pearls as "Spring Thunderstorm", "Spring Waters", "Summer Evening", "Silentium!" ) appeared in various magazines and almanacs separately and were "lost" in a sea of ​​low-grade poetry.

Only in 1836, at the initiative of his friend I. Gagarin, Tyutchev collected his poems in a separate manuscript for the purpose of publication. The works were handed over to P. Vyazemsky, who showed them to Zhukovsky and Pushkin.

Three luminaries of Russian poetry were delighted, and in Sovremennik (and the magazine at that time belonged to its founder A. Pushkin) 24 poems were published under the title "Poems sent from Germany" signed by F.T.

Tyutchev was proud of the attention paid to him by the first poet of Russia and dreamed of a personal meeting. However, they were not destined to meet. Tyutchev responded to Pushkin's death with the poem "January 29, 1837".

Like M. Lermontov, Tyutchev blamed the secular elite for Pushkin's death, but believed that the poet was deeply mistaken, digressing from pure poetry. At the end of the poem, he affirms the immortality of the poet: "The heart of Russia will not forget you, like the first love."

Over the years, the feeling of social changes that are taking place in the world, the understanding that Europe is on the verge of an era of revolutions, is growing stronger. Tyutchev is convinced Russia will go the other way. Cut off from his homeland, he creates with his poetic imagination an idealized image of Nikolaev Rus. In the 40s, Tyutchev almost did not engage in poetry, he was more interested in politics.

He interprets his political convictions in a number of articles in which he promotes the idea of ​​pan-Slavism, defends Orthodoxy, considering religiosity to be a specific feature of the Russian character. In the poems "Russian Geography", "Prediction" there are calls for the unification of all Slavs under the scepter of the Russian autocracy, condemnation of the revolutionary movements that have spread in Europe and threatened the Russian Empire.

Tyutchev believes that the Slavs should unite around Russia, and oppose the gap to revolutions. However, idealistic sentiments about Russian autocracy were destroyed by the shameful defeat of Russia in the Crimean War.

Tyutchev writes sharp, biting epigrams on Nicholas I, Minister Shuvalov, the censorship apparatus.

Interest in politics has steadily waned. The poet comes to understand the inevitability of changes in the basis of the socio-political system of Russia, and this disturbs and excites him at the same time.

“I am aware,” writes Tyutchev, “the futility of all the desperate efforts of our poor human thought to understand the terrible whirlwind in which the world is dying ... Yes, indeed, the world is collapsing, and how not to get lost in this terrible whirlwind.”

The fear of destruction and the joy of realizing the confident gait of the new now live together in the heart of the poet. It is to him that the words that have become winged belong: “Blessed is he who visited this world in its fatal moments ...”

It is no coincidence that he uses the word "fatal" ("Cicero"). Tyutchev, in his convictions, was a fatalist, believed that both the fate of man and the fate of the world were predetermined. However, this did not cause him a feeling of doom and pessimism, on the contrary, a sharpened desire to live, to move forward in order to finally see the future.

Unfortunately, the poet referred himself to the “wreckage of the old generation”, acutely feeling detachment, alienation from the “new young tribe” and the inability to walk next to him towards the sun and movement (“Insomnia”).

In the article "Our Century", he argues that the leading feature of a contemporary is duality. We clearly see this "two-faced" attitude of the poet in his lyrics. He is in love with the theme of storms, thunderstorms, showers.

In his poetry, a person is doomed to a "hopeless", "unequal" battle with life, fate, himself. However, these pessimistic motives are combined with courageous notes that glorify the feat of indestructible hearts, strong-willed people.

In the poem "Two Voices" Tyutchev sings of those who overcome life's difficulties and social disagreements and can only be hacked by rock. Even Olympians (i.e. gods) look at such people with envy. The poem "Fountain" also glorifies the one who strives up - to the sun, to the sky.

Tyutchev's philosophical and social lyrics are often built on the basis of the compositional technique of parallelism. In the 1st part, a picture or natural phenomenon familiar to us is depicted, in the 2nd stanza the author draws a philosophical conclusion designed for human life and destiny.

Thematically, Tyutchev's poems are divided into three cycles: socio-philosophical lyrics (it has already been mentioned), landscape lyrics and intimate lyrics (about love).

We appreciate Tyutchev first of all as an unsurpassed singer of nature. In Russian literature there was no poet before, in whose work nature would weigh so much. She is the main object of artistic sensations.

In addition, the natural phenomena themselves are conveyed in a laconic way, the main attention is focused on the feelings, associations that they cause in a person. Tyutchev is a very observant poet, with the help of a few words he can reproduce an unforgettable image.

The nature of the poet is variable, dynamic. She does not know peace, being initially in a state of struggle of contradictions, clashes of the elements, in the continuous change of seasons, day and night. It has many “faces”, saturated with colors and smells (poems “What a good you are, the night sea”, “Spring thunderstorm”, “What a cheerful noise of a summer storm”, etc.).

The epithet and the metaphor are of an unexpected nature; in terms of their meaning, they are basically those that mutually exclude each other.

This is what helps to create a picture of the struggle of opposites, constant changes, which is why the poet is especially attracted by transitional moments in nature: spring, autumn, evening, morning (“There is in autumn ...”, “Autumn evening”). But more often Tyutchev turns to spring:

Winter came flour

That's why she's sad

She knocks on the window

Spring for her wife.

Translation by M. Rylsky

Storms, snowstorms tend to stop the progress of spring, but the law of life is inexorable:

Winter doesn't want to leave

In the spring everything grumbles

But spring laughs

And young noise!

Translation by M. Rylsky

Nature in Tyutchev's poems is humanized. She is close to the person. And although in verse we do not meet the direct image of a person or any signs of her presence (room, tools, household items, etc.), we internally feel that we are talking about a person, his life, feelings, that The old generation is being replaced by the young. The thought arises of the eternal celebration of life on earth:

Winter disaster heard

End of your life

The last snow flung

Into a magical child.

But what an enemy force!

Washed with snow

And only the Spring turned pink in its bloom.

Translation by M. Rylsky

Having creatively assimilated Schelling's teaching about the dominance of a single "world soul" in the world, the poet is convinced that it finds its expression both in nature and in the inner world of an individual. Therefore, nature and man are organically merged in Tyutchev's lyrics and form an inseparable whole. "Thought after thought, wave after wave - two manifestations of the same element" ("Wave and Thought").

The feeling of optimism, the affirmation of the celebration of life is the essence of Tyutchev's poetry. That is why Tolstoy greeted every spring with the lines of Tyutchev's poem "Spring". N. Nekrasov wrote about the poem “Spring Waters”: “Reading poetry, feeling spring, from where, I don’t know, it becomes fun and easy on the heart, as if a few years younger.”

The traditions of Tyutchev's landscape lyrics have their origins in the poetry of Zhukovsky and Batyushkov. The style of these poets is characterized, so to speak, by the transformation of the qualitative characteristics of the objective world into emotional ones.

However, Tyutchev is distinguished by a philosophical orientation of thought and a bright, picturesque speech, which gives harmony to the verses. He uses especially gentle epithets: "blissful", "light", "magical", "sweet", "blue" and others. In landscape lyrics, Tyutchev acts as a romantic poet, and in some of his poems, symbolism tendencies are tangible (“Days and Nights”, “Shadows are Gray”).

Tyutchev also achieves high skill in intimate lyrics. He raises it to the height of the same generalization, as we see it in landscape lyrics.

However, when the landscape is imbued with philosophical thoughts, then the intimate one is psychologism in revealing the inner world of a person in love. For the first time in Russian lyrics, the author's attention shifted from the lyrical suffering of a man to a woman. The image of the beloved is no longer abstract, it takes on living, concrete psychological forms. We see her movements (“She was sitting on the floor…”), learn about her experiences.

The poet even has poems written directly on behalf of a woman (“Do not say: he loves me, as before ...”).

In the 1940s and 1950s, the women's issue in Russia became problematic. Still alive is the romantic ideal, according to which a woman was presented as a fairy, a queen, but in no way to real earthly creatures.

George Sand in world literature begins the struggle for the emancipation of women. In Russia, many works have been published that define the character, intellectual capabilities of a woman: is she a full-fledged compared to a man? What is its purpose on earth?

Revolutionary-democratic criticism and literature considered a woman as a being of equal value to a man, but without rights (Chernyshevsky's novel What Is to Be Done, N. Nekrasov's poem Russian Women). Tyutchev shared Nekrasov's ("Panaevsky cycle") position. However, unlike the Democrats, it calls not for the social, but for the spiritual emancipation of women.

The pearl of Tyutchev's poetry is the "Denisiev cycle".

In 1850, when the poet was 47 years old, he accepted a civil marriage with Elena Denisyeva, a 24-year-old niece and pupil of the inspector of the Smolny Institute for Noble Maidens, where the daughters (!) of the poet also studied, their relationship lasted 14 years (during this time three children were born). High society did not recognize and condemned Denisyeva. The delicate situation oppressed the young woman, which led to his tuberculosis and early death.

"Denisiev cycle" is truly a novel in verse about love. We learn about the joy of the first meeting, the happiness of mutual love, the inexorable approach of tragedy (the beloved of the poet, whom the environment condemns, does not have the opportunity to live one life with her beloved, doubts the fidelity and strength of his feelings), and then the death of her beloved and "bitter pain and despair ”about the loss that does not leave the poet until the end of his life (“What did you pray with love”, “And I am alone ...”).

In the intimate cycle, there is a lot of personal experience experienced by the author himself, but there is no place for subjectivism. Poems excite the reader, are associated with their own feelings.

Many literary critics note the closeness in the disclosure of the theme of love by F. Tyutchev and I. Turgenev. In both, a woman's love is tragic, for the one who loves her is not able to reciprocate the degree that she feels.

The cause of suffering lies in the differences in the feminine and masculine characters. A woman can live by love alone, but for a man, feelings always coexist with the needs of social or intellectual activity. Therefore, the lyrical hero repents that he is not able to love with the same strength as his chosen one. (“Oh, don’t disturb me…”).

The love of the lyrical hero Tyutchev is powerless, just like the love of the heroes of Turgenev's novels. And it was typical for that time.

Tyutchev was a liberal in his worldview. And his life fate is similar to the fate of the heroes of Turgenev's novels. Turgenev the realist sees the reason for the heroes' inability to love in their social essence, social impotence. Tyutchev the romantic is trying to find the reason in the inability to fully understand human nature, in the limitations of the human "I". Love acquires destructive power, it violates the isolation and integrity of the inner world of a person. The desire for self-expression to go, to achieve complete mutual understanding makes a person vulnerable. Even the mutual feeling, the desire of both lovers to "dissolve" in a new unity - to replace "I" - "we" - is not able to prevent how to stop the destructive outbreak of individuality, "peculiarities", alienation that fatally accompanies lovers and traditionally "appears" for a moment of harmony of souls ("Oh, how murderous we love ...").

Most of Tyutchev's poems were set to music and became popular romances.

However, the poet was recognized only at the end of his life. In 1850, an article by N. Nekrasov “Russian Minor Poets” was published in the Sovremennik magazine, which was mainly devoted to F. Tyutchev. The critic raises him to the level of A. Pushkin and M. Lermontov: he sees in him a poet of "first magnitude", since the main value of his poetry is in "a lively, graceful, plastic-accurate depiction of nature." Later, 92 Tyutchev's poems were published as an appendix to one of the following issues of the magazine.

In 1854, the first collection of Tyutchev's poems was published under the editorship of I. Turgenev. In the article “A few words about the poems of F.I. Tyutchev "Turgenev puts him above all modern Russian poets.

The work of Tyutchev had a considerable influence on Russian literature of the second half. 19th century — Beg. 20th century Russian romanticism in his work reached the pinnacle of its development in the 19th century. However, it did not lose its vitality, since we trace the traditions of Tyutchev's poetics in the works of L. Tolstoy, F. Dostoevsky, A. Blok, M. Prishvin, M. Tsvetaeva, M. Gumilyov and many others.

Only a few poems by Tyutchev have been translated into Ukrainian (translators: M. Rylsky, P. Voronii), but these translations cannot be called perfect. Firstly, it is very difficult to translate associative poems, since they do not have a specific content, and secondly, Tyutchev's poetic dictionary is also an obstacle, in which there are such semantic shades of words that cannot be literally conveyed in another language. Therefore, the translations lack the unique sound of Tyutchev's speech in verse.

Silentium (1830)

The poem has a Latin name, which means “Silence” in translation. Two themes seem to cross in it: the theme of the poet and poetry, traditional for literature, and the theme of love. The poem is declarative in form and content; the author is trying to convince the reader of the correctness of the judgments that are declared in it.

In the first stanza, based on his own philosophical convictions, Tyutchev warns us against trying to tell the world about his feelings and thoughts:

Shut up, close from life

And dreams, and their feelings.

Translation by P. Voronoi

Man and nature live according to the same laws. Just as the stars cannot understand how they shine and fade in the sky, so a person cannot and should not try to understand why feelings suddenly arise and just as suddenly disappear:

Let in the abyss of depth

And they go down and they go in

Like stars clear at night:

Love them and be quiet.

Tyutchev believed that feeling is higher than reason, since they are a product of the eternal soul, and not mortal matter. And therefore, trying to express what is happening in the human soul does not make sense, and is not possible at all:

How will the heart express itself?

Does anyone understand you?

He won't understand the words

Therefore, the thought is expressed - decay.

A person is a “thing in itself”, each person is unique and “sealed” in his own spiritual world. It is in it that a person has to draw life-giving forces, and not try to find support among the material environment:

Know how to live in yourself!

There is a whole world in your soul

Secret-enchanting thoughts,

Drown out their everyday noise

And they will disappear, in the radiance of the day, mrucha,

You listen to their singing and be silent!

And again, in the last lines of the poem, the poet compares the world of the human soul and the world of nature. This is emphasized by the rhyming of words that have the main semantic load - “dum - noise”, “mruchi - be silent”.

The refrain is the word "be quiet." It is used in the poem 4 times, and this focuses our imagination on the main idea of ​​the poem: why and what should be silent.

The poem gives us some idea about the subject of poetry. The beautiful is characteristic of the human soul, it is to characterize it that the poet uses the only in this poetry (generally not typical for his poetics and differs from others in the richness of expressive vocabulary), the majestic poetic epithet - "secretly charming thoughts". And this is when the surrounding world receives a prosaic definition - “ordinary noise”.

The world of the human soul is alive and materialized, it exists, as it were, outside of a person (“Admire them” - that is, with your feelings - and be silent”). The author's idea is emphasized by the rich metaphorical nature of speech ("feelings descend", "feelings come", "the heart expresses itself").

The author uses iambic bimeter, which enhances the semantic sound of speech. Strengthen his oratorical orientation and rhetorical questions and exclamations. In the questions, the theme is traced (“How will the heart express itself?”, “Who will understand you?”), In the answers - the idea (“Be quiet, close from life and dreams, and your feelings!”, “Know how to live in yourself!”, “You listen to their singing (sensitively. - N.M.) and be silent!”.

This poem is important for understanding the essence of F.I. Tyutchev's poetry, especially his intimate lyrics.

"Last love"

(1852 or 1854)

The poem belongs to the "Denis'ev cycle" and is dedicated to the strong outburst of the poet's last love. The poem is romantic in sound. In the center of the work is an image-feeling, an image-experience. There are no references to the person to whom he is dedicated, the lyrical heroine is out of the context of the story. And therefore, poetry acquires not a concrete personal, but a universal sound. This is not a story about the love of an elderly man Tyutchev for a young girl Elena Denisyeva, this is a story about the last bright feeling that can flare up in a person’s soul - “about the last love.”

The poem has the form of an extended metaphor: pictures of nature are interspersed with descriptions of the feelings of the lyrical hero. The last love is associated in the mind of the poet with the "farewell radiance of the evening dawn." The author understands that his life is coming to an end (“the shadow has already covered half the sky” and “the blood runs cold”), and this strange and wonderful feeling is all the more dear to him, which can only be compared with “radiance” in the middle of a dark night.

The poem is distinguished by emotionality, sincerity, the author managed to achieve such a feeling with the help of the interjections “Oh”, sounding at the beginning and end of the poem, the repetition of individual words that are most significant for the lyrical hero (“wait”, “wait a minute”. “Evening day ”,“ continue ”,“ continues ”,“ miracle ”), a successful selection of euphonious words (tenderness, charm, bliss, etc.). etc.), the original combination at the end of the work with completely different lexical meanings of the words "bliss" and "hopelessness", the use of unexpected grammatical variants of one word ("tender" and "tenderness").

The melodiousness and melodiousness of the verse contributed to the fact that composers of both the 19th and 20th centuries repeatedly turned to it.

"Fountain" (1836)

The poem is built on the principle of parallelism. The first stanza describes a natural phenomenon, the second one projects it onto human life. In terms of content, this is philosophical poetry, in which the author discusses the predestination of human life. And at the same time, he is delighted with those daredevils who are trying to break out of this fatal circle.

The lyrical hero looks with surprise at the splashes of the fountain, which, sparkling in the rays of the sun, will rush up to the sky. However, no matter how high they fly up with “fire-coloured dust”, they are “destined” to fall to the ground. Further, in the mind of the author, this is associated with human life. No matter how hard a person tries to achieve something unusual, bright and outstanding on his life path, it is doomed, like the doomed spray of a fountain falling from a height. Despite the seemingly pessimistic content, the poem does not evoke a sense of hopelessness. On the contrary, it is optimism, because it glorifies and exalts those who do not want to put up with the gray routine.

"Fountain", like most of Tyutchev's poems on philosophical topics, is written in the form of an emotionally rich monologue. It begins with an appeal to the invisibly present interlocutor: “look”, the pronouns “you”, “you” are introduced into the text, rhetorical exclamations are used. However, the excess of purely "aesthetic", "exotic" vocabulary (for example, "hand") in the poem causes difficulties for translators.

"Spring Thunderstorm" (1828)

This is one of Tyutchev's best poems, which has long become a textbook. Purely landscape, devoid of philosophical didacticism (which is in the verses "Ziiepiiit!" And "Fountain"), the poem is accessible not only for adults, but also for children's perception.

Tyutchev loved "turning points" in nature, when the seasons change, the night gives way to the day, after a thunderstorm, the sun's rays break through the clouds. Characteristic for the poet's landscape lyrics is the beginning of the poem, in which he categorically states: "I love the time of a thunderstorm in the spring." Next is a description of nature during the first thunderstorm in May. Why is the lyrical hero so attracted by a thunderstorm, a natural phenomenon that many simply fear? Tyutchev's thunderstorm attracts with the uncontrollability of the elements, when everything is covered by flashes of lightning, when everything is in a state of struggle, in motion. This also determined the author's choice of dynamic poetic meter - two-foot iambic.

Each stanza of the poem is dedicated to one of the stages of a thunderstorm. In the first stanza, the storm is only approaching, reminding of itself with distant thunder. The sky is still clear and blue:

I love thunderstorms in spring

When the May first thunder

As if reveling in the game

Rumbles in the blue sky.

Translation by M. Rylsky

In the second, a thunderstorm is approaching, the struggle between the sun and the storm begins, the thunder sounds loud and tangible:

And in the third stanza, the storm is in full swing. But it is not the evil force that wins, but nature, life. Therefore, "everything sings along with thunder":

Streams of transparent waters run,

The bird's din does not stop,

And in the forest din, and the noise in the mountains, -

Everything sings along with the thunder.

This joyful mood, fun are also heard in the last - final stanza, where the image of "mischievous Hebe" appears (in Greek mythology, the goddess of youth, the daughter of the supreme deity - Zeus), who "poured a public-boiling goblet from heaven to earth with laughter" .

Despite the detailed subject description of a thunderstorm (thunder, dust, rain, water flow), the main thing in the poem is not the image of a thunderstorm, but the image-feeling, the mood that it causes in the heart of the lyrical hero. The poem was written in a romantic creative method: the personification of nature (“thunder plays”, “vociferous thunders”, nature “sings along”), a majestically poetic comparison (“drops of a transparent necklace burns with gold in the sun”), the use of ancient images (Hebe, Zeus, etc. .).

The poem is elegant both in its form and in its content. Knowing it, you repeat it to yourself, and when you meet the first spring thunderstorm, you feel a joyfully optimistic mood, which the great master of the poetic word conveys to us through the centuries.

References

Zakharkin A.F. Russians late in the second half of the 19th century. M., 1975.

Kasatkina V.N. The postural worldview of F.Y. Tyutchev: Saratov University, 1969.

BIOGRAPHY AND CREATIVITY F. I. TYUTCHEV

Abstract of a student of 10 "B" class, Lyceum No. 9 Korzhanskaya Anastasia.

Volgograd

Fedor Ivanovich Tyutchev was born into a well-born noble family in the village of Ovstug, Oryol province (now the Bryansk region) on November 23, 1803. In 1810, the Tyutchev family moved to Moscow. A poet-translator, a connoisseur of classical antiquity and Italian literature S.E. was invited as an educator to Tyutchev. Raich. Under the influence of the teacher, Tyutchev early joined the literary work. Tyutchev wrote the earliest of the poems that have come down to us - "To Dear Papa" at the age of 15 (November 1813). Already at the age of 12, Fedor Ivanovich successfully translated Horace. And in 1819, a free transcription of the “Message of Horace to the Maecenas” was published - Tyutchev’s first speech in print. This autumn, he enters the verbal department of Moscow University: he listens to lectures on the theory of literature and the history of Russian literature, on archeology and the history of fine arts.

In the autumn of 1821, Tyutchev graduated from the university with a Ph.D. in verbal sciences. He gets a position as a supernumerary officer of the Russian mission in Bavaria. In July 1822 he went to Munich and spent 22 years there.

Abroad, Tyutchev translates Heine, Schiller and other European poets, and this helps him acquire his voice in poetry and develop a special, unique style. Shortly after arriving in Munich, apparently in the spring of 1823, Tyutchev fell in love with the still very young Amalia von Lerchenfeld. Amalia was only considered the daughter of a prominent Munich diplomat, Count Maximilian von Lerchenfeld-Köfering. In fact, she was the illegitimate daughter of the Prussian King Friedrich Wilhelm III and Princess Thurn y Taxis (and was thus the half-sister of another daughter of this king, the Russian Empress Alexandra Feodorovna). The royal daughter, of dazzling beauty, Amalia clearly sought to achieve the highest possible position in society. And she succeeded. During the departure of Tyutchev on vacation, Amalia got married to his colleague, Baron Alexander Sergeevich Krunder. It is not known exactly when Tyutchev found out about Amalia's wedding, but it is easy to imagine his then pain and despair. But, despite the insults, Amalia’s relationship with Tyutchev lasted for half a century, despite the fact that he was married to another, he shone poetry on her:

"I remember the golden time,

I remember a dear edge to my heart.

The day was evening; we were two;

Below, in the shade, the Danube rustled ... "

Information even reached that Tyutchev was a participant in a duel because of her.

Soon, on March 5, 1826, he married Eleanor Peterson, nee Countess Bothmer. It was in many ways an unusual, strange marriage. Twenty-two-year-old Tyutchev secretly married a recently widowed woman, the mother of four sons aged from one to seven years, moreover, with a woman four years older. Even two years later, many in Munich, according to Heinrich Heine, did not know about this wedding. “Serious mental requests were alien to her,” but nevertheless, the poet’s biographer K.V. wrote endlessly charming, charming. Pigarev about Eleanor. It can be assumed that Tyutchev decided to marry mainly for the sake of salvation from the torment and humiliation caused by the loss of his true, beloved. But, one way or another, Tyutchev did not make a mistake. Eleanor loved him unconditionally. She managed to create a cozy and hospitable home. Tyutchev lived with Eleanor for 12 years. From this marriage he had three daughters: Anna, Daria, Ekaterina.

Tyutchev served, and served poorly. The promotion was slow. The salary was not enough to support the family. The Tyutchevs barely made ends meet, they were constantly in debt.

“Fyodor Ivanovich was far from being what is called a good-natured man; he himself was very grouchy, very impatient, a decent grump and an egoist to the marrow of his bones, to whom his calmness, his comforts and habits were dearest of all, ”writes A.I. Georgievsky (publisher, teacher).

One can imagine in what a difficult state of mind Tyutchev was. Failures and hardships in all areas - political activity, career and home life. Under these conditions, Tyutchev surrenders to his new love.

In February 1833, at one of the balls, Tyutchev's friend, the Bavarian publicist Karl Pfeffel, introduces him to his sister, the twenty-two-year-old beauty Ernestina and her already elderly husband, Baron Döriberg. Ernestine is beautiful and a skilled dancer. She made a strong impression on Tyutchev. In addition, a strange story happened: Dyori felt unwell and left the ball, saying goodbye to Tyutchev: “I entrust my wife to you,” and died a few days later.

That love began, which was probably a kind of way out, salvation for Tyutchev. He obviously could not, for the sake of a new love, not only part with Eleanor, but even stop loving her. And at the same time, he could not break off relations with Ernestine. And it couldn't remain a secret. Ernestine tried to run from him. She left Munich. During this period of separation, Fyodor Ivanovich is in a terrible state, in which he burns most of his poetic exercises.

Eleanor tried to commit suicide by stabbing her chest several times with a dagger. But she remained alive, she forgave Tyutchev.

On May 14, Eleanor and her three daughters boarded a steamboat heading from Kronstadt to Lübeck. Already near Lübeck, a fire broke out on the ship. Eleanor experienced a nervous breakdown saving the children. They escaped, but the documents, papers, things, money were all gone. All this finally undermined Eleanor's health, and with a big cold on August 27, 1838, at the age of 39, she died.

And already March 1, 1839. Tyutchev filed an official statement of his intention to marry Ernestina. Ernestina adopted Anna, Daria and Ekaterina. At the same time, while living in Munich, Tyutchev maintained the closest relations with the Russian mission, and continued to follow political life with all his attention. There is no doubt that he still had a firm intention to return to the diplomatic service. But, fearing that he would not be given a diplomatic post, he keeps postponing his return to St. Petersburg from vacation, waiting for a more opportune moment. And, in the end, on June 30, 1841, Fedor Ivanovich was dismissed from the Ministry of Foreign Affairs and deprived of the title of chamberlain. In the autumn of 1844, Tyutchev returned to his homeland. He began to actively participate in public life. And in March 1845 he was again enrolled in the Ministry of Foreign Affairs.

He loved his second wife Ernestine (Netty), she had two sons Dmitry and Ivan. But 12 years after marrying her, Tyutchev fell in love with Denisyeva. Fyodor Ivanovich was already under 50 when he was seized by love, bold, excessive, irresistible, for Elena Aleksandrovna Denisyeva, a young girl, a classy lady of the institute where his daughters studied. A prosperous life, established with such difficulty, a career forcibly restored, public opinion, which he cherished, friendships, political plans, the family itself, finally, everything went to dust. For 14 years from 1850 to 1864 this love storm raged. Continuing to love Ernestine, he lived in two houses and was torn between them. Tyutchev's relationship with Ernestina Fedorovna for long periods was entirely reduced to correspondence. For 14 years she did not reveal anything that she knew about her husband's love for another, and showed the rarest self-control.

Fyodor Ivanovich was more "spiritual" than "soulful". The daughter wrote about him as a person, "that he appears to her as one of those primordial spirits that have nothing to do with matter, but which, however, does not have a soul either."

Elena Alexandrovna loved Fyodor Ivanovich without limit. Children born to Elena Alexandrovna (daughter Elena and son Fedor) were recorded as Tyutchevs. It had no legal force. They were doomed to the sad fate of the "illegitimate" in those days. On May 22, 1864, Elena Alexandrovna gave birth to a son, Nikolai. Immediately after giving birth, she developed an exacerbation of tuberculosis. On August 4, 1864, she died in the arms of Fyodor Ivanovich Tyutchev. Tyutchev tormented and tormented. After her death, he lived in a daze. Tyutchev seemed to be blinded by grief and wisdom. “A short, thin old man, with long temples lagging behind. With gray hair that was never smoothed, dressed inconspicuously, not fastened with a single button as it should ... ”Khodasevich wrote in his memoirs about Tyutchev.

Fedor Ivanovich continued to correspond with his wife Ernestina Fedorovna. Later they met, and the Tyutchev family was reunited again. In the last years of his life, Tyutchev devoted all his strength to various activities aimed at establishing the right direction for Russia's foreign policy. And Ernestina Fedorovna helps him in this. On January 1, 1873, the poet, says Aksakov, “despite all the warnings, left the house for an ordinary walk, to visit friends and acquaintances ... He was soon brought back, paralyzed. The entire left side of the body was affected and damaged irrevocably.” Ernestina Fedorovna cared for the sick Fedor Ivanovich.

Tyutchev died on July 15, 1873, just on the 23rd anniversary of the day when his affair with E. A. Denisyeva began.

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

The main advantage of Fyodor Ivanovich's poems lies in the lively, graceful, plastically correct depiction of nature. He passionately loves her, understands perfectly, his most subtle, elusive features and shades are available to him.

Tyutchev inspires nature, animates, she is alive and humanized in his image:

And sweet thrill, like a jet,

Nature ran through the veins.

How hot her legs

Key waters touched.

"Summer Evening" 1829

Nature -

... Not a cast, not a soulless face -

It has a soul, it has freedom,

It has love, it has a language...

“Not what you think nature” ... 1836

The work of Fedor Ivanovich Tyutchev is strong in its philosophical component. It had a beneficial effect on the formation 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 a true and beautiful talent, original, graceful, full of thought and genuine feeling.

The beginning of poetic activity
A collection 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 loved by readers.

The creative fate of F.I. Tyutchev was unusual. Quite early, the poet begins to print 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.

So, the stormy year of 1825 caused Tyutchev to write two curious poems. In one, addressing the Decembrists, he remarked:

"O victims of reckless thought,
You hoped maybe
What will become scarce of your blood,
To melt the eternal pole.
Barely, smoking, she sparkled,
On the age-old mass of ice;
Iron winter died -
And there are no traces left."

In another poem, he talks about how “sad it is to go towards the sun and weave movement behind a new tribe,” how “piercing and wild this noise, movement, conversation, cries of a young fiery day” are for him.

"Night, night, oh where are your covers,
Your quiet dusk and dew? .. "

This was written at a time when Pushkin, with an encouraging word of greeting, turned "to the depths of the Siberian ores" and exclaimed: "Long live the sun, let the darkness hide."

Years will pass and only then will contemporaries discern the incomparable verbal painting of Tyutchev.

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 bore 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 was no longer found in Sovremennik, it also did not appear in other journals, and, one might say, since that time it has completely disappeared from Russian literature. Meanwhile, the poems of Mr. F.T. belonged to a few brilliant phenomena in the field of Russian poetry.

Only in 1850, fortune smiled - in the Sovremennik magazine, N.A. Nekrasov spoke flatteringly about the Russian poet Tyutchev, and they started talking about him in full voice.

Spiritualization of nature in Tyutchev's poetry
Tyutchev's "Night Soul" is looking for silence. When the night descends to the earth and everything takes on chaotically obscure 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 "The 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 lot,
O clean swan, yours!
And clean, like yourself, dressed
You elemental deity.
She, between the double abyss,
Your all-seeing dream cherishes,
And with the full glory of the starry firmament
You are surrounded by everything."
.
And here is the same picture of nocturnal beauty. The war of 1829, the capture of Warsaw found a quiet response in the soul of Tyutchev.

"My soul, Elysium of shadows,
What is common between life and you?

So the poet asks himself. In the marble-cold and beautiful poem "Silentium" (translated from Latin "Silence") Tyutchev repeats the word "be silent."

"Be quiet, hide and conceal
And your feelings and dreams!
Let in the depths of the soul
And they rise and they go
Like stars clear in the night:
Admire them - and be silent.

In many poets, we find indications of these torments of the word, which is powerless to fully and truthfully express a thought, so that the “thought uttered” is not a lie and does not “disturb the keys” of moral feeling. Silence could not be an escape from this state. Tyutchev was silent only about those thoughts that were evoked by the "violent year" of modernity, but with all the greater "passion" he gave himself up to the impression of nocturnal and truthful nature. Contemplating the southern sky, remembering his native north, he breaks out from under the power of the beauties of nature surrounding him, comes to love for the whole universe. When looking at a kite soaring high to the sky, the poet becomes offended that a man, "the king of the earth, has grown to the earth."

It is necessary to understand, to love all nature, to find meaning in it, to deify it.

"Not what you think, nature -
Not a cast, not a soulless face:
It has a soul, it 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 divine wrath, I love this, invisibly
In everything spilled, mysterious evil ... "

The poem "Twilight" expresses the consciousness of the poet's closeness to the fading nature:

“An hour of longing inexpressible!
Everything is in me - and I am in everything ... "

The poet refers to the "quiet, sleepy" twilight, calls him "deep into his soul":

"Give me a taste of destruction,
Mix with the dormant world."

The poet everywhere speaks of nature as something alive. He has “winter grumbling for spring”, and “she laughs in her eyes”; spring waters “run and wake up the sleepy shore”, nature smiles at spring through a dream; spring thunder "frolics and plays"; a thunderstorm “recklessly, madly suddenly runs into an oak forest”; “gloomy night, like a stout-eyed beast, looks out from every bush”, etc. (“Spring”, “Spring waters”, “The earth still looks sad”, “Spring thunderstorm”, “How cheerful the roar of summer storms”, “Loose sand to the knees”).

The poet does not single out the highest manifestations of the human spirit from all other natural phenomena.

"Thought after thought, wave after wave -
Two manifestations of the same element.

We find the development of the same thought in the wonderful poem "Columbus":

“So connected, connected from the ages
union of consanguinity
Intelligent human genius
With the creative power of nature.
Say the cherished word he -
And a new world of nature
Always ready to respond
To a voice related to him.

At this point, Tyutchev's worldview came into contact with Goethe's worldview, and it was not for nothing that the relations of both poets, who met during Tyutchev's life abroad, were 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 universal. Tyutchev's love lyrics are an example of tenderness and penetration.

“I still strive for you with my soul -
And in the darkness of memories
I still catch your image ...
Your sweet image, unforgettable,
He is before me everywhere, always,
unattainable, immutable,
Like a star in the sky at night ... "

Tyutchev's work is full of deep philosophical meaning. His lyrical reflections, as a rule, are not abstract, they are closely connected with the realities of life.

It is impossible, according to the lyricist, to open the curtain before 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
In his fatal moments!
He was called by the all-good,
As an interlocutor at a feast ... "
"Cicero"

Is it necessary to leave a great creative legacy behind in order to become great? On the example of the fate of F.I. Tyutchev, we can say: "No." It is enough to write a few brilliant creations - and descendants will not forget about you.

Text adaptation: Iris Revue

INFORMATION ABOUT THE LIFE AND CREATIVE WAY OF F.I. TYUTCHEV

Fyodor Ivanovich Tyutchev (1803-1873) belonged to an old noble family, which has been known since the middle of the 14th century, when Zakhary Tyutchev was sent by Dmitry
Donskoy to the Horde Khan for negotiations. The future poet was born on December 5, 1803 in the village of Ovstug on the estate of his father Ivan Nikolayevich, who received a military education, did not serve long, retired and married Countess Ekaterina Lvovna Tolstaya.

Tyutchev's childhood and youth (1803-1819) were spent in Ovstug, in Moscow, where his parents bought a house, on an estate near Moscow. His family lived in the atmosphere of the noble culture of their time and preserved folk customs and Orthodox traditions.

The poet, as an adult, recalled “how on Easter night his mother brought him, the child, to the window and together they waited for the first strike of the church bell ... On the eve of big holidays ... Vespers were often served at home, and on the days of family celebrations prayers were sung ...

In the bedroom and in the nursery, the polished salaries of family icons shone and there was a smell of lamp oil ... "Tyutchev was nine years old when the Patriotic War of 1812 began, he consciously perceived the patriotic upsurge in the country.

Parents gave their son an excellent education. At first it was home schooling, which met the requirements of classical gymnasiums (at that time, secondary
establishments modeled on European ones for the children of the nobility). The boy's first home teacher was a former serf who received his freedom, he instilled in him a love of reading and nature.

The poet, a connoisseur of antiquity and classicism, Semyon Yegorovich Raich, continued his studies, with him Tyutchev studied ancient literature, translated ancient poets, mastered Russian philosophical and didactic (moralizing) poetry of the 18th century with its idea of ​​​​harmony of moral and beautiful, read Russian literature of his time.

Raich wrote: “... With what pleasure I remember those sweet hours when it happened, in spring and summer, living in the suburbs, the two of us with F.I. went out of the house, stocked up on Horace, Virgil, or one of the native writers, and, sitting in a grove, on a mound, went deep into reading and drowned in the pure delights of the beauties of the brilliant works of Poetry! .. "

In imitation of Horace, Tyutchev wrote the ode "For the New Year 1816" and was accepted as a member of the Society of Lovers of Russian Literature. The young poet took on the features of the sublime style of the philosophical and didactic poetry of classicism, which organically entered his lyrics. At this time, he attends classes at a private boarding school, preparing to enter the university.

At Moscow University (1819-1821) Tyutchev studied at the verbal department. Along with family education, university professors, who support the gradual reform of society while maintaining autocracy, had a significant influence on the formation of his views.

In his student years, Tyutchev shows religious freethinking, characteristic of youth: he does not observe rituals, composes humorous poems, which upsets his parents, but at the same time he studies the book of the French philosopher Pascal, a defender of Christian doctrine.

The aspiring poet is included in literary life, writes the poem "To Pushkin's ode to Liberty", related to his student's lyrics, revealing the role of the poet and poetry in society.

After graduating from the university in 1821, Tyutchev serves in St. Petersburg, in the Collegium of Foreign Affairs. He visits the society of young lovers of literature (Raich's circle) created by S.E. Raich, which unites beginning poets and writers.

In the classes of the circle, philosophy was studied, issues of aesthetics and modern literature were considered, that is, the first quarter of the 19th century, when, in the course of the controversy between classicists and sentimentalists, a new literary trend, romanticism, was formed.

You can repeat what you have learned about romanticism by having a conversation or by including a student's prepared message in the lesson.

Sample questions for conversation
What philosophical idea is the basis of romanticism?
— What does the concept of the principle of romantic duality mean?
- What trends were determined in romanticism as a literary movement?
- What role, according to the romantics, should literature, in particular poetry, play in the life of society?

Romantic art was based on the idea of ​​the constantly changing God's world, the natural struggle of contradictory principles in nature and in human life. The opposition of the hero, his ideals to the world around him is the fundamental principle of romanticism, which is called the "principle of romantic duality".

With common leading features, romanticism as a literary movement was divided into two currents: psychological (contemplative) and civil romanticism.

According to the romantics of the psychological trend, the purpose of literature is to bring people high moral ideals, help them see the beauty of the world and choose the path of goodness in a harsh and difficult life.

According to the romantics of the civil movement (primarily the Decembrist poets), it is necessary to expose the vices of society and change it through struggle. Romantics are looking for ideals among free nature, reflect on its laws, strive beyond the limits of the earthly world, are fond of ancient culture, the historical past.

Diplomatic service abroad (1822-1844) began in June 1822, when Tyutchev arrived in Germany, in Munich, to serve in the Russian diplomatic mission (he was nineteen years old). He gets acquainted with German romanticism, translates the poems of Goethe, Heine, communicates with the philosopher Schelling, studies his works on issues
philosophy of nature (natural philosophy).

According to Schelling's teaching, nature, like man, is endowed with consciousness, spiritualized, contradictory; it is impossible to know nature and human society and predict the process of their development - it is revealed only through faith in God. Tyutchev perceives the teachings of Schelling, it does not contradict his Christian beliefs.

The philosophical views of the poet were associated with pantheism - a doctrine that brings together and even identifies the concepts of God and nature as much as possible.

In Munich, the poet-diplomat does not renounce secular life, he is spoken of as a witty and interesting interlocutor. At this time, he experienced a feeling of first love for the young Countess Amalia (in marriage, Baroness Krüdner). She reciprocated (the young people exchanged baptismal chains), Tyutchev asked for the girl's hand, but was refused by her parents. The poem “K.N. ”, filled with a sense of bitterness.

Your sweet gaze, full of innocent passion -

I couldn't, alas! - propitiate them -

Having survived the drama of failed love, Tyutchev married a widow two years later, who had four sons from her first marriage.

Now he has a big family that he takes care of. He is engaged in literature a lot, comprehends the revolutionary movements that have unfolded in Europe. Living abroad, he does not lose touch with Russia, with friends at home, where his poems appear in various almanacs. In 1836, Pushkin published a selection of Tyutchev's poems in his journal Sovremennik, giving them high marks. Pushkin's death shocked Tyutchev, he wrote a poem "January 29, 1837", in which he condemned Dantes:

Forever he is the highest hand
Branded as a regicide...
Tyutchev said about Pushkin:
You, like first love,
The heart will never forget Russia...

Life abroad (1820-1830s) is the heyday of Tyutchev's talent, when masterpieces of his lyrics were created. In chronological terms, this is the early period of the poet's work. In 1837, Tyutchev was sent to serve in Italy, in Turin. His wife and children soon follow him, there was a fire on the steamer on the way, they escaped, but his wife fell ill and died. Two years later, the poet married a second time, and in the fall of 1844 he returned to Russia.

Life at home (1844-1873) is associated with service in the Ministry of Foreign Affairs in St. Petersburg, where Tyutchev lives, often visiting Ovstug. In the 1840s, he writes and publishes mainly political articles in which he expresses his attitude to European revolutions as a catastrophe (in particular, to the French revolutions of 1830 and 1848). Tyutchev's main political idea is pan-Slavism - the unity of the Slavic peoples around Russia, which can be traced in his socio-political lyrics.

Poems of the 1850-1870s are attributed to the late period of Tyutchev's work. The poet cannot accept the views of the revolutionary democrats, as well as the young raznochintsy intelligentsia of the 1860s and 1870s, who went down in history under the name of nihilists, that is, people who deny the social order, the culture and moral ideals they inherited.

During these years, Tyutchev met Elena Alexandrovna Denisyeva, she was twenty-three years younger than the poet. Their mutual passion became known in the world. Deniseva was no longer accepted in society, her own father abandoned her. Tyutchev continued to stay with his former family, suffering from split. Denisyeva survived all the bitterness of humiliation, her three children, born out of wedlock, were considered illegal, although they bore the name of their father, but were assigned to the bourgeois class.

In 1864 Denisyeva died of consumption. The poems, which reflected the poet's love drama, constitute the Denisiev cycle in his love lyrics.

Tyutchev's contemporaries, including A.S. Pushkin, highly appreciated his work. Nekrasov, who published the poet's poems in Sovremennik, wrote that "they refer to him as naked brilliant phenomena in Russian poetry ...". In the supplement to the magazine, on the initiative of I.S. Turgenev, Tyutchev's poems were published with an article by the writer, in which they were also highly appreciated. The poet died in 1873 and was buried at the Novodevichy Cemetery in St. Petersburg.

conclusions
The formation of Tyutchev - the poet was influenced by:
- the cultural environment of the family that preserves Orthodox traditions; perception of moderate socio-political views;
– education: the study of antiquity, the philosophical and didactic poetry of classicism, the literature of Russian romanticism;
- life abroad: acquaintance with German romanticism, the philosophical teachings of Schelling, the perception of European revolutions as a disaster;
- Dramatic events of personal life.

LYRICA F.I. TYUTCHEVA

Most of Tyutchev's poems are a fusion of feeling and philosophical thought related to nature, man and society, in each of them a leading theme is highlighted.
The theme of the poet and poetry
Poetry is not crazy
But the highest gift of the Gods...
and spoke the truth to kings with a smile...
G.R.Derzhavin

In the poem "To Pushkin's Ode to Liberty" (1820), Tyutchev revealed his vision of the role of the poet and poetry in the life of society. Poetry is compared to the "flame of God" falling on kings:

Flaming freedom fire
And drowning out the sound of chains
The spirit of Alceus woke up in the lyre, -
And slavery dust flew off with her.
From the lyre sparks ran
And an all-crushing stream,
Like the flame of God, they fell
On the foreheads of pale kings...

Lyra - here: lyric poetry (from the name of a stringed instrument in ancient Greece, to the sounds of which songs were sung). Alcey (Alkey) - an ancient Greek poet who took an active part in the political struggle.

Muses - ancient Greek goddesses of poetry, arts and sciences; the muse of lyric poetry is Euterpe; the pet of the muses is the poet. The poet was given a high mission to remind tyrants of the moral rules bequeathed by God:
Happy, who with a firm, bold voice,
Forgetting their dignity, forgetting their throne,
Broadcast to inveterate tyrants
Holy truth is born!

And you are a great inheritance,
Oh, music pet, awarded!

However, the poet should not debunk the authority of the authorities, the beauty of his poetry should soften the cruelty of tyrants, direct citizens to good deeds and deeds, help to see the beauty of the world. Tyutchev uses, along with the word tyrant, the word autocracy in the meaning of power that does not comply with laws and moral rules:

Sing and with the power of sweetness
Unleash, touch, transform
Friends of cold autocracy
In friends of goodness and beauty!
But do not disturb the citizens
And shine do not gloom the crown ...

In the poem, the influence of the didactic poetry of classicism is noticeable: archaic, sublime vocabulary, appeals, exclamatory sentences.

Has Tyutchev's view of the role of the poet and poetry changed over the years?

Poetry
Among thunders, among fires,
Among the seething passions,
In spontaneous, fiery discord
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in his eyes -
And on the stormy sea
A conciliatory oil is pouring.
1850

Oil - 1) Olive oil, consecrated by the church for the anointing of Christians (the sign of the cross is made on the forehead). 2) A figurative meaning is a means of consolation, reassurance.

Sample questions and tasks for analysis:

- What period of Tyutchev's life and work does the poem belong to?
What two worlds are opposed in the poem? What is the role of poetry in society?
- What figurative and expressive means does the author use, asserting the idea of ​​the poem?
- How does this poem differ from the youthful "to Pushkin's ode to Liberty"?

Like many of his predecessors, Tyutchev is confident in the heavenly origin of poetry. The earthly world with wars, revolutions, human passions (“spontaneous, fiery discord”) is opposed to the heavenly world. Imperfection, the sinfulness of the earthly world is emphasized by the anaphora at the beginning of the poem. Poetry is personified (“It flies from heaven”, “pouring oil”, endowed with “azure clarity in the eyes”), and Christian symbolism, archaic vocabulary emphasize the high purpose of poetry.

Researchers of Tyutchev's work note that the poem is characterized by a fusion of features of romanticism and classicism; it is an octist, consisting of one syntactic period, that is, one sentence. Tyutchev's poems, like those of any poet devoted to the theme of poetry, reflect his social and political views.

Socio-political theme
What are laws without morals
what are laws without faith...

Expanding this topic in Tyutchev's lyrics, you can acquaint students with fragments of poems in which he responds to the historical events of his time,
reflects on the international mission of Russia, on the spiritual and moral state of society.

In socio-political lyrics, the poet often uses allegory, ancient images, gospel symbols, a hint of historical facts - all this makes up her
peculiarity.

After the uprising of the Decembrists, Tyutchev writes the poem "December 14, 1825", in which he condemns both the rebels who swore allegiance to the tsar and autocracy for treachery.

The poet speaks of the inviolability of the Russian autocracy and the senselessness of a group of people speaking out against it:

You have been corrupted by self-rule,
And his sword struck you,
And in incorruptible impartiality
This verdict was sealed by the Law...

Impressed by the French Revolution of 1830, Tyutchev writes a poem
"Cicero":

Roman orator spoke
Amid civil storms and anxiety:
"I got up late - and on the road
Caught in Rome's night
So! but, saying goodbye to Roman glory,
From Capitol Hill
In all the greatness you saw
The sunset of her bloody star! ..
Happy is he who has visited this world.
In his fatal moments -
He was called by the all-good,
As an interlocutor at a feast;
He is a spectator of their high spectacles,
He was admitted to their council,
And alive, like a celestial,
He drank immortality from their cup.
1830

Cicero is a philosopher, orator, politician, supporter of the Senate Republic in Rome (106-43 BC). Night of Rome - Cicero imagined the civil war, the death of the republic and the establishment of a dictatorship in the form of a black night descending on Rome.

The Capitoline Hill is one of the seven hills on which Rome is located. All-good - the gods of Roman mythology.

Tyutchev uses ancient images, the events of the history of Ancient Rome as a reference to contemporary events, paraphrases the true words of Cicero: “I grieve that, having come into life, as if on a road, with some delay, before the path was over, I plunged into this night republics ... "> that is, he witnessed her death. The poem reflected the poet's views on the revolution as a tragedy in which blood is shed, former civilizations perish. At the same time, he recognizes the inevitability and majesty of the "fatal minutes".

The main political idea of ​​​​Tyutchev in these years was pan-Slavism - the unity of the Slavic peoples around Russia. The poet believed that Russia, as a young country, developing according to its historical laws, retaining high moral foundations, could stop the pressure of the revolutionary elements, become a stronghold of civilization in the world.

In the poem "The Sea and the Cliff" (1848), using antithesis and allegory, the poet depicts Western revolutions in the form of furious sea waves:

Whistling, whistling, and roaring,

And wants to reach the stars

To unshakable heights...

Is it hell, is it infernal power

Under the roaring cauldron

The fire of Gehenna spread out -

And turned up the abyss

And put it upside down?

Waves of violent surf

Continuous shaft marine

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

Beats in the coastal cliff, -

But, calm and arrogant,

I'm not overwhelmed by the foolishness of the waves,

motionless, unchanging,

The universe is modern,

You stand, our giant!

And, embittered by the battle,

As if on a fatal attack,

Again the waves climb with a howl

On your huge granite.

But, O unchanging stone

Breaking the stormy pressure

Shaft spattered crushed,

And swirling with muddy foam

Relentless impulse...

Stay, you mighty rock!

Just wait an hour or two

Tired of the thundering wave

Fight with your heel...

Tired of evil fun,

She will calm down again -

And without a howl, and without a fight

Under the giant heel

The wave will rise again...

Later, the poet realizes the utopianism of the ideas of pan-Slavism, but remains a patriot of his country. Patriotic feeling permeated his poetic miniature, poetic
aphorism:

Russia cannot be understood with the mind,
Do not measure with a common yardstick:
she has a special become -
One can only believe in Russia.
1886

Continuing the romantic tradition of Lermontov, Tyutchev writes the poem "Our Century":

Not the flesh, but the spirit has become corrupted in our days,
And the man desperately yearns ...
He breaks into the light from the shadow of the night,
And, having found the light, grumbles and rebels.
Burning with unbelief and withered,
He endures the unbearable...
And he knows his death
And he longs for faith, but does not ask for it ...
Will not say forever, with prayer and tears,
No matter how he mourns in front of a closed door:
"Let me in! - I believe, my God!
Come to the aid of my unbelief! .. »
1851

Sample questions and tasks:

- To what historical time does the lyrical hero belong?
— How does the principle of romantic dual world manifest itself?
- What feeling is expressed here, what thought does the author pursue, what figurative and expressive means does he use?

In this poem, Tyutchev, like Lermontov, classifies the lyrical hero as belonging to a certain historical time. In this case, this is a time of social upheaval, when a person loses spiritual and moral ideals.

Contradictory feelings: disbelief in God and a thirst for faith, awareness of the fatality of unbelief and at the same time rejection of the saving power of prayer to God - overcome a person. The poet conveys a sense of the tragedy of turning points in history and personal life events associated with Denisyeva.

Historical time is perceived deeply personal and philosophically generalized: the vices of society are a consequence of the depravity, sinfulness of a person, overcoming which without faith is impossible. The dots repeated at the end of the couplets give the impression of an excited oratorical speech, archaic words give it the character of a sermon.

Poems about nature

The combination of feeling and philosophical thought is characteristic of Tyutchev's entire work, including poetry about nature. The poet endows nature with consciousness, brings together the concepts of nature and God, recognizes the struggle of contradictory principles in nature and human life, and this manifests his philosophical views, the principle of romantic duality.

You can start studying the topic by repeating the poem “Spring Thunderstorm” at a new level (“I love a thunderstorm in early May ...”).

Sample questions and tasks:

- What pictures stand before the eyes of the lyrical hero, what role does their change play?
- How does the interlocutor of the lyrical hero perceive the storm?
- What feeling is the poem filled with, what artistic means is it conveyed to the reader?

The theme of the poem is a powerful, life-giving natural phenomenon (thunderstorm), the contemplation of which causes deep philosophical reflections in the poet. Changing pictures of nature (“rain splashed”, “dust flies”, “rain pearls hung”), the use of personifications allow us to perceive a thunderstorm in motion as an animated phenomenon.

This perception is enhanced by the fact that the interlocutor of the lyrical hero compares the storm with the young goddess of ancient mythology, Hebe, the daughter of the supreme god of the ancient Greeks, Zeus, who controlled all celestial phenomena, primarily thunder and lightning. Attributes of 3evs: eagle (carrier of lightning), aegis (shield as a sign of patronage), scepter (rod adorned with precious stones as a sign of power).

Hebe was portrayed as a young girl with a golden bowl (goblet) in her hands, sometimes feeding the eagle 3eus. The appeal to the ancient myth at the end of the poem emphasizes the idea of ​​the eternity of living spiritualized nature, of the combination of natural and elemental forces in it.

The poet uses a definition formed by the combination of words (“loud-boiling goblet”), which is typical of ancient Greek poetry (“golden-haired goddess”, “pink-fingered Eos”, that is, morning dawn). Epithets (“first spring thunder”, “young rumbles”, “bird noise”), comparisons (“as if frolicking and playing”) convey the joyful feeling of the lyrical hero.

The last quatrain echoes the first: the comparison of a thunderstorm with a young, cheerful Hebe, spilling a loud boiling goblet, enhances the joyful feeling of the beginning of the poem.

In school textbooks, mainly the first quatrain of the poem “Not what you think, nature ...” is given, you can acquaint students with its full text, say that the second and fourth stanzas were banned by censorship and have not reached our time, they are replaced by outflow,

Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces?
They don't see or hear
They live in this world, as in the dark,
For them, and the suns, to know, do not breathe
And there is no life in the sea waves.
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak
And there was no night in the stars!
And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!
Not their fault: understand, if you can,
The body is the life of a deaf-mute!
Soul it, ah! won't alarm
And the voice of the mother herself!
1836

This is a monologue-address of the lyrical hero to the interlocutor and at the same time to all people who have risen above nature, have ceased to see the spiritual principle in it. The poet is convinced that a living soul is hidden in nature, capable of expressing itself in its own language, and each person must learn to understand nature, live in harmony with it, and preserve it. He uses here the image of the Great Mother - the Mediterranean goddess, whose cult was united by the worship of the goddesses Artemis, Isis and others who personified nature.

This image of ancient mythology is often found in the poet, for example, in a poem dedicated to A.A. Fet, “Inherited by others from nature ...” (1862):

Beloved by the Great Mother,
A hundred times more enviable is your destiny -
More than once under the visible shell
You got to see her...

Romantic duality in poems about nature is associated with the poet's idea of
Universe (universe, space).

To the world of mysterious spirits,
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover -
Day, earthly revival,
Souls of the aching healing,
Friend of men and gods!
But the day fades - the night has come;
Came - and, from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!
1839

Sample questions for analysis:

— How is the principle of romantic duality manifested in the poem?
— How does the poet see the Universe?
What mood is expressed in the poem, what vocabulary prevails?

Summary of student responses:

The earth is surrounded by a vault of heaven, which hides the universe during the day. Day is a "golden" cover, friendly to people and gods. At night, the depths of space are exposed, mysterious, and attractive, and frightening. Man and earthly nature are silent before the elements of the cosmos.

The last cataclysm
When the last hour of nature strikes,
The composition of the parts will collapse on the earth":
Everything visible will again be covered by water,
And God's face will be depicted in them!
1829

Sample questions and tasks

What philosophical views are expressed in the poem?
- Determine the nature of the rhyme.
- What is the name of the verses of four poetic lines?

Summary of student responses:

The poem is written in the form of a maxim - a saying of a moralizing, philosophical nature. The picture of the "last hour of nature" leads to the thought of the naturalness of natural disasters and the Divine creation of life. The poet depicted the destroyed nature, ready for a new act of creating life. A complex philosophical thought is clearly and concisely expressed in a miniature of four lines (quatrain) with cross-rhyming.

The poet uses mostly neutral vocabulary, but the Old Slavonic words give the miniature majesty and philosophical depth.

In the poem "Silentium!" (1830) Tyutchev addresses the inner world of man, asserting his originality, as well as the natural world.

Sample questions and tasks for analysis
- Determine the theme of the poem.
What philosophical thought follows from the comparison of the inner world of man with the world of nature?
— How does the poet reveal the problem of the relationship between thought and word?
— What artistic techniques does the poet use to express the idea?

Summary of student responses:

The soul of a person, his thoughts and feelings are as incomprehensible as the universe:

Be silent, hide and conceal
And feelings, and your dreams -
Let in the depths of the soul
They get up and come in
Silent as the stars in the night...

The poet reveals the theme of the relativity of the expression of thought in the word, which has been raised since Antiquity, and the Latin title of the poem helps to realize that this topic goes back to the mists of time. Tyutchev holds the idea of ​​the impossibility of a person to fully and completely express himself in a word and to know the inner world of another person in his words, as well as to comprehend the secret of the inner life of nature:

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie...

According to the poet, a person's speech characterizes his external manifestation, silence - the inner world. The poem also speaks of man's involvement in the world of nature and his loneliness in the world of people. But unlike the romantics, Tyutchev explains the loneliness of a person not by his conflict with society, but by reasons independent of the individual, that is, objective.

We can't predict
As our word will respond, -
And sympathy is given to us,
How do we receive grace...
1869

In this poetic miniature-aphorism, the poet also holds the idea of ​​the impossibility of completeness of expression and hopes for a good attitude towards his poetic work, at the same time, it contains a deep philosophical meaning: a free gift of Divine love descends on a believer - God's grace.

love lyrics
Burned love as a flame,
I fell, got up in my age,
Come on, sage! on my coffin stone,
If you are not human...
G.R.Derzhavin

Tyutchev's love lyrics reflect the psychologically accurately conveyed experiences of the lyrical hero and the philosophical understanding of love.

The poet dedicates the poem "K.N." to Amalia Krüdener (1824), filled with a sense of bitterness after breaking up with a girl.

Your sweet gaze, full of innocent passion,
Golden dawn of your heavenly feelings
Could not - alas! - appease them.
He serves them as a silent reproach ...

Later, the poem “I remember the golden time ...” (1834) was written. It is dedicated to those days of youth, when young people fell behind a group of travelers and examined the ruins of an ancient castle on the banks of the Danube. The warmth of memories is combined with the sadness of parting:

I remember the golden time
I remember a dear edge to my heart.
The day was evening; we were two;
Below, in the shadows, the Danube rustled.

And on the hill, where, whitening,
The ruin of the castle looks into the distance,
You stood, young fairy,
Leaning on mossy granite,

Infant foot touching
The wreckage of a pile of centuries;
And the sun lingered, saying goodbye
With the hill and the castle and you.

Many years later, Tyutchev dedicated Amalia Krudener, now a secular beauty, another poem.

K.B.
I met you - and all the past
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 hours
When it suddenly blows in the spring
And something stirs in us, -
So, the whole is covered with a breath
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 more audible,
Not silenced in me...
There's not just one memory
Then life spoke again, -
And the same charm in you,
And the same love in my soul!
1870

Questions and tasks for analysis
- How does the love theme combine with philosophical generalizations?
What is the nature of comparisons?

Summary of student responses:

The initials in the title of the poem are abbreviated words "Baroness Krüdener". It was written after the poet's meeting with the baroness at a resort in Carlsbad in 1870. As in the previous poem, Tyutchev repeats here the expression “golden time” (the epithet “golden” appeared already in the first dedication of young Amalia: “golden dawn of heavenly feelings”). Revealing “the inner experiences of a person, the poet uses comparisons from the natural world. An unexpected, many years later meeting with a loved one awakened holy memories of the past, at the same time it was the return of the fullness of feeling (“everything is the same love in my soul”).

Love is forever preserved and reborn in the human soul - such is the generalizing thought of the author. The last meeting of the poet with the baroness took place when the poet was ill in 1873. A record made in the last days of his life has been preserved: “... yesterday I experienced a moment of burning excitement as a result of my meeting with ... my Amalia Krudener, who wished to see me in this world for the last time and came to say goodbye to me ... "

In the poems of the Denisiev cycle, the theme of love as a fatal elemental feeling, the theme of the sacrifice of love, its experiences “in the declining years” sound. “Oh, how deadly we love” (1851) - a poetic monologue dedicated to the tragic contradiction of love, which can become “a terrible sentence” for a loved one, destroy him. The recurring first and last quatrain enhance its tragic sound. The opening phrase has become an aphorism.

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