Fedor Ivanovich Tyutchev is not only a poet, he is a philosopher trying to understand the secrets of life, the place and role of man in life. In his works, he identifies the person himself with a traveler, on whose road happiness and sorrow, gains and losses, tears and joy meet. I.S. Aksenenko said of Tyutchev: "For Tyutchev, to live means to think."

But the works of Fyodor Ivanovich had not only a philosophical and psychological orientation: he also had many lyrical works in which he sought to convey admiration for the beauty of nature, her understanding.

Tyutchev was an excellent landscape painter who perfectly described nature with the help of artistic images. But he is not a simple contemplator of nature, he is trying to know its meaning, to penetrate into her life, as if into the human soul.

In nature, Tyutchev finds complete harmony. However, just as in human life he saw contradictions and difficulties, so he sees "chaos" and "abyss" in the manifestations of nature.

The source of mysterious beauty, the highest power is nature. In the works of Tyutchev, the human mind bows before her:

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.

The first thunder “frolics and plays”, spring is “blissfully indifferent”, “golden veil is thrown over” - all this causes the poet’s lively excitement. He is delighted and delighted with thunderstorms, storms, and rough seas. All this is reflected in the opening lines of some of F. Tyutchev’s works: “How good you are, O night sea ...”, “Spring thunderstorm”, “There is in the initial autumn ...”, “How cheerful the roar of summer storms ... ”, etc. When I read the poems of this poet, I have feelings that are similar to the experiences and feelings of the author, who owned him at the time of their creation. At the same time, you begin to feel the charm and beauty of the world around you:

An agile stream runs from the mountain,

In the forest, the din of birds does not stop,

And the noise of the forest, and the noise of the mountains -

Everything echoes cheerfully to the thunders.

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

Thunderstorm always causes fear in a person. These same lines show a completely different thunderstorm. All nature merrily echoes her: both the stream is agile, and the bird's din does not stop.

However, the poet sees nature from the other side. For him, she acts as a certain element, in front of which a person is completely powerless and alone. Much is inaccessible to a person, not everything can be understood, therefore, the idea of ​​​​the mystery and spontaneity of nature in F. Tyutchev's soul causes anxiety and hopelessness:

The night sky is so gloomy

Enveloped from all sides

It's not a thunderstorm and not a thought,

That sluggish bleak dream.

The transience of human life causes the poet's superstitious fear. This feeling is aggravated at night, when the abyss of non-existence is exposed, tearing off the “fabric cover fabric” from the world:

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!

But all those feelings that possessed the poet: joy, faith in the triumph of harmony and beauty, sadness or anxiety - intertwined in his poems with nature. All this gives his lyrics a captivating power:

Oh, how in our declining years

We love more tenderly and more superstitiously.

Shine, shine, parting light

Last love, evening dawn!

Half the sky was engulfed by a shadow,

Only there, in the west, radiance wanders, -

Slow down, slow down, evening day,

Last, last, charm.

The theme of nature has always interested many Russian poets and occupied one of the main places in their work. A. S. Pushkin admired the colorful landscapes, the romantic M. Yu. Lermontov sang of the natural grandeur and elements. Each artist had his own perception of this difficult phenomenon. Poems about nature written by Fyodor Ivanovich Tyutchev are marked by a special feeling of youthfulness of life. Like many poets, Tyutchev believed that man is a destructive principle in nature. A person is weak both physically and spiritually, he cannot resist his passions and vices. This makes his actions chaotic and erratic, and his desires fickle and inexplicable.

These contradictions do not exist in the life of nature, where everything is subject to a single, universal law of life. Nature is self-sufficient, its existence is serene and calm, which is expressed in the poems of Russian poets, including Tyutchev.

Tyutchev's lyrics occupies a special place in Russian poetry. In his fresh and excitingly attractive poems, the beauty of poetic images is combined with the depth of thought and the sharpness of philosophical generalizations. Lyrics

Tyutchev is a small particle of a large whole, but this small one is perceived not separately, but as interconnected with the whole world and at the same time carrying an independent idea. Tyutchev's nature is poetic and spiritual. She is alive, can feel, rejoice and be sad:

The sun is shining, the waters are shining,

Smile in everything, life in everything,

The trees tremble with joy

Swimming in the blue sky

The spiritualization of nature, endowing it with human feelings, gives rise to the perception of nature as a huge human being. This is especially evident in the poem "Summer Evening". The poet associates the sunset with a "hot ball" that the earth rolled off its head; Tyutchev's "bright stars" raise the vault of heaven.

And sweet thrill, like a jet,

Nature ran through the veins,

How hot her legs

Key waters touched.

The poem "Autumn Evening" is close in subject matter. It hears the same spirituality of nature, its perception in the form of a living organism:

Is in the lordship of autumn evenings

A touching, mysterious charm:

The ominous brilliance and variegation of trees,

Crimson leaves languid, light rustle...

The picture of the autumn evening is full of lively, quivering breath. Evening nature is not only similar to a living being in some separate features: “...everything has that meek smile of withering, which in a rational being we call the divine bashfulness of suffering≫, it is all alive and humanized. That is why the rustle of the leaves is light and languid, the lordship of the evening is full of inexplicable attractive charm, and the earth is not only

sad, but also humanly orphaned. Depicting nature as a living being, Tyutchev endows it not only with a variety of colors, but also with movement. The poet draws not one state of nature, but

shows it in a variety of shades and states. This is what can be called being, the being of nature. In the poem "Yesterday" Tyutchev depicts a sunbeam. We not only see the movement of the beam, how it gradually made its way into the room, “clung to the blanket”, “climbed up on the bed”, but we also feel its touch.

Tyutchev's poetry always strives upward, as if in order to know eternity, to join the beauty of unearthly revelation:

And there, in solemn rest, unmasked in the morning,

The White Mountain shines like an unearthly revelation.

Maybe that's why Tyutchev's symbol of purity and truth is the sky.

In the poem "The feast is over, the choirs have fallen silent ..." first a generalized image of the world is given:

The feast is over, we got up late -

The stars were shining in the sky

The night is half...

The second part, as it were, lifts the veil. The theme of the sky, only slightly outlined at the beginning, now sounds strong and confident:

.... As above this valley child,

In the mountainous highland

Stars were burning clean

Responding to mortal gazes

Immaculate rays...

One of the main themes of Tyutchev's lyrics of nature is the theme of the night. Many of Tyutchev's poems are dedicated to nature not just at different times of the year, but also at different times of the day, in particular at night. Here nature carries a philosophical meaning. It helps to penetrate into the "secret secret" of a person. Tyutchev's night is not just beautiful, its beauty is majestic, it is first of all holy for the poet: "Holy night has risen into the sky ..." It contains so many secrets and mysteries:

... Over the sleeping hail, as in the tops of the forest,

Woke up a wonderful nightly rumble ...

Where does this incomprehensible rumble come from? ..

Or mortal thoughts liberated by sleep,

The world is incorporeal, audible, but invisible,

Now swarming in the chaos of the night?...

The breakthrough of the vital forces of the elements is clearly visible in the poem "Spring Thunderstorm", which is permeated with a sense of new life, renewal, joy. It is no coincidence that the words “first”, “young”, “fun”, “laughter”, etc. are repeated here. They convey the flowering of natural life. A thunderstorm is a grandiose moment, an element, its rampage is natural. The very word "spring" already tells us about the birth and development of a new life. A similar motif is imbued with the poem “How cheerful the roar of summer storms ...” the thunderstorm is shown here as a sudden phenomenon. Epithets and metaphors vividly convey the scope and power of the awakened nature (“tossing up”, “surging”, “recklessly madly”, “trembling”, “broad-leaved and noisy”). The poem “The Sea and the Rock”, filled with philosophical reflections, has a different tone. The power of nature is no longer aimed at its self-renewal, as it was stated in the early lyrics, but at destruction, here its dark, aggressive side is shown. And an unattainable ideal, and a symbol of eternal youth, and the personification of an indifferent force beyond the control of man - the great poet of the 19th century F. I. Tyutchev saw the true beauty and essence of the natural element in such a contradiction.

Pisarev wrote that “Tyutchev entered the minds of readers primarily as a singer of nature” and, indeed, his skill in describing nature is amazing. Thanks to his poetic talent, Tyutchev unmistakably selects vivid comparisons and epithets for her, finds in the most ordinary phenomena that which serves as the most accurate mirror image of the beauty and grandeur of nature.

Tyutchev's poetry can be sublime and earthly, joyful and sad, lively and cosmically cold, but always unique, one that cannot be forgotten if you touch its beauty at least once. ≪I don’t think about Tyutchev

the one who does not feel it, thereby proving that he does not feel poetry. These words of Turgenev perfectly show the magnificence of Tyutchev's poetry.

F.I. Tyutchev is a master of landscape, his landscape lyrics were an innovative phenomenon in Russian literature. In modern Tyutchev poetry, there was almost no nature as the main object of the image, and in Tyutchev's lyrics, nature occupies a dominant position. It is in the landscape lyrics that the peculiarities of the worldview of this outstanding poet are manifested.

Landscape lyrics are distinguished by philosophical depth, therefore, in order to understand Tyutchev's attitude to nature, his landscape lyrics, it is necessary to say a few words about his philosophy. Tyutchev was a pantheist, and in his poems God often dissolves into nature. Nature has the highest power for him. And the poem "Not what you think, nature ..." reflects the poet's attitude to nature, his embrace of nature, it concentrates the entire philosophy of the poet. Nature here is equal to individuality, it is spiritualized, humanized. Tyutchev perceived nature as something alive, in constant motion.

It has a soul, it has freedom,

It has love, it has a language...

Tyutchev recognizes the presence in nature of the world soul. He believes that nature, not man, has true immortality, man is only a destructive principle.

Only in your ghostly freedom

Discord we create with her.

And in order not to bring discord into nature, it is necessary to dissolve in it.

Tyutchev accepted the natural-philosophical views of Schelling, who singled out the idea of ​​polarity as the principle of unity. And two opposing principles that create a single whole will go through all of Tyutchev's lyrics, including landscape ones. He was attracted by nature in the struggle and play of two elements, in catastrophic states. His romanticism is based on the recognition of life as an unceasing struggle of opposites, therefore he was attracted by the transitional states of the human soul, the transitional seasons. No wonder Tyutchev was called the poet of transitional states. In 1830 he wrote the poem "Autumn Evening". Autumn is a transitional season, and the poet showed the moment of exhaustion of being. Nature here is mysterious, but in it

Damage, exhaustion - and on everything

That gentle smile of fading...

The beauty and deity of nature are associated with its withering. Death both frightens the poet and beckons him, he feels the loss of a person among the beauty of life and its inferiority. Man is only a part of the vast natural world. Nature is animated here. She takes in

An ominous brilliance in the variegation of trees,

Crimson leaves languid, light rustle.

Of the poems in which Tyutchev is trying to comprehend the transitional states, one can single out the poem "Shadows of gray mixed ...". The poet here sings of the twilight. Evening comes, and it is at this moment that the human soul is related to the soul of nature, merges with it.

Everything is in me, and I am in everything! ..

For Tyutchev, the moment of introducing a person to eternity is very important. And in this poem, the poet showed an attempt to "merge with the boundless." And it is the twilight that helps to carry out this attempt, in the twilight there comes the moment of introducing a person to eternity.

Silent dusk, sleepy dusk...

Mix with the dormant world!

Despite the fact that Tyutchev was attracted by transitional, catastrophic states, there are also daytime poems in his lyrics, in which the poet shows both a peaceful morning and the beauty of the day. Day for Tyutchev is a symbol of harmony and tranquility. Calm during the day and the soul of man. One of the daytime poems is "Noon". Ideas about nature here are close to ancient ones. A special place is occupied by the image of the great Pan, the patron saint of the steppes and forests. Among the ancient Greeks, "it was believed that noon is a sacred hour. At this hour, peace embraces all living things, because sleep here is also peace.

And all nature, like fog,

A hot slumber envelops.

The image of the great Pan merges with the picture of the afternoon noon. Here is the sultry harmony of nature. Absolutely opposite to this poem is the poem “What are you howling about, night wind? ..”. Here the poet showed the night world of the soul. The tendency towards chaos is growing. The night is both scary and seductive, because at night there is a desire to look into the secrets of dreams, philosophical depth is distinguished by Tyutchev's landscape lyrics. The image of nature and the image of man are contrasting images, but they are in contact, the border between them is very shaky, and they form a unity. Unity always dominates opposition. Immeasurably big, nature, and immeasurably small, man. They are always connected.

In our time, the problem of the relationship between nature and man is particularly acute. Man destroys nature, but he must live according to its laws. Nature can do without man, but man cannot live a day without nature. Man must merge with nature and not disturb its harmony.

Nature and man in the lyrics of F.I. Tyutchev

The main features of the poet's lyrics are the identity of the phenomena of the external world and the states of the human soul, the universal spirituality of nature. This determined not only the philosophical content, but also the artistic features of Tyutchev's poetry. Attracting images of nature for comparison with various periods of human life is one of the main artistic techniques in the poet's poems. Tyutchev's favorite technique is personification ("the shadows mixed up", "the sound fell asleep"). L.Ya. Ginzburg wrote: "The details of the picture of nature drawn by the poet are not descriptive details of the landscape, but philosophical symbols of the unity and animation of nature"

Tyutchev's landscape lyrics would be more accurately called landscape-philosophical. The image of nature and the thought of nature are fused together in it. Nature, according to Tyutchev, led a more "honest" life before man and without him than after man appeared in it.

Greatness, splendor opens the poet in the world around him, the world of nature. It is spiritualized, personifies the very "living life that a person yearns for": "Not what you think, nature, // Not a cast, not a soulless face, // It has a soul, it has freedom, // In she has love, she has a language ... "Nature in Tyutchev's lyrics has two faces - chaotic and harmonic, and it depends on a person whether he is able to hear, see and understand this world. Striving for harmony, the human soul turns to salvation, to nature as to God's creation, for it is eternal, natural, full of spirituality.

The world of nature for Tyutchev is a living being endowed with a soul. The night wind "in a language understandable to the heart" repeats to the poet about "incomprehensible torment"; the "melodiousness of sea waves" and the harmony of "spontaneous disputes" are available to the poet. But where is the good? In the harmony of nature or in the underlying chaos? Tyutchev did not find an answer. His "prophetic soul" was forever thrashing "on the threshold of a kind of double existence."

The poet strives for wholeness, for unity between the natural world and the human "I". "Everything is in me, and I am in everything," exclaims the poet. Tyutchev, like Goethe, was one of the first to raise the banner of struggle for a holistic sense of the world. Rationalism reduced nature to a dead beginning. Mystery has gone from nature, the sense of kinship between man and the elemental forces has gone from the world. Tyutchev longed to merge with nature.

And when the poet manages to understand the language of nature, its soul, he achieves a sense of connection with the whole world: "Everything is in me, and I am in everything."

For the poet, in depicting nature, the splendor of southern colors, the magic of mountain ranges, and the "sad places" of central Russia are attractive. But the poet is especially partial to the water element. Almost a third of the poems are about water, sea, ocean, fountain, rain, thunder, fog, rainbow. Restless, the movement of water jets is akin to the nature of the human soul, living with strong passions, overwhelmed by high thoughts:

How good are you, O night sea, -

Here it is radiant, there it is gray-dark ...

In the moonlight, as if alive,

It walks and breathes and it shines...

In this excitement, in this radiance,

All, as in a dream, I'm lost standing -

Oh, how willingly in their charm

I would drown my whole soul ...

("How good you are, O night sea...")

Admiring the sea, admiring its splendor, the author emphasizes the closeness of the elemental life of the sea and the incomprehensible depths of the human soul. The comparison "as in a dream" conveys a person's admiration for the greatness of nature, life, eternity.

Nature and man live according to the same laws. With the extinction of the life of nature, the life of man also dies out. The poem "Autumn Evening" depicts not only the "evening of the year", but also the "meek", and therefore "bright" withering of human life:

…and on everything

That gentle smile of fading,

What in a rational being do we call

Divine bashfulness of suffering!

("Autumn evening")

The poet says:

Is in the lordship of autumn evenings

A touching, mysterious beauty...

("Autumn evening")

The “lightness” of the evening gradually, turning into twilight, into night, dissolves the world in darkness, into which it disappears from the visual perception of a person:

Shades of gray mixed,

The color faded...

("Shadows of gray mixed ...")

But life did not stop, but only hid, dozed off. Twilight, shadows, silence - these are the conditions in which the spiritual forces of a person awaken. A person remains alone with the whole world, absorbs it into himself, merges with it himself. The moment of unity with the life of nature, dissolution in it - the highest bliss available to man on earth.

Poetry of F.I. Tyutchev

Fyodor Ivanovich Tyutchev is a poet-philosopher who turned in his work to eternal themes: nature and man, life and death, man and the universe, happiness and the tragedy of love.

Theme of nature.

One of the main themes of Tyutchev's poetry can be called the theme of the relationship between man and nature. Tyutchev's nature is a living, spiritualized, thinking and feeling organism :

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.

In the nature of Tyutchev, a divine principle is felt, she herself is God (the deification of nature is called natural philosophy). Tyutchev to a greater extent interested in the transitional states of nature that is why the poet often depicts autumn and spring. Nature in Tyutchev's perception is always different, it changes its face, but never fully reveals its secret. In the poem "Spring Thunderstorm" nature is the element of light, joy and sun. The natural world seems to glow from within; everything is embraced by a cheerful, impetuous movement, a joyful sound; in the alliteration of the “r” sound, we hear the jubilant, festive music of a spring thunderstorm. Spring is a game, a feast of life, the embodiment of the all-conquering beauty of the world.

One of the main motives of Tyutchev's work is clash and interconnection of contradictions , therefore, in nature, not only light, but also darkness, not only impetuous movement, but also pacifying peace. For example, in the poem "Autumn Evening" nature, like a living being, humbly awaits the winter stupor; her meek, “shameful” suffering is fanned with a special quiet charm:

Damage, exhaustion - and on everything

That gentle smile of fading,

What in a rational being do we call

Divine bashfulness of suffering.

Nature in Tyutchev's poems - this is not only the specifics of the earthly landscape, but also Being itself, a synonym for all things , and therefore in the poem "Summer Evening" the landscape is planetary, cosmic: as if the entire Earth-planet slowly descends into the night. And the movement of the world depicted by the poet is just as global, slow - this is the movement of cosmic bodies, in which there is no contradiction, confrontation: "the hot ball of the sun" yields its daytime dominance to the night luminaries - the stars, and each stanza of the poem is a reflection of a new stage of this eternal change. “Evening” in the poem is the “golden mean” between the heat of the day and the darkness of the night, this is the moment of reconciliation of day and night, the moment of their balance and harmony.

In the poem “How the ocean embraces the globe of the earth”, a peculiar model of the universe is created, in the center of which is a person. All four elements of all things: fire (“burning with star glory”, “flaming abyss”), water (“ocean”, “element”, “tide”, “immeasurable waves”), earth (“terrestrial sphere”, “terrestrial life ”, “shore”, “pier”), air (“dreams”, “vault of heaven”) - are in relation to confrontation and unity at the same time. With special reverence, Tyutchev refers to the air element. Air is an abyss, "a blue abyss" and "life-giving". Air, like a river, encircles the earth and is the condition of life, it is the lightest and purest element that binds all living things, absorbs and spreads the manifestations of life, life itself; water also turns out to be the embodiment of life, movement, rapid transformation in the artistic world of Tyutchev, therefore the word “element” often becomes synonymous with the word “water”, “water is cold, mobile and changeable, it is alive, harmonious, the most ancient and most powerful element; fire resists water. He is both life-giving and dangerous. If the homeland of water is the depths of the earth, then the homeland of fire is the sky, therefore Tyutchev’s sky is a “fiery firmament”, “heavens shine”, illuminated by the fire of the sun. Fire penetrates everything: into plants and into a person, it burns in his chest, glows in his eyes. But fire is also angry, it is an “evil fighter”, “elemental enemy force”, it is like a “red beast”, everything is incinerating, deadening. The earth in the poem becomes the embodiment of the firmament in the moving element of the universe, the “shore”, “pier”, helping a person to find stable, eternal, life-giving and protective principles.

However, the natural elements of water, fire, air and earth, with all their differences and outward opposition of qualities, are in a deep connection, therefore it is not by chance that a circle appears in the poem as a symbol of harmony and interconnectedness of everything with everything (“ball”, “encompasses”, “ embraced”, “vault of heaven”, “surrounded on all sides”). All four fundamental principles of the world are interconnected, involved in a single life, a single movement. The image of the circle is persistently repeated by Tyutchev. The poet's predilection for verbs (and derivatives from them) with the meaning of scope, environment is characteristic. The image of the circle in this poem helps to feel the place of man in the universe. Tyutchev laid the foundation for a new look at the personality and its relationship with the world. A person in Tyutchev's poetry feels himself in the cycle of the boundless ocean of the Universe, he is involved in the world circulation (therefore, it is no coincidence that a person in this poem finds himself in the center of a symbolic circle: "and we are swimming, surrounded on all sides by a flaming abyss"). A person is lost in the world chaos, but at the same time he is not dissolved in it, his “I” does not disappear in the darkness and night. The Universe, majestic, immeasurable in space and time, imperious, mysterious, needs a person, its “voice” “forces” and “asks”. The world is empty without man. "We" in the poem is humanity, and the Earth, and the entire Universe.

However, the involvement of man in the natural world not only does not exclude the drama of the relationship between man and the universe, but, on the contrary, predetermines it. The relationship between the human and natural worlds is dramatic : a person would like to merge with nature, dissolve in its harmony, but this is not given to him:

There is melodiousness in the waves of the sea,

Harmony in natural disputes,

And a slender Musiki rustle

It flows in unsteady reeds.

An imperturbable system in everything,

Consonance is complete in nature, -

Only in our ghostly freedom

We are aware of our discord.

Merging with nature is desirable because only in nature can one find harmony, "harmony", "melodiousness" even in its spontaneity. The salvation of the human soul from discord, from contradictions, duality - in merging with the harmony of nature. However, dissolution in nature is possible only beyond life, so the theme of life and death organically merges with the theme of man and nature. Tyutchev is a poet of a tragic worldview, and therefore, with particular acuteness, perceived the brevity, fragility and fragility of human existence. Death, according to Tyutchev, is not a complete disappearance, but the continuation of existence, but in a different form - the form of a part of the "all-consuming and peaceful abyss" of being. Life and death are included in the eternal cycle of nature, these are links in the chain of the universe, therefore Tyutchev’s “abyss” is not only “all-consuming”, but also “peaceful” (poem “From the life that raged here”).

Tyutchev also speaks of a person’s desire to feel himself a part of the universe in the poem “Shadows of gray mixed”. “The dormant world”, “twilight” become the embodiment of a facet that helps to comprehend the possibility of interpenetration of opposite principles of being. The movement, tangible in two directions: the movement of the world from top to bottom and the movement of the human soul from bottom to top - "deep", reflects the mutual aspiration of man and the universe. The moment of their intersection - that edge of the reunion of day and night, creating the world of "twilight", - will be a moment of interpenetration, balance: "Everything is in me and I am in everything." A person strives to merge with the universe, therefore it is no coincidence that there are so many verbs in the imperative mood in the poem: “pour”, “fill”, “calm down”, “overflow”, “give”. "Give me a taste of destruction, mix with the dormant world." "Destruction" is not a disappearance without a trace, but a phenomenon in a different form - in the form of a part of the world. The paradoxical combination “taste of annihilation” speaks of the passionate desire for such a transformation of a person: “taste” is very desirable, bringing pleasure, joy.

The universe, according to Tyutchev, has two faces - "day" and "night". Day is a harmonious, arranged and friendly to man Universe, it is Cosmos; night is the world of Chaos, when unknown and unknowable elements dominate. In the world mystery, the act of bright, harmonious being is replaced by a new act - the being of the night, chaotic, full of tragedy. In the poem “Day and Night”, day is a “golden”, “brilliant” cover thrown over the abyss, it is revival, sunlight and brilliance, “grace”, healing of the soul; night is a fatal world of secrets, darkness, abyss.

The metaphorical image of the "golden veil" reflects the impenetrable line between the two worlds - Cosmos and Chaos. The images of the “veil”, “cover”, “window” in Tyutchev’s poetry reveal the poet’s thought about “double being”, about the eternal bifurcation of life spheres, about mutual attraction and mutual repulsion of opposites. Two forces, two voices, two infinities, two worlds - this addiction of the poet to the number "two" testifies to his dialectical perception of life, to his vision of contradictory, opposite principles in it. In life, Tyutchev sees an eternal bifurcation, destroying life and creating a new one in the process of movement. In the artistic world of Tyutchev, contradictions are dialectically interconnected: Cosmos and Chaos, the weakness and greatness of man, his fear of the face of the abyss and at the same time a mysterious attraction to it.

During the day, the cover of light hid the starry abyss from the eyes - at night it opens. It is at night that a person is left alone with the universe, which is why Tyutchev called it "a homeless orphan." A person is not protected from the power of the night world, he is “weak and naked” before him. Night loneliness puts a person face to face not only in front of the abyss of the Universe, but also in front of the abyss of his own soul. There is no protection from oneself, “there is no outside support”, at night the elemental is released not only in nature, but also in man - about this is the poem “What are you howling about, night wind?” Tyutchev's "Music of the Spheres" is often chaotic, scary, but even in this disharmony one can feel its own melody, which, while remaining incomprehensible to human consciousness, awakens a similar sound in his soul. “The world of the soul at night” is akin to the elements of the night, and in the heart of a person there are the same storms, unknown secrets. A torn, impetuous, unstoppable movement is contained in the person himself: the “night wind” rages in the human heart, “digs and explodes” “violent” sounds in us (“From the mortal chest, he wants to merge with the infinite”). It is no coincidence that chaos is called “ancient and native”, and “the wind of the night” speaks to a person “in a language understandable to the heart”. The inner element is conjugated with the outer element, the element of the universe and the element of the human soul are close in their inconstancy, rebellion, they are equal in size, consubstantial: “Oh, do not wake up the storms of those who have fallen asleep - chaos stirs under them.”

Theme of love.

The contradiction and merging of happiness and tragedy are also palpable in human feelings, especially in the strongest of them - love. The Denisyev cycle reflected the complexity of the relationship between Tyutchev and Elena Alexandrovna Denisyeva, who was much younger than the poet and whom he survived by nine years: Denisyeva died early from consumption.

In the poem "Predestination", love in Tyutchev's perception is "the union of the soul with the soul of the native", the interpenetration of two souls, but this is the cause of both happiness and tragedy. This spiritual “union”, “combination”, “fusion” becomes a “fatal duel”, “struggle” precisely because the germination of two “I” into each other in Tyutchev does not transform into “we”, human individuality is not erased in love, "selfhood", therefore, the closer the "union" of lovers, the stronger the relationship of attraction-repulsion. It is no coincidence that the rhyme connects the mutually exclusive words "native" and "fatal".

Love is boundless happiness, but that is why it is the greatest tragedy: again, as is often the case with Tyutchev, the contradictions are inseparable. In the poem "Last Love" this one of the strongest human feelings is called by the poet "bliss and hopelessness". The whole poem is permeated with light, but the light is fading, leaving, it is no coincidence that all the words that carry light are combined with words whose meaning is departure, farewell: “farewell light”, “evening day”, “evening dawn”, “only there, on west, a radiance roams. Love is a combination of not just opposites, but extremes: “bliss” is the highest happiness, “Hopelessness” is the deepest despair. The inversion makes the words “last” and “evening” even more significant, the semantic stress seems to snatch them out of the line. The poem as a whole is like a prayer for the moment of happiness to freeze, stop, hence the frequent repetitions: “shine, shine”, “slow down, slow down”, “last, last”.

Love, according to Tyutchev, is the struggle and merging of two hearts, but the merger is disastrous, fatal, bringing death to one of them:

Oh, how deadly we love

As in the violent blindness of passions

We are the most likely to destroy

What is dear to our heart.

The tragic denouement is inevitable both because this love-passion burns a person from the inside, and because society takes up arms against this “forbidden” love.

The appearance of the heroine of the “Denisiev cycle” is uncommon: she is a strong and free woman, who knows how to love passionately, who defied human court. The lyrical hero Tyutchev is constantly haunted by the consciousness that he is not worthy of such strong love, his happiness is overshadowed by the consciousness of the doom of this love.

The last chapter of a kind of "novel in verse" was written after the death of his beloved - hence the reflection of mental anguish in the poem "On the eve of the anniversary of August 4, 1864." The poet is immersed in the memories of his beloved, he feels the closeness of a loving soul, talks to her, as if between them there is no abyss of death that separated them. After her departure, only a languid existence remained for him in the world, hence the words “delirious”, “it’s hard for me”, “feet freeze”, hence the dots that break the lines. And in this poem, the mood is created by light, but fading, dying, talking about the fading of life: “in the quiet light of the fading day”, “the last reflection of the day has flown away”, “everything is darker, darker above the earth.” The spiritual penetration of the two "I" after her death made his life impossible, the fate of these two souls is one, this is in the lines "this is the world where we lived with you", "my angel, wherever the souls hovered."